the colour of life(生命之色)-第13章
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hovers； in the very act of choosing its right place； in the most modern of
modern portraits。 In these we have； if not the Japanese suppression of
minor emphasis； certainly the Japanese exaggeration of major emphasis；
and with this a quickness and buoyancy。 The smile； the figure； the
drapery … not yet settled from the arranging touch of a hand； and showing
its mark … the restless and unstationary foot； and the unity of impulse that
has passed everywhere like a single breeze； all these have a life that
greatly transcends the life of Japanese art； yet has the nimble touch of
Japanese incident。 In passing； a charming comparison may be made
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between such portraiture and the aspect of an aspen or other tree of light
and liberal leaf； whether still or in motion the aspen and the free…leafed
poplar have the alertness and expectancy of flight in all their flocks of
leaves； while the oaks and elms are gathered in their station。 All this is
not Japanese； but from such accident is Japanese art inspired； with its good
luck of perceptiveness。
What symmetry is to form； that is repetition in the art of ornament。
Greek art and Gothic alike have series； with repetition or counter… change
for their ruling motive。 It is hardly necessary to draw the distinction
between this motive and that of the Japanese。 The Japanese motives may
be defined as uniqueness and position。 And these were not known as
motives of decoration before the study of Japanese decoration。
Repetition and counter…change； of course； have their place in Japanese
ornament； as in the diaper patterns for which these people have so singular
an invention； but here； too； uniqueness and position are the principal
inspiration。 And it is quite worth while； and much to the present purpose；
to call attention to the chief peculiarity of the Japanese diaper patterns；
which is INTERRUPTION。 Repetition there must necessarily be in these；
but symmetry is avoided by an interruption which is； to the Western eye； at
least； perpetually and freshly unexpected。 The place of the interruptions
of lines； the variation of the place； and the avoidance of correspondence；
are precisely what makes Japanese design of this class inimitable。 Thus；
even in a repeating pattern； you have a curiously successful effect of
impulse。 It is as though a separate intention had been formed by the
designer at every angle。 Such renewed consciousness does not make for
greatness。 Greatness in design has more peace than is found in the gentle
abruptness of Japanese lines； in their curious brevity。 It is scarcely
necessary to say that a line； in all other schools of art； is long or short
according to its place and purpose； but only the Japanese designer so
contrives his patterns that the line is always short； and many repeating
designs are entirely composed of this various and variously…occurring
brevity； this prankish avoidance of the goal。 Moreover； the Japanese evade
symmetry； in the unit of their repeating patterns； by another simple device
… that of numbers。 They make a small difference in the number of curves
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and of lines。 A great difference would not make the same effect of variety；
it would look too much like a contrast。 For example； three rods on one
side and six on another would be something else than a mere variation；
and variety would be lost by the use of them。 The Japanese decorator
will vary three in this place by two in that； and a sense of the defeat of
symmetry is immediately produced。 With more violent means the idea of
symmetry would have been neither suggested nor refuted。
Leaving mere repeating patterns and diaper designs； you find； in
Japanese compositions； complete designs in which there is no point of
symmetry。 It is a balance of suspension and of antithesis。 There is no
sense of lack of equilibrium； because place is； most subtly； made to have
the effect of giving or of subtracting value。 A small thing is arranged to
reply to a large one； for the small thing is placed at the precise distance
that makes it a （Japanese） equivalent。 In Italy （and perhaps in other
countries） the scales commonly in use are furnished with only a single
weight that increases or diminishes in value according as you slide it
nearer or farther upon a horizontal arm。 It is equivalent to so many
ounces when it is close to the upright； and to so many pounds when it
hangs from the farther end of the horizontal rod。 Distance plays some
such part with the twig or the bird in the upper corner of a Japanese
composition。 Its place is its significance and its value。 Such an art of
position implies a great art of intervals。 The Japanese chooses a few
things and leaves the space between them free； as free as the pauses or
silences in music。 But as time； not silence； is the subject； or material； of
contrast in musical pauses； so it is the measurement of space … that is；
collocation … that makes the value of empty intervals。 The space between
this form and that； in a Japanese composition； is valuable because it is just
so wide and no more。 And this； again； is only another way of saying that
position is the principle of this apparently wilful art。
Moreover； the alien art of Japan； in its pictorial form； has helped to
justify the more stenographic school of etching。 Greatly transcending
Japanese expression； the modern etcher has undoubtedly accepted moral
support from the islands of the Japanese。 He too etches a kind of
shorthand； even though his notes appeal much to the spectator's
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knowledge； while the Oriental shorthand appeals to nothing but the
spectator's simple vision。 Thus the two artists work in ways dissimilar。
Nevertheless； the French etcher would never have written his signs so
freely had not the Japanese so freely drawn his own。 Furthermore still；
the transitory and destructible material of Japanese art has done as much
as the multiplication of newspapers； and the discovery of processes； to
reconcile the European designer … the black and white artist … to working
for the day； the day of publication。 Japan lives much of its daily life by
means of paper； painted； so does Europe by means of paper； printed。 But
as
