her is it
marvelous that we should so easily forget the hole from which we have
been so recently digged.

In turning to study certain features of Japanese pictorial art, we
notice that a leading characteristic is that of simplicity. The
greatest results are secured with the fewest possible strokes. This
general feature is in part due to the character of the instrument
used, the "fude," "brush." This same brush answers for writing. It
admits of strong, bold outlines; and a large brush allows the
exhibition of no slight degree of skill. As a result, "writing" is a
fine art in Japan. Hardly a family that makes any pretense at culture
but owns one or more framed specimens of writing. In Japan these rank
as pictures do or mottoes in the West, and are prized not merely for
the sentiment expressed, but also for the skill displayed in the use
of the brush. Skillful writers become famous, often receiving large
sums for small "pictures" which consist of but two or three Chinese
characters.

No doubt the higher development of appreciation for natural scenery
among the people in general is largely due to the character of the
scenery itself. Steep hills and narrow valleys adjoin nearly every
city in the land. Seas, bays, lakes, and rivers are numerous;
reflected mountain scenes are common; the colors are varied and
marked. Flowering trees of striking beauty are abundant. Any people
living under these physical conditions, and sufficiently advanced in
civilization to have leisure and culture, can hardly fail to be
impressed with such wealth of beauty in the scenery itself.

In the artistic reproduction of this scenery, however, Japanese
artists are generally supposed to be inferior to those of the West.

As often remarked, Japanese art has directed its chief endeavor to
animals and to nature, thus failing to give to man his share of
attention. This curious one-sidedness shows itself particularly in
painting and in sculpture. In the former, when human beings are the
subject, the aim has apparently been to extol certain characteristics;
in warriors, the military or heroic spirit; in wise men, their wisdom;
in monks and priests, their mastery over the passions and complete
attainment of peace; in a god, the moral character which he is
supposed to represent. Art has consequently been directed to bringing
into prominence certain ideal features which must be over-accentuated
in order to secure recognition; caricatures, rather than life