MYTHOLOGICAL JAPAN ivv>av»»»«w»»!r- THE SYMBOLISMS OF MYTHOLOGY IN RELATION TO JAPANESE ART CORNELL UNIVERSITY LIBRARY THE CHARLES WILLIAM WASON COLLECTION ON CHINA AND THE CHINESE lllli illllllllll/IIIllllllimii?K''°''*'"s of 3 1924 023 314 820 Cornell University Library The original of this book is in the Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924023314820 Caligraphic Symbol of Longevity. iom- r%tr I mytbolodical 33 Fukurokujiu (God of Good Fortune and Wisdom), . . S9 Fudo (God of Punishment) 26 Fusiyama, 4 Futen (God of Winds), . . . 4S Hotel (Children's Patron Saint), 62 Hotel (Specimen) 18 Ivory Tusks (Specimen), . . •:4 Jurojin (God of Longevity), . 61 Kirin (Kilin), 44 Kiyohime (Personification of Disappointed Love), . . 36 Kozan Vase (Specimen), . . 15 Kwannon, the Maternal (Speci- men), 63 Kwannon, the Goddess of Mercy (Specimen), .... 49 Lotus (Hasu), ...... 31 Lotus, Stork and Tortoise (Specimen), 5 Mandarin Ducks (Oshidori), . 18 Maple Tree and Stag (Momiji- ni-Shika) 21 Monju, an Incarnation of Bud- dha (Specimen), .... 12 Moon and Cuckoo (Tsuki-ni- Hototogis) 16 Murasaki Shikibu (a Distin- guished Authoress), . . . 35 Orange (Tachibana) 46 Peach Tree and Oxen (Momo), 52 Phoeni.x (Feng-hwang), ... 25 Pine Tree and Crane (Matsu- ni-Tsuru), 23 Plum Tree and Nightingale (Oumai ni-Uguisu), ... 45 Raiden (God of Thunder), . 30 Shepherd's Wand (Specimen), ;^;^ Ship of Good Fortune (Takara Bune), 55 Suzume (Goddess of Mirth), . 43 Temple Guardians (Speci- mens) 38 Torii (Shinto Gateway), . . 53 Urashima (the Japanese Rip Van Winkle), 29 Willow Tree and Swallow (Vanagi-ni-Tsubakuro), . . 22 Wistaria (Fuji), 19 SYMBOLS. Ikari, 30 J'*'' 37 J"-' 43 Kagi ;o Kagi 62 Kakuremino, 61 Kanebukuro, 24 Kara-Shishi, r-i Kiku-no-mon ^g Kotoji, 38 Longevity, Manji, 50 Mitsu-aoi jg Mitsu-domoe 22 Sangoju 27 Sangoju, 60 Tsuchi eg Tsuki-ni-Usagl, r6 Uchiwa 30 Yang and Yin, 26 Zeni 24 '^■r^' MoNju, AN Incarnation OF Buddha. Seated on grotesque lion. Emblematic of ecstatic wisdom. From a specimen in carved wood, lacquered in gold, two hundred and fifty years old. From the Buddhist Temple of Prof. Maxwell Sommerville, University of Pennsylvania. J2 FUSIYAMA. Fusiyama, that stupendous triumph of Nature, towering with a majestic glory over the Land of the Dragon Fly as well as o'er the history of the people with whom it dwells — that mysterious, impressive, snow-peaked "Queen of Mountains," to dream of which is an omen of good fortune — symbolizes to the Japanese, success in life and triumph over obstacles, whatever they may be. Artists and poets have drawn on noble Fuji for inspiration more than on any other object in the Island Empire, with the single exception of Buddha ; myth- ology honors it with the recognition due its sublimity and magnificence; the traveler never wearies in describing its kaleidoscopic wonders. Can one ques- tion then, the sentimentality of the Japanese in making their Fuji the predom- inant note in literature, song and verse ? Mrs. Hugh Eraser's "Letters from Japan" gives Fuji one of the most ex- quisite settings ever bestowed on a gem of Nature — a setting from which we have gleaned, at times, in treating the present theme. The author speaks of this peerless mount as : " A marble pyramid against a sapphire sky. "Mists were gathered everywhere about its feet, as though the mountain goddess had but just dropped her robe that the sun might look upon her beauty ; then invisible hands seemed to be raising the airy garment higher and higher, 'til the veil swept over the proud white crest and the vision was gone." It seems that of the thousands on thousands of pilgrims ascending Fusi- yama, only a small number have been women, and they only of late years. Fuji San, the Goddess of the Mountain, was a destroyer of women, owing to her deep hatred of the sex, thus keeping female pilgrims away. She is supposed to have quarreled with all the other gods, and to now dwell in solitude on Fuji, her mountain throne. As "the mists surround its snowy crest, so do a thousand and one quaint legends hover over Fuji," one telling us in a fascinating way of Biwa, the Lake of the Lute, the discovery of which was simultaneous with the creation of Fusiyama. From his Bridge of Heaven, the God Izanami created the " Islands of the Dragon Fly," enriching them with verdure and foliage, while its water courses came from the tears shed by Izanagi, the consort of Izanami, who sorrowed long and deep at a rebuff from her lord. The land was a glorious one, and the people who came from the gods to dwell therein were indeed a happy people. But their halcyon days were destined to end : one night all Nature rose suddenly in revolt, and an awful quaking of the earth brought terror to the fair i land. When morning came, blest with the sun jr of the Goddess Amaterasu, lo ! there lay a lute- ii FUSIYAMA.— Continued. shaped lake in the midst of Omi, a gift of liquid beauty, all the more wondrous for its sudden advent and sparkling purity. Because of the resemblance of its outline to the musical instrument of the Japanese, it was called " Biwa, the Lake of the Lute," and ere long, it became a place musical with the notes of many thousand festal times. If the people of Omi suffered terrors during that awful night, they were not alone, for a place known as Hakone, many miles distant, shared Omi's fright and an equal surprise when daylight came. While Omi received its Biwa, Hakone awoke to find its Fuji, garbed in all its grandeur, a monument to the goodness of the gods, a symbol of enduring strength and power. The mountain received its name Fusiyama, and, as the years passed by, the people became accustomed to their new neighbor ; cosy hamlets and bustling villages soon nestled round it, the inhabitants dwelling in the "same fancied security as did the Pompeiians at the foot of Vesuvius, before Nature, in one of her angry moods, breathed fiery visitation over the city and its inhabitants." It was during the Hoyei reign, 1 704-1 710 A. D, that the seem- ingly peaceful Fuji began to give evidence of internal unrest, followed by an awful visitation that destroyed scores on scores of villages and thousands of their people. But, notwithstanding the many painful memories of Fusiyama's disquiet and destructiveness, all seem to have been blotted out by the more potent power of its present glory, for in all Japanese literature nothing but terms of endearment and adoration are to be found, such as the "Beautiful Mountain," "Great Fusiyama," or "Queen of Mountains." ii / :, MAKUDSU KOZAN. ,/' J ?~ / A Foremost Potter of Japan. r:h ':? ■■■■■':' ■]' (■ Foremost among the more talented potters ; , .J ; of Japan, and esteemed above all others for [ ] f*. ■'■ . his wondrous creations that prove so in- ' ' ''; *; ? structive from a mythological standpoint, is i '} I ') ''^ , ■ one Kozan Miyagavva. '» , } This " potter of a thousand themes," as one ; ; ; appreciative writer terms him, is a native of '\ , ', * ' Makudsu-ga-hara, which probably accounts \ V', s for the commercial name he assumed at the \ \ \ ^ i.. .' outset of his career. He first came int» * ' ', V S prominence in the early sixties, when he ' ■ ' founded kilns at Oto, near Yokohama. Makudsu's attention was primarily devoted to the imitation of Satsuma faience for ex- '' ' \ \ ' port, and so faithfully did he accomplish his '■^1 \ \ '• self-imposed mission, that even connoisseurs ■•',., 'i found it a task to distinguish between the ' ' ' V genuine crackle faience and decoration and the Makudsu productions. In common with other famous potters of the day, he did not sign his pieces, which In porcelain, showing design ^^ increased the difficulty of distinguishing between his handiwork and that which he copied, that many of the world's choicest collections contained his specimens — some- A modern piece from ^j^^^^ ^^^ -^^.^^ sometimes tea bowls and koros private collection. , , , •■- j u/-mj c » ■• — duly classified as Old Satsuma. But within the past twenty years, collectors have become expert enough to discern the slightest variations, readily recognizing a Kozan product on examination, though this ability is confined to the expert, amateurs still experiencing trouble in detecting points of differentiation so beautiful and characteristic of old Satsuma is this potter's handiwork. But Kozan's creations have long been prized for their own sake ; later on in his career, he won great distinction by reason of his wondrous and original "shadow treatments " of Japan's flora, storks and dragons, while his monochrome, flambe, crackle and other glazes instantly placed him on an enviable footing with the workers in porcelain and faience of the world — conspicuous evidence of royal appreciation being his official appoint- ment as "Potter to the Emperor." i5 A Kozan Vase. of bamboo in cobalt blue on ground of white, the bamboo symbolizing rectitude and long life. MiTsu-Aor. The crest of the renowned Tokugawa family, representing three leaves of the kamo-aoi, or asarum. TSUK.I-NI- HOTC roGis. [The Moon THE Cuckoo.] Some of Japan's finest decorative treatments show the Cuckoo flying across the face of the Moon. In both China and Japan it is supposed that tlie Cuckoo's note is like the human voice ; when its cry " fujioki ! " is heard by the way- farer, he instantly thinks of his home and dear ones, interpreting the bird's call, '' return," as a note of warning that danger is in store for him should he pursue his journey. Tsuki-ni-Hototogis has another interesting significance — that of temporal advancement and honor, owing to its identity with the legend of the archer Yorimasa, who was richly rewarded and hon- ored by his emperor for destroying a fearful creature — part monkey, tiger and dragon. i6 SAKURA. [The Cherry Tree.] The Japanese have long regarded their beloved Cherry as the symbol of patriotism. Happy, indeed, a people with so delightful an incen- tive to loyalty as the unobtrusively fragrant, pink and rose-like blos- som of the Cherry tree ! Their artists delight to show it with the pheasant, whose brilliant plumage harmonizes so faultlessly with the Cherry bloom. In fact, all Japan unites in doing homage to this, its " King of Flowers," wherever the magnificent groves of Cherry trees are to be found ; for they are cultivated for their blossoming features alone. The most famous Cherry grove is Yoshina, with its thousand or more trees, then comes the garden of Ugeno, for three centuries the pleasure ground of the people of Tokio, where the exquisite blossom-glow of white and pink recalls one of Nature's loveliest sunsets. Tokio itself has won renown as the " City of Cherry Blossoms" ; row after row of trees have been planted with mathemat- ical precision, and their laden boughs form an inspiring sight. When the breezes play wild havoc with the blossoms, and all the air is filled with fragrant petals, it seems as though glad Spring had forgotten its mission and that Win- ter had bestowed, with prodigal hand, a storm of snow-flakes on the land. J7 HoTKi, THE God of Good Things. With fan, the emblem of command. A specimen in pottery and porcelain, from collection of Mr. Theodore S. Holbrook. OSHIDORI. [The Mandarin Ducks, or Beautiful Ducks.] The quaint legend of the mating of these inseparable turtle doves of Japan tells us that the drake could not find a suitable mate in his own flock, so wandered to a far-away land where he encountered one of a totally different species, from which he chose, his affinity. Thus artists always show the male and female "beautiful ducks" together, the symbol of intermarriage and conjugal felicity. Most Oriental study however, is bestowed on the duck Oshi Kamo, noted for its beautiful plumage, the neck and breast being red, while the head is crowned with a magnificent topping. Aside from its indi- viduality in the matter of coloring, the position of the tail and wings gives it an unusually striking appearance. J8 ^-1 FUJI. [The Wistaria ] If one could be transported to the renowned Wistaria arbors of Kameido Temples, and there view the masses of delicate, purplish clusters of Wistaria, there would be slight cause for wonderment that this most impressive of Ori- ental flowers is emblematic of youth and Spring-time; forsurrounded on every side by so gorgeous a display of Nature's flora, thoughts of life's glad morning with its buoyant love and happiness come most to mind. When artists fondly couple the cuckoo with the Wistaria, it means the approach of Summer, as full bloom is reached in May ; the pur- pie Wistaria is often accompanied by the pheasant, the purple blos- som being venerated more than the white, though both are conspicu- ous in Japanese decorative work. The flower is highly prized by all classes, and April and May in- variably find the people in the gar- dens indulging in gay festivities, drinking rice wine and writing prettily phrased verses in the Wis- taria's honor, or in praise of Spring. The verses are attached to the budding clusters, the character of the blossoms' development being accepted as portentous of good or evil in their future married life: a beautiful and romantic custom, thoroughly typical of the quaint and fascinating folk-lore of Japan. J9 f^mJi vs Kagi, the Keys of the Godown. The emblem of wealth, the godown or warehouse being the repository of valuable possessions. SEKICHIKU. [The Carnation,] The Carnation is " The Little Darling" among the flora of Japan ; wherever you see its beauty portrayed, in verse or in art, you may know 'tis expressive of the most endearing sentiments. It has the distinction to num- ber among " The Seven Plants of Autumn," and, like the morn- ing glory, grows wild on grassy moors and in fertile valleys. The Garden-of a-hundred-flowers, or the Pliyak-kwa-yen, is one of the delightful memories of the Island Empire by reason of its seven autumnal plants, which by the way, are often associated with the wild boar, horse and deer in Oriental decorations. 20 MOMTJI-Nl-SHIKA. [The Maple Tree and the Stag.] The Maple typifies sentiment, and the presentation of a branch of Autumn Maple implies that one's affections have changed like the leaves that Fall's relentless winds have blighted. The white slag and the Maple in association signify longevity, while the spotted stag symbolizes gentleness. To appreciate the Japanese mo- tive in bestowing a sentimental significance on the Maple, one should gain some notion of the gorgeousness of its foliage. Few pens can adequately portray it's beauty and amazing variety. As Nature's pigments gradually tinge the Maple's myriad leaves, all their perfect symmetry of form and faultless division of color im- press the beholder with unbounded admiration. Imagine, if you will, more than three hundred distinct species of a single tree, and you have a dim conception of the unnumbered beauties of Japan's fiower-hued emblem of sentiment. Carvings, porcelains and lac- quers are enriched by its decora- tions, and artists often represent the falling leaf and running water, adhering with inimitable fidelity to every detail of coloring and form. 21 MiTSO-DOMOE. The triple form of the source of life is but one of the symbolisms given this figure ; it is also the representation of fire, air and water, Nature's three great principles. It protects the household from the evils of fire, flood and theft, and will be found many times in Japanese decorative work, as well as on the mallet of Daikoku. ■.-v;»,^*'"i-» i^i-^rJ'vVvS'-^ J '.''s»esG^ YANAGI-NI- TSUBAKURO. [The Willow Tree and the Swallow.] Another tree enjoyed and appre- ciated by the Japanese is the sup- ple and graceful Willow ; that they understand its qualities is evinced by the symbolism they give it — considerateness and pa- tience, attributes well earned by the Willow's gentle and yielding nature, obedient to every breath of wind. A swallow perched on its swaying branches typifies grace and docility. 22 AlATSU-NI-TSURU. [The Pine Tree and the Crane.] We wonder not that the appre- ciative Oriental lingers so lovingly over the faithful and stately Pine ; he pictures it in verse and song and in works of art, knowing full well that it typifies stability of character and eternity. Living for centur- ies, ever green and ever stable, the Japanese have thought it worthy a saying all its own : " Fu ro sen nen no aki." (It never fades even throughout a thou- sand Autumns.) In a ballad, " The Spirit of the Pine Tree," the Pine is pictured as emblematic of conjugal content- ment and absolute happiness, which only comes where mutual sympathy reigns. It seems that long life and hap- piness is implied when this faithful tree is coupled with the bamboo, crane or tortoise ; particularly so, however, when in company with the crane, a bird highly prized and venerated b)' the Japanese because of its supposed longevity. As frequently as the crane appears in art, it has never been represented as inanimate, such a treatment being incongruous where longevity is implied. ^''^#i^*,^.^ ^Wr*^^^ ^'fk/'' 23 Zeni. An iron or copper coin of little value, emblematic of moderate wealth. ■ii;3S. Kanebukuro A purse of money, symbolic of wealth. Ivory Tusks, Hand Carved. Dragon ornamentation. The specimen in foreground is conceded to be one of the largest pieces of carved ivory in existence. Collection of A. A. Vantine & Co. FENG-HWANG. [The Phoenix, or Ho-Wo Bird.] 'Tis no minor office that this most royal bird occupies in the sphere of art and tradition, but one as refined as it is exalted. Known as the sacred Golden Pheasant and the Heavenly Phoenix, it is the generally accepted symbol of rec- titude, the male bird (Ho) and female (Wo) often appearing in art and in verse. It is supposed to abide in the higher regions, only appearing on earth at the birth of an emperor, or as a portend of the birth of some great philosopher or law- giver. It has the head of a pheasant, the beak of a swallow, the features of a dragon and fish ; its plumage is magnificent with the gorgeous- ness of both peacock and pheasant, its five colors being symbols of the virtues — obedience, uprightness of mind, fidelity, justice, benevolence. While the numerous representa- tions of its head, body and wings are usually alike, its tail is seldom portrayed the same — sometimes it is feathered, at other times it re- sembles beautiful scroll work. The most perfect examples of the Phoeni.K in decorative art ap- pear on antique specimens that were made for royalty, in all prob- ability during the seventeenth and eighteenth centuries, although for the past two hundred years it has frequently been employed in the ornamentation of notable porce- lains and ceramics. To quote a Chinese definition, " The Phoenix is of the essence of water ; it was born in the Ver- million cave ; it perches not but on the most beautiful of all trees ; it eats not but of the seed of the bamboo ; its body is adorned with the five colors ; its song contains the five notes ; as it walks it looks around ; as it flies, hosts of birds follow it." 24 ^'!', >:^' )^ ?i Yang and Yin. The white, feminine— the black, masculine. Symbolizing the origin of life on the earth. FUDO. [The God of Punishment.] The sword and the coll of rope which the gigantic God of Punish- ment is bearing, is used to smite and bind the guilty ; the brilliant halo of fire that surrounds his figure forms an appropriate setting, the flames suggesting the total destruction of the dross of man- kind's guilt. 26 KOI. [The Carp.] The Carp is essentially the myth- ological figure for perseverance. If you should chance to arrive in any one of the enchanting cities of Japan on a certain Spring day, you would note everywhere over- head the bright colors of gigantic paper Carp, in commemoration of the Boys' Festival, O Sekku, or Tango. The Koi is the symbol of the male child, an omen of luck, and on the festal day parents raise on a bamboo pole a large paper Carp of red, gray or blae, with glistening scales of silver, one Carp for each son ; the younger the son, the larger the fish. As the wind dis- tends the paper nobori, it vainly tries to free itself, thus inciting the child to an ambitious life that will be full of conquests as noble as that of the fabled Carp at the "Dragon Gate." Legends tell us that all fish try to reach this sacred gate by leaping the foaming cataract that intervenes. The Carp, by reason of his superior strength, alone succeeds in scaling the water- fall, and is caught up by a white cloud from heaven, and transform- ed into a dragon, living thereafter in the regions of happiness above. Thus the fable of the Carp teaches the Japanese lad that by means of perseverance, pluck and activity he may surmount all the difficulties of life. ^f'-) Sancoju. p.C' C n The precious coral, emblematic of rarity. CC. 27 URASHTMA. [The Japanese Rip Van Winkle.] You have but to hear the dreamy legend of Urashima Taro to know the reason for its inspiring power over the artists of Fair Japan. On one of the Dragon Isle's balmiest days, when soft spring breezes listlessly floated over land and sea, an humble fisher-lad, Urashima Taro by name, left his native shores of Suminoye in his primitive fisher's boat. Intent on luring with temptingly baited line some prize from the laughing waters, he drifted, ere he knew it, far out to sea. The day was nearly spent in fruitless toil when, lo ! he caught a tortoise. You must needs know, as did Urashima, that a tortoise is a sacred creature to the Dragon God of the Sea, destined to live a thousand years if its life be spared; thus it happened that the wise lad returned the tortoise to its watery home. The boat glided on, and on, as Urashima kept at his labor, but naught did he find. At last, lulled by the rippling water and fanned by the softest zephyrs, he fell a-dreaming. And then it was the fair Daughter of the Dragon appeared to him in the form of a iSeautiful maiden, radiant in the sunset glow with a glory that belongs only to those of the palace of the great sea-god. It seemed that the tortoise Urashima so thoughtfully released had been the dragon's daughter in disguise ; inspired by deepest gratitude, she had thus approached Urashima, to whom she said, "Come home with me, to my father's castle beyond the sea, and if you wish I'll be your flower-wife, for this day you spared my life." Then Urashima's heart was glad, for never had he seen so lovely a being, and he yielded to her winsomeness right willingly. So she called a great tortoise, which carried them to the Dragon's Palace in the Evergreen Land of perpetual sunshine and brightness, where they lived for centuries in joy and peace. But the memory of his boyhood's home came back to him o'er and o'er. Try as he would, he could not cast it from his mind, so one fair day he said to the dragon's daughter, "I would go to my father and mother, if but for a moment's time ; after one fond look on the dear ones, I will come again to thee and my Palace Beyond the Sea." The Princess was greatly saddened at the words of Urashima, but she granted his wish, first giving him a casket that would protect him from all harm, providing it was not opened. Then came the parting, and ere long he was on his way with a gladdened spirit and lightened heart, soon reaching his journey's end. Once in his native village, how- ever, he felt that some great change had come about ; his father's home was no more, the people whom he met were strange in features and in dress, even the fields once roved by his childish feet were gone — transformations great, indeed, since the day he had left it, but three short years before, as he believed ! None of the passers-by knew of his father or mother. In vain he asked for news of them, until at length he met an old, old man who said that when a boy he had heard his father tell how Urashima's parents had died of grief on learning that their loved and only son had been swallowed by the sea while fishing, just four hundred years before ! Then he knew he had been in a fairyland, living a charmed existence, with happi- ness and peace his daily portion. So he yearned long and deep to return to the Princess and his former life ; but he knew not how to reach the Palace of the Dragon King, for in the haste of departure he had failed to learn the means. He sought the coast and waited for the tortoise that had brought him, all in vain ; at last, in sheer despair, he thought of the box, the precious talisman the Princess had given him, and, forgetting her caution, loosed the silken cord that bound it, when out came a mons- trous cloud of the fleeciest white, the very elixir of life and everlasting youth. As it escaped, slowly mounting to the sky, Urashima was transformed into a withered, en- feebled man ; thus he fell lifeless to the earth — more than four hundred years of age. 28 / » *i-^^ I H-r RAIDEN. [The God of Thunder.] The fierce expression given Raiden, his two goat-like horns, and the semi-circular arrangement of the eight drums that surround him, present one of the most form- idable figures in mythology. Raiden is endowed with the power to produce thunder by strik- ing the drums with more or less vigor, hence the appellation the Japanese have given him, "The God of Thunder." Ikaki, or Anchor. The symbol of security and safety. 1 .-SA .#->'*?>, , UCHIWA, OR TOUCHIWA. A fan-like object, used by ancient chieftains as an emblem of authority. Said to insure the safety of those who bear it. 30 \/ v ^r^Hl'^A-. HASU. \/ [The Lotus.] The flower that blooms to live but a single day, so sensitive to Nature's breath, so timid with its exquisite fragrance, so immaculate in its purity — such is the beauteous Lotus of Japan. Though rising from a lowly bed of gruesome mud, the Lotus is untainted by the place that, gave it birth, and is associated with the Spirit Land by the Buddhistic Faith. One of the Buddhist writings thus speaks of its sacred emblem : " If thou be born in a poor man's hovel. But hast Wisdom, Then art thou like the Lotus llovver, Growing out of the mud." The people of Flowery Japan look upon the Lotus as emblematic of purity, symbolizing the heart that remains unspotted by worldly influences, rising far above the sor- didness of life. The glorified Buddha is almost always represented seated on an eight petalled Lotus, and those of his disciples who gain admission to heaven receive the gracious re- ward of perfect repose on a pedestal of Lotus Flowers. Although originally an importa- tion from India, the Lotus is thoroughly Japanese, the people having embodied it in their art and traditions with that fascinating touch of poetic imaginativeness peculiar to their race ; two of the names bestowed upon their Fusi- yama, "The Peak of the White Lotus," and the " Lotus Peak," offer picturesque similes too ob- vious to need comment. 3J d^l^^- h If I'B' '}&> 'U^r Amateeasu, the Sun Goddess. From a water color. Collection of Mr. Alexander F. Otto, AMATERASU- O-MI-KAMI. [The Sun Goddess.] The Heaven-Shining Amaterasu, ancestress by tradition of the Im- perial Family of Japan, constantly concerned herself with the welfare of mankind, sending sunshine to light the day and make the rice fields flourish. Yet with all her goodness and power, she unceas- ingly encountered the animosity and jealous anger of her brother Susa no-o, the God of Storms ; the more the good will and the higher the esteem of the people, the greater his fierce envy proved. When the rice fields were in the zenith of their glory, he would descend to earth with one of his terrific storms, destroying in moments what Amaterasu, with her warming rays, had spent months to accomp- lish. Finally, on one memorable oc- casion, the vindictive Susa-no-o dashed into the presence of Amaterasu and lier maidens as they were weaving, so frighten- ing and angering her that she re- tired to a cave, leaving the earth in total darkness, for without Amaterasu, tliere could be no sun, and without the sun there could be no day. The people wept and prayed, beseeching her to return, but without avail ; as a last re- sort they appealed to the gods for aid. 32 Touched by the supplications, \'ulcan, the Blacksmith God, re- sponded with his inventive genius, fashioning what tradition is pleased to call the first mirror, a huge disk of burnished metal, rivalling the sun itself in brightness This was taken by the gods, in company with Suzume, the Goddess of Mirth, to the cavern of Amaterasu, where Suzume gave her famous Kagura dance, causing great hilarity among the gods. Lured by feminine curi- osity as to the cause of such com- motion at her sacred door, she peered out, and on seeing Suzume, asked why she thus danced and sang. One of the gods made reply that they rejoiced in honor of a goddess more beautiful than she, and invited Amaterasu to come out and behold her On advanc- ing toward the mouth of the cave, she was confronted by the won- drous mirror and beheld therein a face of great beauty. Not know- ing it to be a reflection of herself, and wondering who her rival was, Amaterasu left her cavern refuge, when suddenly the God of Strong Hands, the Hercules of Japan, rolled an immense boulder before the entrance. This of course pre- vented her return, and gave the people their glad Sun once more, which brought joy to the land and life to the fields. Bronze Vase. Illustrating one of many adaptations of the Dragon in Japanese art ; notable for excellent workmanship and tooling. Collection of A. A. Vantine & Co. Shepherd's Wand, Symbol of Authority. Carved in Chinese Jade, on pedestal of teakwood. From collection of Mr. James I. Raymond. 33 HARA KIRI. [Seppuku, the Honorable Death.] One writer has very appropriately characterized this chivalrous and peculiarly Japanese observance as "A crimson thread running thro' the history of Japan." Until a generation ago, according to Mr. James L. Bowes' "Japanese Pottery," Hara Kiri was in general practice ; even now it is followed by those who adhere to the customs of old Japan, by whom it is regarded as an act as beautiful in execution as it is in theory. For more than six centuries the feudal classes resorted to this mode of self-despatch as an ideal way of avenging an insult, while others employed it when unwilling to survive some family disgrace, or as the surest way of winning posthumous fame. The paintings, and the decorations on the potteries anrl porcelains of Japan often picture famous Japanese generals and their followers in the act of committing Hara Kiri, artists undoubtedly receiving their inspiration from countless occurrences — recorded in Japanese history — where this " honorable and dignified " privilege was enjoyed. In one instance more than six thousand of the Hojo army committed Hara Kiri after defeat by the adherents of the Mikado during the wars of the fourteenth century, it being a common circumstance for the followers of a fallen leader to "despatch" themselves that they might die with their master. In another instance Masashige Kusunoki, Go-Daigo's faithful vassal, was finally defeated after a valorous career, and, feeling powerless to further aid his much loved master, he committed Hara Kiri, followed by one hundred and fift)^ of his retainers ; such patriotism and devotion to his emperor won for him the title of the "Mirror of Stainless Loyalty." Yet these are only fluttering leaves from volumes of annals where Hara Kiri has played its part. While somewhat suggestive of duelling, Seppuku differs from it in many essential ways — the Japanese, when insulted by one of equal rank, committed Hara Kiri, his aggressor subsequently doing likewise, rather than bear a stigma on his name. On receiving the insult, the injured person holds a conference with the members of his family, advising them of the affair Arrangements for the important ceremony are then made ; the unmarried w:\ - . - A MURASAKI SHIKIBU. [Japan's Most Distinguished Authoress.] If you were viewing the ancient temple of Ishiyama, very likely you would be shown the writing box and ink-stone of Japan's famous poetess, Murasaki Shikibu, whose masterpiece "The Genji Monogatari," is regarded as the greatest classic of its age. She is said to have composed her remarkable work in a single night, nearly a thousand years ago ; her light was that of the full moon, her resting place a balcony in mid-air, her inspiration, the lovely Biwa, the Lake of the Lute. As if to repay her in some slight way for so rich an endowment to their literature, the Japanese have immortalized Murasaki Shikibu in picture, verse and song. 35 i KIYOHIME. [The Personifu;ation of DiSAin'oiNTED Love.] Europe may boast of her passion plays, but Japan glories in the national Drama of No, one of her dearest possessions. The cliar- acters impersonated — gods, god- desses, warriors, priests, demons, national heroes — are drawn from legend and history, while the cos- tumes are more or less magnifi- cent, often costing fabulous sums. The carvings, lacquers, porce- lains and ceramics of Japan are rich with decorative treatments suggestive of this drama, but probably none holds a deeper interest for the devotee of mythol- ogy than those of Kiyohime, the Personification of Disappointed Love, a monstrosity with distorted features and dishevelled hair, tusks projecting from her mouth, horns from her head, and feet terminat- ing in claws Legend holds that this creature was once a beautiful maiden who served as a waitress at the inn Chojaya of Shirotaka, where she attracted the attentions of Anchin, a young Buddhist priest of the Temple Dojoji. Calling daily in quest of his tea, he became inter- ested in Kiyohime, and finally won her deepest affections, but as his vows prevented all thought of mar- riage, he took refuge in flight — loving the church more than the maid. Kiyohime, in the agony of her disappointment, fled to the mountains, where the violence of her passion robbed her of all beau- ty and transformed her into a han- niya, or female devil. Her love turned to hatred and an intense longing for vengeance led her to relentlessly pursue the luckless Anchin to the temple Dojoji of Kumano, At sight of her, and fear- ing the evil spirit that dominated her entire being, Anchin secreted himself beneath the great temple bell, but the dragon-like Kiynhime remained undaunted ; thrice wrap- ping herself around the bell, she struck it fiercely with a hammer which she bore, instantly changing it to molten metal, and reducing both the hapless lover and herself to a heap of cinders. ^iili^ H Different Representations OF the Character Jiu — Longevity. - l#«T^f4'»