the colour of life(生命之色)-第12节
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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 we； unlike those Orientals； are a destructive people； paper with us
means short life； quick abolition； transformation； re…appearance； a very
circulation of life。 This is our present way of surviving ourselves … the
new version of that feat of life。 Time was when to survive yourself
meant to secure； for a time indefinitely longer than the life of man； such
dull form as you had given to your work； to intrude upon posterity。 To
survive yourself； to…day； is to let your work go into daily oblivion。
Now； though the Japanese are not a destructive people； their paper
does not last for ever； and that material has clearly suggested to them a
different condition of ornament from that with which they adorned old
lacquer； fine ivory； or other perdurable things。 For the transitory material
they keep the more purely pictorial art of landscape。 What of Japanese
landscape？ Assuredly it is too far reduced to a monotonous convention
to merit the serious study of races that have produced Cotman and Corot。
Japanese landscape… drawing reduces things seen to such fewness as must
have made the art insuperably tedious to any people less fresh…spirited and
more inclined to take themselves seriously than these Orientals。 A
preoccupied people would never endure it。 But a little closer attention
from the Occidental student might find for their evasive attitude towards
landscape … it is an attitude almost traitorously evasive … a more significant
reason。 It is that the distances； the greatness； the winds and the waves of
the world； coloured plains； and the flight of a sky； are all certainly alien to
the perceptions of a people intent upon little deformities。 Does it seem
harsh to define by that phrase the curious Japanese search for accidents？
Upon such search these people are avowedly intent； even though they
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show themselves capable of exquisite appreciation of the form of a normal
bird and of the habit of growth of a normal flower。 They are not in
search of the perpetual slight novelty which was Aristotle's ideal of the
language poetic （〃a little wildly； or with the flower of the mind；〃 says
Emerson of the way of a poet's speech） … and such novelty it is； like the
frequent pulse of the pinion； that keeps verse upon the wing； no； what the
Japanese are intent upon is perpetual slight disorder。 In Japan the man in
the fields has eyes less for the sky and the crescent moon than for some
stone in the path； of which the asymmetry strikes his curious sense of
pleasure in fortunate accident of form。 For love of a little grotesque
strangeness he will load himself with the stone and carry it home to his
garden。 The art of such a people is not liberal art； not the art of peace；
and not the art of humanity。 Look at the curls and curves whereby this
people conventionally signify wave or cloud。 All these curls have an
attitude which is like that of a figure slightly malformed； and not like that
of a human body that is perfect； dominant； and if bent； bent at no lowly or
niggling labour。 Why these curves should be so charming it would be hard
to say； they have an exquisite prankishness of variety； the place where the
upward or downward scrolls curl off from the main wave is delicately
unexpected every time； and … especially in gold embroideries … is
sensitively fit for the material； catc
