A STUDY OF JAPANESE ART.
Frank thought it was pretty nearly time to be thinking about the purchases he was to make for Mary. So he looked up the paper she gave him before his departure, and sat down to examine it. The list was not by any means a short one, and on consulting with the Doctor he learned that it would make a heavy inroad upon his stock of cash if he bought everything that was mentioned. He was rather disconcerted at the situation, but the good Doctor came to his relief.
"It is nothing unusual," said he, "for persons going abroad to be loaded down with commissions that they are unable to execute. A great many people, with the best intentions in the world, ask their friends who are going to Europe to bring back a quantity of things, without stopping to think that the purchase of those things will involve a heavy outlay that cannot be easily borne by the traveller. The majority of people who go abroad have only a certain amount of money to expend on their journeys, and they cannot afford to lock up a considerable part of that money in purchases that will only be paid for on their return, or quite as often are never paid for at all. There is a good little story on this subject, and it may be of use to you to hear it.
"A gentleman was once leaving New York for a trip to Europe, and many of his friends gave him commissions to execute for them. Some were thoughtful enough to give him the money for the articles they wanted; but the majority only said, \'I\'ll pay you when you get back, and I know how much it comes to.\' When he returned, he told them that a singular circumstance had happened in regard to the commissions. \'The day after I sailed,\' said he, \'I was in my room arranging the lists of things I was to get for my friends, and I placed the papers in two piles; those that had the money with them I put in one pile, and the money on top; and those that had no money with them I put in another pile. The wind came in and set things flying all around the room. The papers that had the money on them were held down by it, but those that had no money to[Pg 240] keep them in place were carried out of the window and lost in the sea. And so you see how it is that the commissions that my friends gave me the money for are the only ones I have been able to execute.\'
"But in the present case," said Doctor Bronson, "it is all right, as your father privately gave me the money to buy the articles your sister wants. So you can go ahead and get them without any fear that you will trench on the amount you have for your personal expenses."
The boys went on a round of shopping, and kept it up, at irregular intervals, during their stay in Japan. And in their shopping excursions they learned much about the country and people that they would not have been likely to know of in any other way.
One of the first things on the list was a silk wrapper with nice embroidery. This gave rather a wide latitude in the way of selection, and Frank was somewhat puzzled what to get. He went to the store of one of the greatest silk-merchants of Yokohama and stated his wants. He was bewildered by the variety of things placed before him, and by their great beauty in color and workmanship. There were so many pretty things for sale there that he did not know when to stop buying; and he privately admitted to Fred that it was fortunate he was restricted in the amount he was to expend, or he would be in danger of buying out the whole of the establishment. He found the goods were admirably adapted to the foreign taste, and, at the same time, they preserved the national characteristics that gave them value as the products of Japan.
FRANK\'S PURCHASE. FRANK\'S PURCHASE.
He selected a robe of a delicate blue, and finely embroidered with silk of various colors. The embroideries represented flowers and leaves in curious combinations; and when the robe was placed on a frame where the light could fall full upon it, Frank thought he had never seen anything[Pg 241] half so pretty. And it is proper to add that he bought two of these robes. Why he should buy two, when he had only one sister—and she would not be likely to want two wrappers of the same kind—I leave the reader to guess.
JAPANESE PATTERN-DESIGNER. JAPANESE PATTERN-DESIGNER.
Then there were fans on the list, and he went in pursuit of fans. He found them, and he thus had the opportunity of seeing the fan-makers at work. He found that there is a great variety in the fans which the Japanese make, and that the articles vary from prices which are astonishingly low to some which are dear in proportion. There is such a large trade in fans that he expected to find an extensive factory, employing hundreds of hands. He found, instead, that the fan-makers work on a very small scale, and that one person generally does only a small portion of the work, then turns it over to another, who does a little more, and so on. Certain low-priced fans are all finished in one shop; but with the high grades this is not the case, and, from first to last, a fan must pass through a good many hands. The fan-makers include women as well as men in their guild; and Frank thought it was by no means an unpleasant sight to see the women seated on the floor in front of low benches and gracefully handling the parts of the fan that was approaching completion in consequence of their manipulations.
FAN-MAKERS AT WORK. FAN-MAKERS AT WORK.
Mary had been seized with the prevailing mania for Japanese porcelain, and among the things in her list she had noted especially and underscored the words "some good things in Japanese cloisonné." Frank had seen a good many nice things in this kind of work, and he set about selecting, with the help of the Doctor and Fred, the articles he was to send home. He bought some in Yokohama, some in Tokio, and later on he[Pg 242] made some purchases in Kobe and Kioto. We will look at what he bought and see if his sister had reason to be pleased when the consignment reached her and was unpacked from its carefully arranged wrappings.
For hundreds of years Japan has been famous for its productions of porcelain of various kinds, from the tiny cup no larger than a lady\'s thimble to the elaborately decorated vase with a capacity of many gallons. Each province of Japan has its peculiar product, and sometimes one is in fashion, and sometimes another. For the last few years the favor has turned in the direction of Satsuma ware, which has commanded enormous figures, especially for the antique pieces. So great was the demand for old Satsuma that a good many manufacturers turned their attention to its production. They offer to make it to any amount, just as the wine-dealers in New York can accommodate a customer with wine of any vintage he requires, if he will only give them time enough to put on the proper labels. It is proper to say, on behalf of the Japanese, that they learned this trick from the foreigners; and their natural shrewdness has taught them to improve upon the lesson, so that in some instances they have actually sold to their instructors new ware for old, and convinced the purchasers of its genuineness.
CHINESE CLOISONNé ON METAL. CHINESE CLOISONNé ON METAL.
We have not space enough to go into a full account of art in Japan, as a whole volume could be written on the subject without exhausting it. Frank followed the directions in Mary\'s note to find some good things in cloisonné; and, as he did not pay much attention to other matters, we will, for the present at least, follow his example and take a look at this branch of art in Japan.
JAPANESE CLOISONNé ON METAL. JAPANESE CLOISONNé ON METAL.
Frank thought it would be proper to have his sister understand the process by which the articles she desired were prepared, and, with the assistance of Doctor Bronson, he was able to write her an account of it that she could study, and, if she chose, could read or tell to her friends. Here is what he produced on the subject:
JAPANESE BOWL. JAPANESE BOWL.
"The term cloisonné comes from the French word cloison, which means a field or enclosure, and you will see as you go on how appropriate it is to this kind of work. If you examine the bowl which you will find in the box, you[Pg 244] will see that it has a groundwork of light blue, and that on this groundwork there are fine threads of brass enclosing little squares and other figures in colors quite different from the body of the bowl. If you look at the cover, you will find that these squares and figures are repeated, and also that there are three circles, like plates with serrated edges, that seem to be lying on the top of the cover. These plates, or circles, have pictures of flowers on them, and the designs of the flowers on each one are different from those of the other two. Every leaf and petal is distinct from the others by means of the brass wires, and the colors do not at any time run together.
COVER OF JAPANESE BOWL. COVER OF JAPANESE BOWL.
"In the first place, the bowl of plain porcelain is ground, so that the enamel will stick closely, which it would not do if the surface were glazed. Then the artist makes a design, on paper, of the pattern he intends putting on the bowl. When his design is finished, he lays it on a flat surface, and takes little pieces of brass wire which has been passed between rollers so that it becomes flattened; these he bends with pincers, so that they take the shape of the figure he wants to represent. Thus he goes over his whole design until every part of the outline, every leaf, flower, and stem—in fact, every line of his drawing—is represented by a piece of wire bent to the exact shape. The wire then forms a series of partitions; each fragment of it is a cell, or cloison, intended to retain the enamel in place and keep the colors from spreading or mingling. That is the first step in the work.
"The second step is to attach these flattened threads of wire by their edges to the bowl. This is done by means of a fusible glass, which is spread over the surface of the bowl in the form of paste; the bits of wire are carefully laid in their places in the paste, and the bowl is then baked just enough to harden the surface and make it retain the threads where they belong. Now comes the third step.
"This consists of filling the little cells or enclosures with the proper enamel, and, to do this correctly, the original design must be carefully followed. The design is drawn in colors, and as the artist proceeds with his work he has the colors ready mixed in little cups that are ranged before him. These colors are like thick pastes of powdered glass mixed with the proper pigments, and one by one the cells of the surface are filled up. Then the groundwork is filled in the same way; and when all this is done, the bowl is put into the oven and submitted to a strong heat.
CHINESE METAL VASE. CHINESE METAL VASE.
"The baking serves to fix the colors firmly in their cells, as the fire is hot enough to melt the glass slightly and fuse it to a perfect union with the body of the bowl. For common work, a single coating of enamel and a single baking are sufficient, but for the finer grades this will not answer. Another coating of colors is laid on, and perhaps a third or a fourth, and after each application the bowl is baked again. When this process is finished, the surface is rough, and the bowl is not anything like what we see it now. It must be polished smooth, and, with this object, it is ground and rubbed, first with coarse stones, then with finer ones, then with emery, and finally with powdered charcoal. In this way the bowl was brought to the condition in which you will find it, if it comes all right and uninjured from the box. A good many pieces of this ware are broken in the handling, and consequently they add to the price of those that come out unharmed.
MODERN JAPANESE CLOISONNé ON METAL. MODERN JAPANESE CLOISONNé ON METAL.
"The fine threads of brass that run through the surface give a very pretty appearance to the work, as they look like gold, and are perfectly even with the rest of what has been laid on to the original bowl. In some of the most expensive of the enamel-work the threads are of fine gold instead of brass; but there is no particular advantage in having them of gold, as the brass answers all purposes and the gold serves as a temptation to robbers. There is an endless variety of designs in cloisonné work, and you see so many pretty things in porcelain that you are at a loss what to ch............