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On the Laws of Japanese Painting by Henry P. Bowie : (full image Illustrated)
On the Laws of Japanese Painting
An Introduction to the study of the Art of Japan
Henry P. Bowie
Paul Elder and Company Publishers 1911
Contents
Introduction by Iwaya Sazanami
Introduction by Hirai Kinza
Preface
CHAPTER 1. PERSONAL EXPERIENCES
CHAPTER 2. ART IN JAPAN
CHAPTER 3. LAWS FOR THE USE OF BRUSH AND MATERIALS
CHAPTER 4. LAWS GOVERNING THE CONCEPTION AND EXECUTION OF A PAINTING
CHAPTER 5. CANONS OF THE AESTHETICS OF JAPANESE PAINTING
CHAPTER 6. SUBJECTS FOR JAPANESE PAINTING
CHAPTER 7. SIGNATURES AND SEALS
EXPLANATION OF HEAD-BANDS
PLATES EXPLANATORY OF THE FOREGOING TEXT ON THE LAWS OF JAPANESE PAINTING
Footnotes
Illustrations
Fujiyama, by Murata Tanryu. Plate I.
The Tea Ceremony, by Miss Uyemura Shoen. Plate II.
Chickens in Spring, by Mori Tessan. Plate III.
Snow Scene in Kaga, by Kubota Beisen. Plate IV.
Tree Squirrel, by Mochizuki Kimpo. Plate V.
Tiger, by Kishi Chikudo. Plate VI.
Bamboo, Sparrow and Rain. Plate VII.
Fujiyama from Tago no Ura, by Yamamoto Baietsu. Plate VIII.
Most Careful Method of Laying on Color. Plate VIIII.
The Next Best Method. Plate X.
The Light Water-Color Method. Plate XI.
Color With Outlines Suppressed. Plate XII.
Color Over Lines. Plate XIII.
Light Reddish-Brown Method. Plate XIV.
The White Pattern. Plate XV.
The Black or Sumi Method. Plate XVI.
The Rule of Proportion in Landscapes. Plate XVII.
Heaven, Earth, Man. Plate XVIII.
Pine Tree Branches. Plate XIX.
Winding Streams. Plate XX.
A Tree and Its Parts. Plate XXI.
Bird and Its Subdivisions. Plate XXII.
Peeled Hemp-Bark Method for Rocks and Ledges (a) The Axe strokes (b). Plate XXIII.
Lines or Veins of Lotus Leaf (a). Alum Crystals (b). Plate XXIV.
Loose Rice Leaves (a). Withered Kindling Twigs (b). Plate XXV.
Scattered Hemp Leaves (a). Wrinkles on the Cow's Neck (b). Plate XXVI.
The Circle (1). Semi-Circle (2). Fish Scales (3). Moving Fish Scales (4). Plate XXVII.
Theory of Tree Growth (1). Practical Application (2). Grass Growth in Theory (3). In Practice (4). Plate XXVIII.
Skeleton of a Forest Tree (1) Same Developed (2). Tree Completed in structure (3). Plate XXIX.
Perpendicular Lines for Rocks (1). Horizontal Lines for Rocks (2). Rock Construction as Practiced in Art (3 and 4). Plate XXX.
Different Ways of Painting Rocks and Ledges. Plate XXXI.
Wistaria Dot (a). Chrysanthemum Dot (b). Plate XXXII.
Wheel-Spoke Dot (a). Kai Ji Dot (b). Plate XXXIII.
Pepper-Seed Dot (a). Mouse-Footprint Dot (b). Plate XXXIV.
Serrated Dot (a). Ichi Ji dot (b). Plate XXXV.
Heart Dot (a). Hitsu Ji Dot (b). Plate XXXVI.
Rice Dot (a). Haku Yo Dot (b). Plate XXXVII.
Waves (a). Different Kinds of Moving Waters (b). Plate XXXVIII.
Sea Waves (a). Brook Waves (b). Plate XXXIX.
Storm Waves. Plate XL.
Silk-Thread Line (upper). Koto string Line (lower). Plate XLI.
Clouds, Water Lines (upper). Iron-Wire Line (lower). Plate XLII.
Nail-Head, Rat-Tail Line (upper). Tsubone Line (lower). Plate XLIII.
Willow-Leaf Line (upper). Angle-Worm Line (lower). Plate XLIV.
Rusty-Nail and Old-Post Line (upper). Date-Seed Line (lower). Plate XLV.
Broken-Reed Line (upper). Gnarled-Knot Line (lower). Plate XLVI.
Whirling-Water Line (upper). Suppression Line (lower). Plate XLVII.
Dry-Twig Line (upper). Orchid-Leaf Line (lower). Plate XLVIII.
Bamboo-Leaf Line (upper). Mixed style (lower). Plate XLIX.
The Plum Tree and Blossom. Plate L.
The Chrysanthemum Flower and Leaves. Plate LI.
The Orchid Plant and Flower. Plate LII.
The Bamboo Plant and Leaves. Plate LIII.
Sunrise Over the Ocean (1). Horai San (2). Sun, storks and Tortoise (3, 4, 5). Plate LIV.
Fuku Roku Ju (1). The Pine Tree (2). Bamboo and Plum (3). Kado Matsu and Shimenawa (4). Rice Cakes (5). Plate LV.
Sun and Waves (1). Rice Grains(2). Cotton Plant (3). Battledoor (4). Treasure Ship (5). Plate LVI.
Chickens and the Plum Tree (1). Plum and Song Bird (2). Last of the Snow (3).
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