ra calligraphists followed the pure Chinese
mode (karayo), as exemplified by the Buddhist priests, Sogen (Chu
Yuan) and Ichinei (I Ning).

In Kyoto, painting was represented by the schools of Koze, Kasuga,
Sumiyoshi, and Tosa; in Kamakura, its masters were Ma Yuan, Hsia
Kwei, and Mu Hsi, who represented the pure Southern Academy of China,
and who were followed by Sesshu, Kao, and Shubun. So, too, the art of
horticulture, though there the change was a transition from the stiff
and comparatively artificial fashion of the no-niwa (moor garden) to
the pure landscape park, ultimately developed into a Japanese
specialty. Tradition ascribes to a Chinese bonze, who called himself
Nei-issan (or Ichinei), the planning of the first landscape garden,
properly so designated in Japan. He arrived in Kyushu, under the name
of I Ning, as a delegate from Kublai Khan in the days of Hojo
Sadatoki, and was banished, at first, to the province of Izu.
Subsequently, however, the Bakufu invited him to Kamakura and
assigned the temple Kencho-ji for his residence and place of
ministrations. It was there that he designed the first landscape
garden, furnishing suggestions which are still regarded as models.

LITERATURE

The conservatism of the Imperial city is conspicuously illustrated in
the realm of literature. Careful perusal of the well-known work,
Masukagami, shows that from year's end to year's end the same
pastimes were enjoyed, the same studies pursued The composition of
poetry took precedence of everything. Eminent among the poetasters of
the twelfth century was the Emperor Go-Toba. The litterateurs of his
era looked up to him as the arbiter elegantiarum, especially in the
domain of Japanese versification. Even more renown attached to
Fujiwara no Toshinari, whose nom de plume was Shunzei, and who earned
the title of the "Matchless Master." His son, Sadaiye, was well-nigh
equally famous under the name of Teika.

After the Shokyu disturbance (1221), the empire enjoyed a long spell
of peace under the able and upright sway of the Hojo, and during that
time it became the custom to compile anthologies. The first to essay
that task was Teika. Grieving that the poets of his time had begun to
prefer affectation and elegance to sincerity and simplicity, he
withdrew to a secluded villa on Mount Ogura, and there selected, a
hundred poems by as many of the ancient authors. These he gave to the
world, calling the collection Hyakunin-isshu, and succ