the soul of the far east(远东的灵魂)-第21部分
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The Soul of the Far East
admiration as the quality of it which is remarkable。 The intense
appreciation shown the subject by the Far Oriental is something whose
very character seems strange to us； and when in addition we consider that
it permeates the entire people from the commonest coolie to the most
aesthetic courtier； it becomes to our comprehension a state of things little
short of inexplicable。 To call it artistic sensibility is to use too limited a
term； for it pervades the entire people； rather is it a sixth sense of a natural；
because national description； for the trait differs from our corresponding
feeling in degree； and especially in universality enough to merit the
distinction。 Their care for tree flowers is not confined to a cultivation； it
is a cult。 It approaches to a sort of natural nature…worship； an adoration
in which nothing is personified。 For the emotion aroused in the Far
Oriental is just as truly an emotion as it was to the Greek； but whereas the
Greek personified its object； the Japanese admires that object for what it is。
To think of the cherry…tree； for instance； as a woman； would be to his mind
a conception transcending even the limits of the ludicrous。
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The Soul of the Far East
CHAPTER 6。 Art。
That nature； not man； is their beau ideal； the source of inspiration to
them； is evident again on looking at their art。 The same spirit that makes
of them such wonderful landscape gardeners and such wonder…full
landscape gazers shows itself unmistakably in their paintings。
The current impression that Japanese pictorial ambition； and
consequent skill； is confined to the representation of birds and flowers；
though entirely erroneous as it stands； has a grain of truth behind it。 This
idea is due to the attitude of the foreign observers； and was in fact a tribute
to Japanese technique rather than an appreciation of Far Eastern artistic
feeling。 The truth is； the foreigners brought to the subject their own
Western criteria of merit； and judged everything by these standards。
Such works naturally commended themselves most as had least occasion
to deviate from their canons。 The simplest pictures； therefore； were
pronounced the best。 Paintings of birds and flowers were thus admitted
to be fine； because their realism spoke for itself。 Of the exquisite poetic
feeling of their landscape paintings the foreign critics were not at first
conscious； because it was not expressed in terms with which they were
familiar。
But first impressions； here as elsewhere； are valuable。 One is very
apt to turn to them again from the reasoning of his second thoughts。 Flora
and fauna are a conspicuous feature of Far Asiatic art； because they enter
as details of the subject…matter of the artist's thoughts and day…dreams。
These birds and flowers are his sujets de genre。 Where we should select
a phase of human life for effective isolation； they choose instead a bit of
nature。 A spray of grass or a twig of cherry…blossoms is motif enough for
them。 To their thought its beauty is amply suggestive。 For to the Far
Oriental all nature is sympathetically sentient。 His admiration； instead of
being centred on man； embraces the universe。 His art reflects it。
Leaving out of consideration； for the moment； minor though still
important distinctions in tone； treatment； and technique； the great
fundamental difference between Western and Far Eastern art lies in its
attitude toward humanity。
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The Soul of the Far East
With us； from the time of the Greeks to the present day； man has been
the cynosure of artistic eyes； with them he has never been vouchsafed
more than a casual； not to say a cursory glance； even woman failing to
rivet his attention。 One of our own writers has said that； without passing
the bounds of due respect； a man is permitted two looks at any woman he
may meet； one to recognize； one to admire。 A Japanese ordinarily never
dreams of taking but one； if indeed he goes so far as that；the first。 It
is the omitting to take that second look that has left him what he is。 Not
that Fortune has been unpropitious； only blind。 Fate has offered him
opportunity enough； too much； perhaps。 For in Japan the exposure of
the female form is without a parallel in latitude。 Never nude； it is
frequently naked。 The result artistically is much the same； though the
cause be different。 For it is a fatal mistake to suppose the Japanese an
immodest people。 According to their own standards； they are
exceedingly modest。 No respectable Japanese woman would； for
instance； ever for a moment turn out her toes in walking。 It is considered
immodest to do so。 Their code is； however； not so whimsical as this bit of
etiquette might suggest。 The intent is with them the touchstone of
propriety。 In their eyes a state of nature is not a state of indecency。
Whatever exposure is required for convenience is right； whatever
unnecessary； wrong。 Such an Eden…like condition of society would seem
to be the very spot for a something like the modern French school of art to
have developed in。 And yet it is just that study of the nude which has
from immemorial antiquity been entirely neglected in the Far East。 An
ancient Greek； to say nothing of a modern Parisian； would have shocked a
Japanese。 Yet we are shocked by them。 We are astounded at the sights
we see in their country villages； while they in their turn marvel at the
exhibitions they witness in our city theatres。 At their watering…places the
two sexes bathe promiscuously together in all the simplicity of nature； but
for a Japanese woman to appear on the stage in any character； however
proper； would be deemed indecent。 The difference between the two
hemispheres may be said to consist in an artless liberty on the one hand；
and artistic license on the other。 Their unwritten code of propriety on the
subject seems to be； 〃You must see； but you may not observe。〃
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The Soul of the Far East
These people live more in accordance with their code of propriety than
we do with ours。 All classes alike conform to it。 The adjective
〃respectable；〃 used above as a distinction in speaking of woman； was in
reality superfluous； for all women there； as far as appearance goes； are
respectable。 Even the most abandoned creature does not betray her status
by her behavior。 The reason of this uniformity and its psychological
importance I shall discuss later。
This form of modesty； a sort of want of modesty of form； has no
connection whatever with sex。 It applies with equal force to the male
figure； which is even more exposed than the female； and offers anatomical
suggestions invaluable alike to the artistic and medical professions；
suggestions that are equally ignored by both。 The coolies are frequently
possessed of physiques which would have delighted Michael Angelo； and
as for the phenomenal corpulency of the wrestlers； it would have made of
the place a very paradise for Rubens。 In regard to the doctors；for to call
them surgeons would be to give a name to what does not exist；a lack of
scientific zeal has been the cause of their not investigating what tempts too
seductively； we should imagine； to be ignored。 Acupuncture； or the
practice of sticking long pins into any part of the patient's body that may
happen to be paining him； pretty much irrespective of anatomical position；
is the nearest approach to surgery of which they are guilty； and proclaims
of itself the in corpore vili character of the thing operated upon。
Nor does the painter owe anything to science。 He represents
humanity simply as he sees it in its every…day costume； and it betokens the
highest powers of generalized observation that he produces the results he
does。 In his drawings； man is shown； not as he might look in the
primitive； or privitive； simplicity of his ancestral Garden of Eden； but as
he does look in the ordinary wear and tear of his present garments。
Civilization has furnished him with clothes； and he prefers； when he
