(1902) Mythological Japan- Alexander F. Otto and Theodore S. Holbrook

7/31/2019 (1902) Mythological Japan- Alexander F. Otto and Theodore S. Holbrook

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Caligraphic Symbol ofLongevity.


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The Symbolisms of Mythologyin Relation to Japanese Art

With Illustrations, Drawn in Japan, by Native Artists

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BYAlexander F. OttoANDTheodore S. Holbrook

PHILADELPHIADrexel BiddlePUBLISHER


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mythological japanOR

The Symbolisms of Mythologyin Relation to Japanese Art

With Illustrations, Drawn in Japan, by Native Artists

BYAlexander F. OttoANDTheodore S. Holbrook

PHILADELPHIADrexel BiddlePUBLISHER


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COPYRIGHT, 1902.


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FOREWORD.Having sought throughout the East, and especially Japan,for types of Oriental religious art, I always enjoy seeing inmy mind's eye those mythological monuments which sooften charmed me when it was my privilege to dwellamong them. The authors having now shown meadvanced sheets of their deeply interesting work,' Mythological Japan," I am convinced that thosewho have not the leisure or convenience to visit thecharming country of the Mikados, are to be con-gratulated that in this exquisite work they may seethat fairyland as in a mirror. The faithful andartistic manner in which many of the picturesare rendered is an important feature in thisbeautiful book. .

MAXWELL SOMMERVILLE,Professor of Glyptology,

University of Pennsylvania.


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Bronze Lotus Leaf.Supported by two dragons.The lotus symbolizes purity,the dragon, power.From private collection.


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MOTIF.The instinctive desire to know the innermost meaning of things

has always been an important quality in the mind of man, aquality particularly worthy in connection with the interesting loreof the East, where myths have ever held a sacred place.From the first, the decoration of the ornamental wares of Dai

Nippon have represented all the symbols sacred to Orientals, thepurer porcelains often bearing the seal names of royalty. De-lightfully poetic representations of the thoughts and beliefs,events both mythical and real, Nature's foliage and flora, and agreat deal more that absorbs the Japanese mind, become willingcaptives in the hands of the clever artisans of Japan. Theunderlying motive in this inspired laborto do homage to theirbeloved mythologyis apparent in all their works.While collectors the world over revel in the magnificent color-

ings and forms of Japan's art objects, it is the mysterious and themythical in their composition that most charms and captivates.

It is, therefore, with the interpretation of mythology's symbol-isms employed in the beautifying of the ceramics, bronzes, carvedand lacquered woods of Japan that the present volume has to do.

If, by its aid, the ornamental wares with which our eyes havealready become familiar, and which have already been enjoyedand valued for their beauty of form and coloringif these beginto have a renewed and deeper significance, this glance at Mytho-logical Japan will surely not have been in vain.The authors' personal investigations have been ably supple-

mented by much interesting data furnished by the various workson Japanese arts and beliefs; acknowledgment is also dueMrs. Grant B. Schley, Baronne d' Alexandry d' Orengiani, Messrs.A. A. Vantine & Co., Professor Maxwell Sommerville, Mr. JamesI. Raymond, Mr. Rufus E. Moore, and others, through whoseeourtesy many interesting specimens have been loaned for repro-duction in the following pages. The Authors.


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The Index.TEXT.

Page.Amaterasu-o-mi-Kami (Sun

Goddess), 32-33Bamboo and Crane (Take-ni-Tsuru), 39Bamboo and Tiger (Take-ni-Tora), 42

Benzaiten, or Benten (Goddessof Grace and Beauty), . . 58

Bishamon (God of Glory) , . 60Carnation (Sekichiku), ... 20Carp (Koi) 27Cherry Tree (Sakura), ... 17Chrysanthemum (Kiku), . . 51Daikoku (God of Wealth), . . 57Daruma (a Buddhist Priest) . 50Dog Foo (Kara-Shishi), . . 47Dragon (Tatsu), .... 40-41Ebisu (God of Plenty), ... 56Foreword, 7Fudo (God of Punishment), . 26Fukurokujiu (God of GoodFortune and Wisdom), . . 59

Fusiyama, 13-14Futen (God of Winds), ... 48Hara Kiri (Seppuku), ... 34Hotei (Children's Patron

Saint), 62Jurojin (God of Longevity), . 61Kirin (Kilin), 44Kiyohime (Personification ofDisappointed Love), ... 37Kwannon (Goddess of Mercy), 49Lotus (Hasu), 31Makudsu Kozan (A Foremost

Potter), 15Mandarin Ducks (Oshidori), . 18Maple Tree and Stag (Momiji-

ni-Shika), 21

Moon and Cuckoo (Tsuki-niHototogis),

Motif,Murasaki Shikibu (A Distinguished Authoress), .

Orange (Tachibana), . . .Peach Tree and Oxen (Momo)Phoenix (Feng-hwang), . ,Pine Tree and Crane (Matsu

ni-Tsuru),Plum Tree and Nightingah

(Oumai-ni-UguiSu), .Raiden (God of Thunder),Ship of Good Fortune (TakaraBune)Suzume (Goddess of Mirth),Torii (Shinto Gateway), .Urashima (The Japanese RipVan Winkle), ....Willow Tree and Swallow

(Yanagi-ni-Tsubakuro), .Wistaria (Fuji), ....

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ILLUSTRATIONS.Amaterasu-o-mi-Kami, TheSun Goddess (Specimen), .Bamboo and Crane (Take-ni

Tsuru),Bamboo and Tiger (Take-niTora)

Benzaiten, or Benten (Goddessof Grace and Beauty),

Bishamon (God of Glory),Bronze Lotus Leaf and Dragons(Specimen), . . .Bronze Vase (Specimen)

Buddha (Specimen), .Carnation (Sekichiku),Carp (Koi), ....

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Cherry Tree (Sakura), ... 17Chrysanthemum (Kiku), . . 51Crystal Ball on Bronze Storks

(Specimen), 49Daikoku (God of Wealth), . . 57Daruma (a Buddhist Priest),

(Specimen), 50Dog Foo (Kara-Shishi), . . 47Dragon (Tatsu), 41Ebisu (God of Plenty), ... 56Fugen, an Incarnation of Bud-dha (Specimen) 63Fukurokujiu (God of GoodFortune and Wisdom), . . 59

Fudo (God of Punishment) . 26Fusiyama, 4Futen (God of Winds), ... 48Hotei (Children's Patron Saint), 62Hotei (Specimen), .... 18Ivory Tusks (Specimen), . . 24Jurojin (God of Longevity), . 61Kirin (Kilin), 44Kiyohime (Personification ofDisappointed Love), ... 36

Kozan Vase (Specimen), . . 15Kwannon, the Maternal (Speci-men), 63

Kwannon, the Goddess ofMercy (Specimen) 49Lotus (Hasu), 31Lotus, Stork and Tortoise

(Specimen) 5Mandarin Ducks (Oshidori), . 18Maple Tree and Stag (Momiji-

ni-Shika) 21Monju, an Incarnation of Bud-dha (Specimen), .... 12Moon and Cuckoo (Tsuki-ni-Hototogis) 16Murasaki Shikibu (a Distin-guished Authoress), . . . 35Orange (Tachibana) 46Peach Tree and Oxen (Momo), 52

Phoenix (Feng-hwang), ... 25Pine Tree and Crane (Matsu-

ni-Tsuru) 23Plum Tree and Nightingale(Oumaini-Uguisu), ... 45Raiden (God of Thunder), . 30Shepherd's Wand (Specimen), 33Ship of Good Fortune (TakaraBune) 55Suzume (Goddess of Mirth), . 43Temple Guardians (Speci-mens) 38Torii (Shinto Gateway), . . 53Urashima (the Japanese RipVan Winkle), 29Willow Tree and Swallow

(Yanagi-ni-Tsubakuro), . . 22Wistaria (Fuji), 19

SYMBOLS.3037432062

Ikari,Jiu,Ju-iKagi,KagiKakuremino, 61Kanebukuro, 24Kara-Shishi 53Kiku-no-mon 38Kotoji 38Longevity 3Manji, 50Mitsu-aoi, 16Mitsu-domoe 22Sangoju 27Sangoju 60Tsuchi, 59Tsuki-ni-Usagi 56Uchiwa, 30Yang and Yin 26Zeni 24


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Monju, an Incarnationof Buddha.

Seated on grotesque Hon.Emblematic of ecstatic wisdom.From a specimen in carved wood,lacquered in gold, two hundredand fifty years old.From the Buddhist Temple ofProf. Maxwell Sommerville,University of Pennsylvania.

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I FUSIYAMA. VFusiyama, 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 peoplewith whom it dwellsthat mysterious, impressive, snow-peaked " Queen ofMountains," to dream of which is an omen of good fortunesymbolizes to theJapanese, success in life and triumph over obstacles, whatever they may be.Artists and poets have drawn on noble Fuji for inspiration more than on anyother object in the Island Empire, with the single exception of Buddha ; myth-ology honors it with the recognition due its sublimity and magnificence ; thetraveler 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 Fraser's "Letters from Japan" gives Fuji one of the most ex-quisite settings ever bestowed on a gem of Naturea setting from which wehave gleaned, at times, in treating the present theme. The author speaks ofthis 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 herdeep hatred of the sex, thus keeping female pilgrims away. She is supposed tohave 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 quaintlegends hover over Fuji." one telling us in a fascinating way of Biwa, the Lakeof the Lute, the discovery of which was simultaneous with the creation ofFusiyama.From his Bridge of Heaven, the God Izanami created the " Islands of theDragon Fly," enriching them with verdure and foliage, while its water coursescame from the tears shed by Izanagi, the consort of Izanami, who sorrowedlong and deep at a rebuff from her lord. The land was a glorious one, and thepeople who came from the gods to dwell thereinwere indeed a happy people. But their halcyondays were destined to end : one night allNature rose suddenly in revolt, and an awfulquaking of the earth brought terror to the fairland. When morning came, blest with the sunof the Goddess Amaterasu, lo ! there lay a lute-

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FUSIYAMA.Continued.shaped lake in the midst of Omi, a gift of liquid beauty, all the morewondrous for its sudden advent and sparkling purity. Because ofthe resemblance of its outline to the musical instrument of theJapanese, it was called " Biwa, the Lake of the Lute," and ere long,it became a place musical with the notes of many thousand festaltimes.

If the people of Omi suffered terrors during that awful night, theywere 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, garbedin all its grandeur, a monument to the goodness of the gods, a symbolof enduring strength and power. The mountain received its nameFusiyama, and, as the years passed by, the people became accustomedto their new neighbor ; cosy hamlets and bustling villages soon nestledround it, the inhabitants dwelling in the "same fancied security asdid the Pompeiians at the foot of Vesuvius, before Nature, in one ofher angry moods, breathed fiery visitation over the city and itsinhabitants."

It was during the Hoyei reign, 1704-1710 A. D, that the seem-ingly peaceful Fuji began to give evidence of internal unrest, followedby an awful visitation that destroyed scores on scores of villages andthousands of their people.

But, notwithstanding the many painful memories of Fusiyama'sdisquiet and destructiveness, all seem to have been blotted out by themore potent power of its present glory, for in all Japanese literaturenothing but terms of endearment and adoration are to be found, suchas the "Beautiful Mountain," "Great Fusiyama," or "Queen ofMountains."

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MAKUDSU KOZAN.A Foremost Potter of Japan.

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A Kozan VaseIn porcelain, showing designof bamboo in cobalt blueon ground of white, the bamboosymbolizing rectitude and long life.A modern piece fromprivate collection.

Foremost among the more talented pottersof Japan, and esteemed above all others forhis wondrous creations that prove so in-structive from a mythological standpoint, isone Kozan Miyagawa.

This " potter of a thousand themes," as oneappreciative writer terms him, is a native ofMakudsu-ga-hara, which probably accountsfor the commercial name he assumed at theoutset of his career. He first came intoprominence in the early sixties, when hefounded 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 hisself-imposed mission, that even connoisseursfound it a task to distinguish between thegenuine crackle faience and decoration andthe Makudsu productions.

In common with other famous potters ofthe day, he did not sign his pieces, whichso increased the difficulty of distinguishingbetween his handiwork and that which hecopied, that many of the world's choicestcollections contained his specimenssome-times tea jars, sometimes tea bowls and korosduly classified as "Old Satsuma."But within the past twenty years, collectors

have become expert enough to discern theslightest variations, readily recognizing aKozan product on examination, though thisability is confined to the expert, amateurs stillexperiencing trouble in detecting points ofdifferentiation so beautiful and characteristicof 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 hiswondrous and original "shadow treatments "of Japan's flora, storks and dragons, whilehis monochrome, flambe, crackle and otherglazes instantly placed him on an enviablefooting with the workers in porcelain andfaience of the worldconspicuous evidence ofroyal appreciation being his official appoint-ment as " Potter to the Emperor."

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MlTSU-AOI.The crest of the renownedTokugawa family,representing three leavesof the kamo-aoi, or asarum.

TSUKI-NI-HOTOTOGIS.[The Moon and the Cuckoo.]Some of Japan's finest decorative

treatments show the Cuckoo flyingacross the face of the Moon.

In both China and Japan it issupposed that the Cuckoo's note islike the human voice ; when its cry" fujioki ! " is heard by the way-farer, he instantly thinks of hishome and dear ones, interpretingthe bird's call, " return," as a noteof warning that danger is in storefor him should he pursue hisjourney.

Tsuki-ni-Hototogis has anotherinteresting significancethat oftemporal advancement and honor,owing to its identity with thelegend of the archer Yorimasa,who was richly rewarded and hon-ored by his emperor for destroyinga fearful creaturepart monkey,tiger and dragon.


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SAKURA.[The Cherry Tree.]

The Japanese have long regardedtheir beloved Cherry as the symbolof patriotism. Happy, indeed, apeople with so delightful an incen-tive to loyalty as the unobtrusivelyfragrant, pink and rose-like blos-som of the Cherry tree ! Theirartists delight to show it with thepheasant, whose brilliant plumageharmonizes so faultlessly with theCherry bloom. In fact, all Japanunites in doing homage to this,its " King of Flowers," whereverthe magnificent groves of Cherrytrees are to be found ; for they arecultivated for their blossomingfeatures alone. The most famousCherry grove is Yoshina, with itsthousand or more trees, then comesthe garden of Ugeno, for threecenturies the pleasure ground ofthe people of Tokio, where theexquisite blossom-glow of whiteand pink recalls one of Nature'sloveliest sunsets. Tokio itself haswon renown as the " City of CherryBlossoms"; row after row of treeshave been planted with mathemat-ical precision, and their ladenboughs form an inspiring sight.When the breezes play wild havocwith the blossoms, and all the airis filled with fragrant petals, itseems as though glad Spring hadforgotten its mission and that Win-ter had bestowed, with prodigalhand, a storm of snow-flakes on theland.

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Hotki, the God of Good Things.With fan, the emblem of command.A specimen in pottery and porcelain,from collection ofMr. Theodore S. Holbrook.

OSHIDORI.[The Mandarin Ducks, or Beautiful Ducks.]

The quaint legend of the mating of these inseparable turtle doves ofJapan tells us that the drake could not find a suitable mate in his ownflock, so wandered to a far-away land where he encountered one of atotally different species, from which he chose his affinity. Thus artistsalways show the male and female "beautiful ducks" together, the symbolof 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, whilethe head is crowned with a magnificent topping. Aside from its indi-viduality in the matter of coloring, the position of the tail and wings givesit an unusually striking appearance.

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FUJI.[The Wistaria ]

If one could be transported tothe renowned Wistaria arbors ofKameido Temples, and there viewthe masses of delicate, purplishclusters of Wistaria, there wouldbe slight cause for wondermentthat this most impressive of Ori-ental flowers is emblematic of youthand Spring-time; forsurrounded onevery side by so gorgeous a displayof Nature's flora, thoughts of life'sglad morning with its buoyantlove and happiness come most tomind.When artists fondly couple thecuckoo with the Wistaria, it means

the approach of Summer, as fullbloom is reached in May ; the pur-ple Wistaria is often accompaniedby the pheasant, the purple blos-som being venerated more than thewhite, though both are conspicu-ous in Japanese decorative work.The flower is highly prized byall classes, and April and May in-

variably find the people in the gar-dens indulging in gay festivities,drinking rice wine and writingprettily phrased verses in the Wis-taria's honor, or in praise of Spring.The verses are attached to thebudding clusters, the character ofthe blossoms' development beingaccepted as portentous of goodor evil in their future married life:a beautiful and romantic custom,thoroughly typical of the quaintand fascinating folk-lore of Japan.

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Kagi, the Keys of the Godown.The emblem of wealth,the godown or warehouse beingthe repository of valuablepossessions.

SEKICHIKU.[The Carnation.]

The Carnation is " The LittleDarling" among the flora ofJapan ; wherever you see itsbeauty portrayed, in verse or inart, you may know 'tis expressiveof the most endearing sentiments.

It has the distinction to num-ber among " The Seven Plantsof Autumn," and, like the morn-ing glory, grows wild on grassymoors and in fertile valleys. TheGarden-of a-hundred-flowers, orthe Hiyak-kwa-yen, is one of thedelightful memories of the IslandEmpire by reason of its sevenautumnal plants, which by theway, are often associated withthe wild boar, horse and deerin Oriental decorations.

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MOMIJI-NI-SHIKA.[The Maple Tree and the

Stag.]The Maple typifies sentiment,

and the presentation of a branchof Autumn Maple implies thatone's affections have changed likethe leaves that Fall's relentlesswinds have blighted. The whitestag and the Maple in associationsignify longevity, while the spottedstag symbolizes gentleness.To appreciate the Japanese mo-

tive in bestowing a sentimentalsignificance on the Maple, oneshould gain some notion of thegorgeousness of its foliage.Few pens can adequately portray

it's beauty and amazing variety.As Nature's pigments graduallytinge the Maple's myriad leaves,all their perfect symmetry of formand faultless division of color im-press the beholder with unboundedadmiration. Imagine, if you will,more than three hundred distinctspecies of a single tree, and youhave a dim conception of theunnumbered beauties of Japan'sflower-hued emblem of sentiment.

Carvings, porcelains and lac-quers are enriched by its decora-tions, and artists often representthe falling leaf and running water,adhering with inimitable fidelityto every detail of coloring andform.

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MlTSO-DOMOE.The triple form of the source of lifeis but one of the symbolisms giventhis figure ; it is also therepresentation of fire, air and water,Nature's three great principles.It protects the household fromthe evils of fire, flood and theft,and will be found many times inJapanese decorative work, as well ason the mallet of Oaikoku.

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 ; thatthey understand its qualities isevinced by the symbolism theygive itconsiderateness and pa-tience, attributes well earned bythe Willow's gentle and yieldingnature, obedient to every breathof wind. A swallow perched onits swaying branches typifies graceand docility.


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MATSU-NI-TSURU.[The Pine Tree and the Crane.]

We wonder not that the appre-ciative Oriental lingers so lovinglyover the faithful and stately Pine ;he pictures it in verse and song andin works of art, knowing full wellthat it typifies stability of characterand eternity. Living for centur-ies, ever green and ever stable, theJapanese have thought it worthy asaying all its own :" Fu ro sen nen no aki."(It never fades even throughout a thou-sand Autumns.)

In a ballad, "The Spirit of thePine Tree," the Pine is pictured asemblematic of conjugal content-ment and absolute happiness,which only comes where mutualsympathy reigns.

It seems that long life and hap-piness is implied when this faithfultree is coupled with the bamboo,crane or tortoise ; particularly so,however, when in company withthe crane, a bird highly prized andvenerated by the Japanese becauseof its supposed longevity.As frequently as the crane

appears in art, it has never beenrepresented as inanimate, such atreatment being incongruous wherelongevity is implied.

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Yang and Yin.The white, femininethe black,masculine. Symbolizing the originof life on the earth.

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FUDO.[The God of Punishment.]

The sword and the coil of ropewhich the gigantic God of Punish-ment is bearing, is used to smiteand bind the guilty ; the brillianthalo of fire that surrounds hisfigure forms an appropriate setting,the flames suggesting the totaldestruction of the dross of man-kind's guilt.

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KOI.[The Carp.]

The Carp is essentially the myth-ological figure for perseverance.If you should chance to arrivein any one of the enchanting citiesof Japan on a certain Spring day,you would note everywhere over-head the bright colors of giganticpaper Carp, in commemoration ofthe Boys' Festival, O Sekku, orTango. The Koi is the symbol of themale child, an omen of luck, and onthe festal day parents raise on abamboo pole a large paper Carp ofred, gray or blue, with glisteningscales of silver, one Carp for eachson ; the younger the son, thelarger the fish. As the wind dis-tends the paper nobori, it vainlytries to free itself, thus inciting thechild to an ambitious life that willbe full of conquests as noble asthat of the fabled Carp at the" Dragon Gate." Legends tell usthat all fish try to reach thissacred gate by leaping the foamingcataract that intervenes. The Carp,by reason of his superior strength,alone succeeds in scaling the water-fall, and is caught up by a whitecloud from heaven, and transform-ed into a dragon, living thereafterin the regions of happiness above.Thus the fable of the Carp

teaches the Japanese lad that bymeans of perseverance, pluck andactivity he may surmount all thedifficulties of life.

Sangoju.The precious coral,emblematic of rarity.

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URASHTMA.[The Japanese Rip Van Winkle.]

You have but to hear the dreamy legend of Urashima Taro to know the reasonfor its inspiring power over the artists of Fair Japan.On one of the Dragon Isle's balmiest days, when soft spring breezes listlesslyfloated over land and sea, an humble fisher-lad, Urashima Taro by name, left hisnative shores of Suminoye in his primitive fisher's boat. Intent on luring withtemptingly baited line some prize from the laughing waters, he drifted, ere he knewit, far out to sea. The day was nearly spent in fruitless toil when, lo ! he caught atortoise. You must needs know, as did Urashima, that a tortoise is a sacred creatureto 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 hefind. At last, lulled by the rippling water and fanned by the softest zephyrs, he fella-dreaming. And then it was the fair Daughter of the Dragon appeared to him in theform of a beautiful maiden, radiant in the sunset glow with a glory that belongs onlyto those of the palace of the great sea-god.

It seemed that the tortoise Urashima so thoughtfully released had been thedragon's daughter in disguise ; inspired by deepest gratitude, she had thus approachedUrashima, to whom she said, "Come home with me, to my father's castle beyond thesea, and if you wish I'll be your flower-wife, for this day you spared my life." ThenUrashima's heart was glad, for never had he seen so lovely a being, and he yielded toher winsomeness right willingly.

So she called a great tortoise, which carried them to the Dragon's Palace in theEvergreen Land of perpetual sunshine and brightness, where they lived for centuriesin joy and peace.But the memory of his boyhood's home came back to him o'er and o'er. Try ashe would, he could not cast it from his mind, so one fair day he said to the dragon'sdaughter, " I would go to my father and mother, if but for a moment's time ; afterone fond look on the dear ones, I will come again to thee and my Palace Beyondthe Sea."The Princess was greatly saddened at the words of Urashima, but she grantedhis wish, first giving him a casket that would protect him from all harm, providingit was not opened.Then came the parting, and ere long he was on his way with a gladdened spiritand 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 onceroved by his childish feet were gonetransformations great, indeed, since the day hehad 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 newsof them, until at length he met an old, old man who said that when a boy he hadheard his father tell how Urashima's parents had died of grief on learning that theirloved and only son had been swallowed by the sea while fishing, just four hundredyears 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 thePrincess and his former life ; but he knew not how to reach the Palace of the DragonKing, for in the haste of departure he had failed to learn the means. He sought thecoast and waited for the tortoise that had brought him, all in vain ; at last, in sheerdespair, 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 itescaped, slowly mounting to the sky, Urashima was transformed into a withered, en-feebled man ; thus he fell lifeless to the earthmore than four hundred years of age.


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RAIDEN.[The God of Thunder.]

The fierce expression givenRaiden, his two goat-like horns,and the semi-circular arrangementof the eight drums that surroundhim, 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 lessvigor, hence the appellation theJapanese have given him, "TheGod of Thunder."

Iraki, or Anchor.The symbol ofsecurity and safety. JL

UCHIWA, OR TOUCHIWA.A fan-like object, used byancient chieftains as an emblemof authority. Said to insurethe safety of those who bear it.

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HASU.[The Lotus.]

The flower that blooms to livebut a single day, so sensitive toNature's breath, so timid with itsexquisite fragrance, so immaculatein its puritysuch is the beauteousLotus of Japan. Though risingfrom a lowly bed of gruesomemud, the Lotus is untainted by theplace that, gave it birth, and isassociated with the Spirit Land bythe Buddhistic Faith. One of theBuddhist writings thus speaks ofits sacred emblem :" If thou be born in a poor man's hovel,But hast Wisdom,Then art thou like the Lotus flower.Growing out of the mud."The people of Flowery Japan

look upon the Lotus as emblematicof purity, symbolizing the heartthat remains unspotted by worldlyinfluences, rising far above the sor-didness of life.The glorified Buddha is almost

always represented seated on aneight petalled Lotus, and those ofhis disciples who gain admissionto heaven receive the gracious re-ward of perfect repose on a pedestalof Lotus Flowers.Although originally an importa-

tion from India, the Lotus isthoroughly Japanese, the peoplehaving embodied it in their artand traditions with that fascinatingtouch of poetic imaginativenesspeculiar to their race ; two of thenames bestowed upon their Fusi-yama, ''The Peak of the WhiteLotus," and the " Lotus Peak,"offer picturesque similes too ob-vious to need comment.

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Touched by the supplications,Vulcan, the Blacksmith God, re-sponded with his inventive genius,fashioning what tradition is pleasedto call the first mirror, a huge diskof burnished metal, rivalling thesun itself in brightness. This wastaken by the gods, in companywith Suzume, the Goddess of Mirth,to the cavern of Amaterasu, whereSuzume gave her famous Kaguradance, causing great hilarity amongthe gods. Lured by feminine curi-osity as to the cause of such com-motion at her sacred door, shepeered out, and on seeing Suzume,asked why she thus danced andsang.One of the gods made reply

that they rejoiced in honor of agoddess more beautiful than she,and invited Amaterasu to comeout and behold her. On advanc-ing toward the mouth of the cave,she was confronted by the won-drous mirror and beheld thereina 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 StrongHands, the Hercules of Japan,rolled an immense boulder beforethe entrance. This of course pre-vented her return, and gave thepeople their glad Sun once more,which brought joy to the land andlife to the fields.

Bronze Vase.Illustrating one of many adaptationsof the Dragon in Japanese artnotable for excellent workmanshipand tooling.Collection of A. A. Vantine & Co.

Shepherd's Wand,Symbol of Authority.

Carved in Chinese Jade,on pedestal of teakwood.From collection ofMr. James I. Raymond.

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HARA KIRI.[Seppuku, the Honorable Death.]

One writer has very appropriately characterized this chivalrous and peculiarlyJapanese 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 tothe customs of old Japan, by whom it is regarded as an act as beautiful in executionas it is in theory. For more than six centuries the feudal classes resorted to thismode of self-despatch as an ideal way of avenging an insult, while others employed itwhen unwilling to survive some family disgrace, or as the surest way of winningposthumous fame.

The paintings, and the decorations on the potteries and porcelains of Japan oftenpicture famous Japanese generals and their followers in the act of committing HaraKiri, artists undoubtedly receiving their inspiration from countless occurrencesrecorded in Japanese historywhere this " honorable and dignified " privilege wasenjoyed. In one instance more than six thousand of the Hojo army committed HaraKiri after defeat by the adherents of the Mikado during the wars of the fourteenthcentury, 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 finallydefeated after a valorous career, and, feeling powerless to further aid his much lovedmaster, he committed Hara Kiri, followed by one hundred and fifty of his retainers ;such patriotism and devotion to his emperor won for him the title of the " Mirrorof Stainless Loyalty."

Yet these are only fluttering leaves from volumes of annals where Hara Kiri hasplayed its part.While somewhat suggestive of duelling, Seppuku differs from it in many essentialwaysthe Japanese, when insulted by one of equal rank, committed Hara Kiri, hisaggressor subsequently doing likewise, rather than bear a stigma on his name.

On receiving the insult, the injured person holds a conference with the membersof his family, advising them of the affair Arrangements for the important ceremonyare then made ; the unmarried women of the family weave the fibres of the lotusplant into a rope of sufficient length to surround the house, thus preventing evilspirits from entering and carrying away the soul of the departed. A suitable apart-ment is then secured, the master's sword and a spotlessly white cloth being placedon a mat-like platform.

The ceremony, a beautiful one in many ways, is opened by a priest who bears inhis hand a lotus flower, which he places on the sword. The master then ascends theplatform, followed by his eldest son, who carries with due reverence the small swordknown as wakazashi, with which the fatal act is performed. The priest then takesthe lotus from the master's sword and tears it to pieces, scattering the petals over thekneeling man, upon whom he bestows a blessing. At this, the master carefully nar-rates with all the poetry of his nature, the story of the insult, and as the addressdraws to a close he moves aside the Kamishimo, or ceremonial garment, arranging itsfolds for the final act. Unflinchingly he grasps in his left hand the wakazashi, andwith one deft movement tears open his abdomen from right to left, making a largeincision ; at the same moment his next of kin takes the sword from the platform, andwith one blow severs the master's head from the body.

Pursuant to custom, it now becomes the duty of the deceased's closest relative toinform the aggressor of the completion of the ceremony, through the medium of amissive enclosed in lotus leaves, on receipt of which the one addressed likewise per-forms Hara Kiri which terminates the family feud.

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I

MURASAKI SHIKIBU.[Japan's Most Distinguished Authoress.]

If you were viewing the ancient temple of Ishiyama, very likely you would beshown the writing box and ink-stone of Japan's famous poetess, Murasaki Shikibu,whose masterpiece "The Genji Monogatari," is regarded as the greatest classic ofits age. She is said to have composed her remarkable work in a single night, nearlya thousand years ago ; her light was that of the full moon, her resting place abalcony 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

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KIYOHIME.[The Personification of

Disappointed Love.]

Europe may boast of her passionplays, but Japan glories in thenational Drama of No, one of herdearest possessions. The char-acters impersonatedgods, god-desses, warriors, priests, demons,national heroesare drawn fromlegend 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 arerich with decorative treatmentssuggestive of this drama, butprobably none holds a deeperinterest for the devotee of mythol-ogy than those of Kiyohime, thePersonification of DisappointedLove, a monstrosity with distortedfeatures and dishevelled hair, tusksprojecting from her mouth, hornsfrom her head, and feet terminat-ing in claws.Legend holds that this creaturewas once a beautiful maiden whoserved as a waitress at the innChojaya of Shirotaka, where sheattracted the attentions of Anchin,a young Buddhist priest of theTemple Dojoji. Calling daily inquest of his tea, he became inter-ested in Kiyohime, and finally wonher deepest affections, but as hisvows prevented all thought of mar-riage, he took refuge in flightloving the church more than themaid. Kiyohime, in the agony ofher disappointment, fled to themountains, where the violence ofher passion robbed her of all beau-ty and transformed her into a han-niya, or female devil. Her loveturned to hatred and an intenselonging for vengeance led her torelentlessly pursue the lucklessAnchin to the temple Dojoji ofKumano. At sight of her, and fear-ing the evil spirit that dominatedher entire being, Anchin secretedhimself beneath the great templebell, but the dragon-like Kiyohimeremained undaunted ; thrice wrap-ping herself around the bell, shestruck it fiercely with a hammerwhich she bore, instantly changingit to molten metal, and reducingboth the hapless lover and herselfto a heap of cinders.

^lilfe

Different Representationsof the Character JiuLongevity.

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Guardians of The Temple.The figure at the left stands on an Oni, or demon.Both figures have a menacing attitude, to remind thosewho approach that the premises are sacred.From specimens in carved lacquered wood.From the Buddhist Temple of Prof. Maxwell Sommerville,University of Pennsylvania.

Kotoji.Emblematic of harmony.They form the bridges of the Koto,or Japanese harp, upon whichthe instrument's strings are stretched.

Kiku-no-mon.The Imperial crestof the chrysanthemum.


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TAKE-NI-TSURU.[The Bamboo and Crane.]

Could one conceive such ananomaly as the Land of the Drag-on Fly without its Bamboo ? Thenational tree of these fair isles, withhundreds of years as the length ofits days, the very warp and weftof the tradition of the people,precious to them from a poetic aswell as from a utilitarian stand-point, cannot be sundered evenin thought, from the land withwhich it has so long been identi-fied.Japan's decorators and illustrat-

ors have few dearer themes. Wefind them portraying the Bambooinnumerable times in companywith the Crane, symbolizing longlife, rectitude, fidelity and con-stancy.With the flying sparrows among

its branches, friendship is implied.There is a phrase often used in

association with the Bamboo:" Setsu ri ko setsu o miru "(When the snow falls, its virtue stands

aloft.)

implying that men of exalted char-acter rise above the vices of theage in which they exista beauti-ful symbol, worthy this faithfultree of rectitude and constancy.But art is not alone in its em-

ployment of the ubiquitous Bam-boo, which has, in very truth, amultitude of offices to performflag staffs, scaffolding, water pipes,vessels and boxes of every kind,lattices and even deadly spears aremade from it, while the earliestshoots are used as an article offood.Long life to the theme of theBamboo Tree !

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TATSU.[The Dragon.]

A fitting representation of power, symbolical of sovereignty, mysterious and om-nipotent in its influence on the lives of men, is Tatsu, the foremost creature of JapaneseMythology. Its name Riyo or Riu is from the Chinese, meaning all powerfulandsuch it surely is ; as one of the divinely constituted creatures, it has the faculty ofmaking itself visible or invisible ; of its own volition, it reduces itself to the size ofa silkworm or enlarges to such proportions that all heaven and earth is filled with itspresence.

Nor are the artistic and poetic conceptions of the Japanese narrowed down to asingle dragonthere are many of them. The Celestial Dragon guards and supportsthe mansions of the gods ; the Spiritual Dragon causes the rain to fall and winds toblow for humanity's welfare ; the Earth Dragon defines the courses of rivers andstreams ; the Dragon of Hidden Treasures watches over the hoards of wealth hiddenfrom mankind. All these various types are known by distinctive colors, with whichthe Oriental associates influences favorable or inimical to men. The white dragon'sbreath is believed to become gold, and the spittle of the violet dragon turns to crys-tal balls ; but those best known seem to be the white, green, yellow, violet, red andblack, and these appear innumerable times in the ornamentation of the porcelains,potteries, pictures, furniture and wood carvings of Japan and its temples.

Tatsu is often represented holding a jewel in the right fore claw, suggestive ofone of the many legends that enrich Japanese Mythology, and explaining thedragon's association with the crystal ball.

This legend, well worth recounting, runs as follows :

During the reign of the Empress Jingo, the most noteworthy of all the women ofJapan, ambassadors from an Emperor of China were sent to the Empress with threeof China's much-prized treasuresa bell of metal and one of wood, and a beautifulcrystal ball as clear as a drop of heaven-sent dew.

After a stormy voyage, they reached the Japanese coast, but alas, the crystalball, their most precious gift, was not to be found! Their grief was dreadfulindeed, being intensified by the mystery of the jewel's disappearance, as well as bythe chagrin the situation was sure to cause. Much consultation, however, led to theconclusion that the jewel had been charmed from them by the Daughter of the Dragon,who was unable to restrain her ardent desire to possess it. The chief minister ofthe Empress, mourning the loss of the precious crystal more deeply than the others,and feeling the disgrace that had fallen on the ambassadors, resolved to recover it atany cost.

In an effective disguise he strolled along the shore, and soon met one of the fisher-women of that locality. It was not long before he won her love and married her,shortly thereafter disclosing the burden of his heart, and begging her aid if shevalued their future happiness. He promised that if she recovered the crystal, shewould no longer be the poor and unknown ama, or fisherwoman, but a princess with


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a castle for a residence, nobility forher companions, and the graciousfavor of the Empress for herreward.The picture proved so winning a

one that her support was gained atonce, and preparations were begunfor the important quest. Her lifehad been spent by the sea, and shecould swim with the ease of a fish,and live under water as well as onland, so she agreed to dive to theDragon Palace and seek the lostcrystal.On the completion of all arrange-

ments, she bade her husband afond farewell, and grasping a sword,dived into the sea, soon reachingthe Dragon's Palace where shefound the wondrous ball. Startingto return, she saw that she had beendiscovered by the Dragon himself,who lost no time in calling to hisaid all the monsters of the sea ina vain attempt to capture her.Despite a desperate resistance, shesaw that it was but a question ofmoments when she would be over-come, and suddenly rememberingthat the Dragon and his fellowsdared not touch a lifeless creature,she thrust the sword into her bosom,placed the crystal in the opening,and signalled to her husband withthe cord provided for such use incase of danger. He quickly drewit in, when he beheld, to his con-sternation, the lifeless body of thefaithful ama bearing the covetedjewel in her bosom.Thus the crystal ball was re-

covered and borne to the Empresswho heard the tale as the legendgives it to us, and in token of herappreciation of so noble a sacri-fice, honored the memory of theonce humble ama with the nameof Tamatorihime, the Princess ofthe Recovered Jewel.


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TAKE-NI-TORA.[The Bamboo and the Tiger.]The crouching tiger in the bam-

boo thicket is by no means uncom-mon in the figurative art of Japan.One of India's ancient myths is thesource of the inspiration, and thesymbolic significance conveyed issafety from the fiercest dangers.When the tiger is hunted by theelephant, he seeks refuge in thebamboo jungle, knowing full wellthat the elephant cannot followthere.

Naturally, it is a subject of great-est interest, and the specimens onwhich it appears are held in highesteem.

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SUZUME.[The Goddess of Mirth and

the Spirit of Folly.]

This good natured being withher long black hair, dimpled cheeks,and thoroughly sensuous express-ion, is not uncommon in the artof Japan, appearing often on itspotteries and porcelains, its carvednetsuke, (girdle buttons) and inillustrated Japanese literature. Sheis the fabled goddess whose danc-ing before the "cave door ofheaven " helped arouse the curi-osity and secure the return ofthe Sun Goddess Amaterasu, whohad deprived the world of herwelcome presence.Suzume's fabled dance has been

retained to this day as a ShintoTemple ceremonial, for whichNikko and Nara are famous.

43Ju-I (Shepherd's Wand).

Symbol of the power of faith.


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Buddha.From an antique bronze.Private collection.

THE KIRIN.{From Kilin ; Ki the male, Lin the

female.}

If the fabled Pheasant is a prom-inent mythological subject, theKirin is no less so, being next inimportance to Tatsu, the Dragon,having the head and breast of adragon, a horn upon its forehead,the body of a deer, flame-likewings and tail, and the legs of ahorse It is a creature that mythol-ogy clothes with one of the mostbeautiful of Oriental figuresthatof absolute goodness. It is furtherregarded as the highest type ofanimal creation, said to live athousand years, symbolic alike ofbenevolence and of mercy, becauseof its supposed tenderness and carein not treading on the most abjectworm, or injuring the tiniest plant.

Its appearance on earth is re-garded as an omen of the birth ofthose who will become great andgood in the government of thepeople, and, like the Ho-Wo bird,it is conspicuous in Japanese artand literature.

Orientals have even gone so faras to make this fabled creaturethe incarnation of the five elementsearth, air, water, fire and etherof which all things are made : agenerous endowment, surely !

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1OUMAI-NI-UGUISU.

[The Plum Tree and theNightingale.]

When we remember that the ex-ceptionally early advent of theplum blossom, as flaky as snowdrops and quite as pure, means thefirst touch of Spring to the nature-loving Japanese, we wonder notthat the Plum Tree and Nightin-gale form a favorite theme for ar-tist and poet as the harbinger ofSpring and anticipated happiness.True, the early plum blooms lingerbut a brief while, falling long be-fore the tree begins to show a leaf ;but that one glimpse serves as aforetaste of balmier days and themany blessings of Japan's lovedgoddess, Amaterasu.We are told that the Plum Treewas borrowed by the Japanesefrom China, where it was originallyvalued for its fruit alone, but thepurity and beauty of its flowerultimately won for it an honoredplace in tradition and art. Un-numbered allusions are made tothe Plum Tree by the saints andmoralists in Japanese legends, andit has come to possess an almostsacred significance.The blossom itself, often called"the elder brother of the hundredflowers," being the year's earliestbloom, has a peculiarly fresh anddelicate fragrance which becomesalmost overpoweringly heavy ifconfined to an apartment. Thesnow-blossom is not the only onethat gladdens the Japanese heartthere are lovely double white ones,and those of pink and crimson hue,all beautiful, all finding a place inthe art and verse of fair Nippon.A combination of the plum blos-som, evergreen pine and bamboo,known as Sho-chiku-bai, signifiesenduring happiness and long life,an emblem frequently in evidenceat wedding and anniversary fetes." O'er wooded landscape, shrouding all

In one soft cloud of misty white.T'were vain almost to hope to traceThe plum trees in their lovely bloom."

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TACHIBANA.[The Orange. J

Few things more effectually re-call the past, with its joys or sor-rowings, than the distinctive odorof some one of Nature's flora.To the poetic Japanese, the

Orange in company with theCuckoo, symbolizes that whichhas gone before, the fragrance ofOrange blossoms mingled with theCuckoo's notes being subtle re-minders of former days.


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KARA-SHISHI.[The Dog Foo, or Chinese Lion.]

Although one of the most ancient of mythological creatures, the sig-nificance of the Kara-Shishi seems to be unknown to the Japanese of to-day. Many authorities regard the Dog Foo as the Japanese conception ofthe Chinese lion, its head, mane and claws suggesting the king of beasts.

At all events, it is generally known as the Kara-Shishi, or Shishi Dogin the literature and art of Japan, though some writers allude to it as theWatch-dog of the Empire.

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FUTEN.[The God of the Winds.]

Not only the awful storms ofwinter, but the gentle zephyrs ofSpring are said to come fromFuten's capacious bag, accordingto his caprice. His stern and grimvisage makes him a formidablebeingand such he is, whetherportrayed in daintiest embroideryor on massive bronze.

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KWANNON.[The Goddess of Mercy.]

The deity known as Kwannon,sometimes represented as a male,though more often as a female, isthe personification, both in Chinaand Japan, of Mother Nature, orthe Beginning, being variouslyknown as the Downlooking Sover-eign, the Eleven Faced Kwannon,and the Thousand Handed God-dessin the latter conception hermany hands are extended in theact of granting bounties to allsupplicants, while her sweet andgentle features betray great affec-tion for mankind. Of course sheis beloved by all ; thousands ofher shrines may be found in Japanalone, the most famous being thatof Asakusa Temple, which is dailybesieged by throngs of her adher-ents. The shrine at KiomidzuTemple figures next in prominence,owing, no doubt, to its historic andlegendary associations. Collectionsthe world over are enriched withinteresting specimens of this deity;the Kwannon and Child, repro-duced on page 63 of the presentvolume, being an exceptionally rareconception.

Kwannon.A Japanese carving in ivory.From collection ofBaronne d'Alexandry d'Orengiani.

Crystal Ball on Bronze Storks., The crystal ball, which is absolutely

flawless, is the emblem of purity.When accompanied by the storks,it has the two-fold significanceof long life and purity.From the collection ofMr. James I. Raymond.

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Daruma.From a famous pottery.Collection of Mrs. Grant B. Schley.

DARUMA.[A Buddhist Priest.]

Daruma, the Buddhist priestsaid to have sailed from Korea ona rush leaf, is almost invariablyrepresented in a sitting posture,wrapped in a large red cloak.Owing to his extreme piousness,Daruma is supposed to have beenseated in prayer and devout medi-tation for nine successive years,during which time his limbs with-ered away ; on completing his longperiod of devotion he found thathe could no longer stand, whichaccounts for the characteristic posegiven him in decorative work. Therepresentations of Daruma are notby any means confined to works ofart, but often appear in the formof toys and novelties, much to thedelight of the youngsters of Japan.

ULManji (Svastika).

The Buddhist cross of India.Symbolizing life, the four elements,and eternity. Used as a charm itassures good luck and exemptionfrom evil. Traced to the 13th Cen-tury, B. C, and in evidence inthe art of Greece, ancient Europe,English heraldry, Chinese and Indianornamentation and symbolism.

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Daruma.From a famous pottery.Collection of Mrs. Grant B. Schley.

Ma

irom evil. . _tury, B. C, and in evidence inthe art of Greece, ancient Europe,English heraldry, Chinese and Indianornamentation and symbolism.

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KIKU.[The Chrysanthemum.]

If it be an honor to merit thefavor of royalty, then the nobleChrysanthemum is indeed satiatedwith honorfor is it not the em-peror's flower, preferred above allothers? Symbolizing a gentle dis-position, happiness, virtue and re-pose, and associated with longevitybecause of the extraordinary lifeof its bloom, it is naturally held inhigh esteem by all classes, particu-larly as the sixteen petalled varietyforms the imperial crest of Japan.We of the West can hardly con-ceive of what it means to assidu-ously cultivate over eight hundredvarieties of a single flower, show-ing some two hundred and sixty-nine shades of coloryet that iswhat Japanese floriculture has ac-complished with the regal Chrys-anthemum.Dango-zaka, quite near Tokio,

is known farand wide for its Chrys-anthemum gardens, containingcountless groups of mythologicalfigures, realistic representations ofwoven tapestries, and historicscenes, made entirely from livingChrysanthemums. Beautiful as arethe Chrysanthemums of Dango-zaka, those of Aoyama Palace, atone time the emperor's residencejexcel them in variety and pre-tentiousness. The emperor's birth-day is celebrated among Aoyama'sregal blooms, a fitting place forroyalty, where every shade of rose,crimson, yellow, pale lilac andpurple, vie with one another inhonoring their ruler. This joyousgala time is known as the Festivalof Kiku, and one of its customs isthat of placing Chrysanthemumpetals in the cups during the winedrinking, insuring long life andhappiness.According to one of the mythical

tales of the Japanese Chrysanthe-mum, there is a hill far away inKai, known as the ChrysanthemumMount, which overhangs # river ofcrystal clarity. Those who drinkfrom the waters of this stream afterthe Chrysanthemum petals havefallen in it, receive the boon oflong life ; hence the theme of manyan artistic scheme showing Chrys-anthemums floating in runningwater.

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MOMO.[The Peach Tree and Oxen.]The Peach originally, came from

China, and we are told that it sym-bolizes both longevity and mar-riage. A certain philosopherknown as Seiobo, is credited withhaving been blest with long life oneating the fruit ; while Japaneseverse, in its own delightful way,frequently alludes to the Peachas a symbol of marriage.A familiar conception of the

artist is that of Oxen in an orchardof Peach trees, an idea having forits origin a familiar occurrence inChinese history, where the EmperorBu, with a desire to inculcate a loveof peace instead of war, disbandedhis armies at the advice of hisminister Taikobo, allowing hishorses to wander at will over themountains, while his oxen weresent into the Peach orchard ofTorim.

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THE TORII.[Shinto Gateway.]

The whispering voices of tradi-tionhow we treasure themtellus that the Torii, the stately, wellpoised gateway of Shinto faith,has an office that lifts it far abovethe commonplace. The Sun atdivers times and places, comesdown to earth in the form of thegreat and wondrous Ho-Wo Bird,or Heavenly Phoenix, using forits perch one of the many ToriiGates, which the good people ofJapan have built and placedthroughout the land for that mostexalted purpose.The traveller may still see the

Torii at the entrance to the Shintotemple grounds, where it appearsas the signification of the truegateway to a life of grace ; in art,it is used innumerable times in thedecoration of Japan's fairest orna-ments.

Kara-Shishi.The Chinese lion sportingwith the sacred crystalball ; frequently employedin Oriental art.

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TAKARA BUNE.I The Ship of Good Fortune.]

This vessel, with itssacred cargo of the Seven

Gods of Fortune, may be seen floatinggracefully on the surface of many a beautiful

vase, or woven in rich-hued threads on the quaint squares ofsatin known as " fukusa " in Japan. It is a precious emblemto the Orientalto portray the Takara Bune means to sym-bolize wisdom, happiness, long life and good fortune, wealthvery properly coming last, inasmuch as wisdom and happinessare there.It matters not how humble or pretentious the home maybe, you will rarely find it without one or more of the Seven

Household Gods, lodged in the tokonoma, where things of thisnature are placed. The poorer classes have these gods inpottery and wood, while the more affluent show reproduc-tions in gold, lacquer, and fine bronzes inlaid with gold andset with precious stones. Notwithstanding the high esteemin which these gods of the household are held, they are notworshipped by the people, but are regarded with feelings ofreverence and honor, much the same as we look upon ourSanta Claus and Saint Valentine the former, the patronsaint of the little ones ; the latter, the adored of love-lornyouths and maidens.

In Japan the children look to Hotei, their Kris Kringle,for playthings most desired ; the warrior calls on Bisha-mon, the God of Glory, for a victorious campaign ; Ben-zaiten is besought of women who would be faithful andfruitful ; the student turns to Jurojin and Fukurokujiu forwisdom and many years ; the famished and needy suppli-cate Daikoku for rice, and Ebisu for fish.The attributes of these seven beings, or Shichi Fuku-

jin, are individually described on thefollowing pages.

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EBISU.[The God of Plenty, and

Daily Food.]

Although Ebisu was disgracedand banished to a desolate anduninhabited island, he is the mostpopular of all the household gods,besought by all who hunger andare in need. He is said to havelived under water for days at atime, and artists picture him bear-ing a fishing rod and a largebasket filled with Japan's favoritesea food, the red skinned tai.

TSUKI-NI-USAGI.The Rabbit is supposed to dwellin the moon, engaged incompounding the Elixir of Life.

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DAIKOKU.[The God of Wealth.]This stalwart being may be

identified either by his bales ofrice or his capacious treasure bag.Many suppose that the hammer inDaikoku's uplifted hand is filledwith treasures for his supplicants,while others believe that wealthand happiness come only to thosewho wield it with care and dili-gence.Daikoku is pictured here as shak-

ing coins from his magic hammer,while the child at his feet is tryingto catch them, illustrating thegenerosity of the god in his dis-tribution of wealth and bounty.With the Japanese, rice is almost

always representative of wealth,and the rat that is often shown nib-bling at the rice bags of Daikokuis very appropriately introducedas wealth's destroyer.

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BENZAITEN orBENTEN.

[The Goddess of Grace andBeauty.]

Benzaiten or Benten, one of theSeven Deities of Fortune, and theaccepted type of ideal womanhood,is perhaps more familiarly knownas the Tutelary Genius of Enoshi-ma.

Artists portray this honored god-dess with a dragon or a serpent asher steed ; she is either playing abiwa, the lute-like musical instru-ment of Japan, or carrying a keyin one hand and a priceless jewelin the other.Most of the shrines of Benten

are to be found on islands,Enoshima (the Island of the Tor-toise) having the principal one.Legends hold that like snow-cap-ped Fuji, this beautiful island ofshells, tea houses and shadedwalks was given birth in a singlenight.However that may be, there is

hardly an atom of its enchantedsurface or mysterious depths thatis not sacred to Japan's belovedBenten Sama, to whom Enoshimawas consecrated long years ago.

Benten's most important shrineon the island was installed in adeep cavern with an opening to thesea. During the stormy season,this awe-inspiring place is closedby Nature's seething waters, whichhide the entrance ; even in calmerweather, when the tide is low. thepilgrim may enter Benten's cavernonly after hazardous climbingalong a precipitous ledge of rocksbut 'tis labor well spent, for won-drous indeed are the beauties ofNature which the Goddess ofGrace so jealously guards in hercavernous home by the sea.

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Tsuchi.The hammer of Daikoku, theGod of Wealth.

FUKUROKUJIU.[The God of Good Fortune

and Wisdom.]

The name of this being, pro-nounced Fu-ku-ro ku-jiu, has an in-teresting significancefuku, mean-ing luck and happiness, roku,wealth and prosperity, and jiu,longevity. Art presents Fukuro-kujiu as a man of many years,supported by a staff and accom-panied by a crane ; his fan is thesymbol of power, while his maki-mona, the most ancient form ofbook, is the accepted type of wis-dom ; his abnormally long head issupposed to be the result of pa-tient, untiring study. A Japaneseriddle refers to this peculiarity inasking " Which is the longerthehead of Fukurokujiu, or a Springday?" The wise reply is, " No onecan tell, both are so long !"

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Sangoju, the Precious Coral.The emblem of rarity.

BISHAMON.[The God of Glory.]

The stern Bishamon, with his un-mistakable military bearing, is oneof the Seven Gods of Fortune.The impersonation of war, he is

usually portrayed as a warriorclad in armor, with a spear in hisright hand and a pagoda in hisleftthe pagoda symbolizingpower.

Benten is beloved of women,Hotei of the children, and Bishamonis none the less dear to the soldierof Japana never failing source ofinspiration and hope.

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JUROJIN.[The God of Longevity.]

The serene and venerable Juro-with his snow-white beard,

cap and sturdy staff, seem-holds a much favored place

the artists of Japan, for hemany times on their ob-

of art as the signification oflife He is occasionally shown

company with the stag, andwith the tortoise or the

all three the emblems of

KakureminoA rain-coat, symbolizing comfortand protection. The wearer of thiscoat is supposed to be madeinvisible to surrounding dangers,hence its significationof protection.

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Kagi.One of the Keys of the Godown,symbolizing wealth.

HOTEL[The Children's Patron Saint.]

Hotei personifies the contentedspirit in the midst of adverse cir-cumstances. Jovial in the extreme,of goodly, rotund proportions, heis pictured as bearing with char-acteristic good grace, a bag of toysfor children to whom he is a typi-cal Kris Kringle. Another favoritestudy represents him with his bagover his shoulder, and childrenclamoring round and about him.

Credited with leading a roving,Bohemian life, " a dreamy, yawn-ing, obese vagabond of the Diogenespattern, minus his shorn philos-ophy," Hotei even vies with Buddhain his popularity with the artistsof fair Japan. During the past fiveyears the present writers have ob-served, by actual count, over seventhousand different conceptions ofHotei. Some are carved on netsukeof wood and ivory, others in the dec-orations of porcelains and bronzes-,in fact, every form of ornamenta-tion known to the Japanese showsrepresentations of this favoritegod of the youth of Nippon.

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KwANNON. THE MATERNAL.The Eighth Form, holding a child-rarely met with in Japan.From a wood carving in thecollection of Mr. Rufus E. Moore.

Fugkn, an Incarnationof Buddha.

Seated on the sacred white elephant.Emblematic of Meditation.From the Buddhist Temple ofProf. Maxwell Sommerville,University of Pennsylvania.

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Documents

(1902) Mythological Japan- Alexander F. Otto and Theodore S. Holbrook