itate to assert that their supplications had
elicited signs and portents indicating supernatural aid. Rich rewards
were bestowed in recognition of these services, whereas, on the
contrary, the recompense given to the soldiers who had fought so
gallantly and doggedly to beat off a foreign foe was comparatively
petty. Means of recompensing them were scant. When Yoritomo overthrew
the Taira, the estates of the latter were divided among his followers
and co-operators. After the Shokyu disturbance, the property of the
Court nobles served a similar purpose. But the repulse of the Mongols
brought no access of wealth to the victors, and for the first time
military merit had to go unrequited while substantial grants were
made to the servants of religion. The Bakufu, fully conscious of this
dangerous discrepancy, saw no resource except to order that strict
surveys should be made of many of the great estates, with a view to
their delimitation and reduction, if possible. This, however, was a
slow progress, and the umbrage that it caused was more than
commensurate with the results that accrued. Thus, to the Bakufu the
consequences of a war which should have strengthened allegiance and
gratitude were, on the contrary, injurious and weakening.

ENGRAVING: FIVE STRING BIWA (JAPANESE MANDOLIN)

ENGRAVING: KOTO, 13-STRINGED HORIZONTAL HARP

CHAPTER XXVIII

ART, RELIGION, LITERATURE, CUSTOMS, AND COMMERCE IN THE KAMAKURA
PERIOD

ART

From the establishment of the Bakufu, Japanese art separated into two
schools, that of Kamakura and that of Kyoto. The latter centered in
the Imperial Court, the former in the Court of the Hojo. Taken
originally from Chinese masters of the Sui and Tang dynasties, the
Kyoto art ultimately developed into the Japanese national school,
whereas the Kamakura art, borrowed from the academies of Sung and
Yuan, became the favourite of the literary classes and preserved its
Chinese traditions. Speaking broadly, the art of Kyoto showed a
decorative tendency, whereas that of Kamakura took landscape and
seascape chiefly for motives, and, delighting in the melancholy
aspects of nature, appealed most to the student and the cenobite.
This distinction could be traced in calligraphy, painting,
architecture, and horticulture. Hitherto penmanship in Kyoto had
taken for models the style of Kobo Daishi and Ono no Tofu. This was
called o-ie-fu (domestic fashion), and had a graceful and cursive
character. But the Kamaku