. International studio . ancy de couleur jusqu'ici connu. Tout au long du XVIIIe et du XIXe siècles, l'académie de Kano resta l'école aristocratique au tribunal de Shoguns, avec Tanyu. Le dernier grand maître, en tant que son chef. Mais il y a eu plusieurs nouveaux développements dans l'art japonais natif. Une autre école aristocratique plus typiquement japonaise, Celui de Korin, centré sur la cour du Mikado, bien que tout aussi important, parmi les classes inférieures, entièrement nouvelles et différentes écoles d'art survenaient.les t imes étaient en train de changer. Les gens commenceraient à avoir une voix. L'école de Korin

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. International studio . ancy of colour hithertounknown. All through the eighteenth and earlynineteenth centuries the Kano academy remainedthe aristocratic school at the Shoguns court, with Tanyu. the last great master, as its leader.But there came several new developments inthe native Japanese art. Another aristocraticschool more characteristically Japanese, that ofKorin, centered about the court of the Mikado, while equally important, among the lower classes, entirely new and different schools of art arose.The t imes were changing. The people were begin-ning to have a voice. The school of Korin, whose great master wasKoyetsu, flourished during the seventeenthcentury, and united the splendor of gold leaf, colour and noble design, of Kano Yeitoku, withthe more national spirit of the older Tosa painters.The whole combined to form the most sumptuous, most purely decorative art the East has everknown. Line was subordinated. Flat masses ofcolour, sometimes glowing and sometimes som- Religion and Nature in Oriental Art. PART OF A SCROLL PAINTING AFTER SESSHU. KANO SCHOOL berly revealing themselves in rare gleams, lent arefinement to screens which might otherwise havedegenerated into the merely gorgeous. Gold wasused lavishly, in the delicate veining of a leaf aswell as in great solid bands forming the back-grounds. It was an art which utilized as neverbefore the decorative values of masses of flowers.Yet it was like nothing in nature. It was, rather, a new convention, a realization of the pure beautyof colour, bold and yet refined, and of a composi-tion in which decorative, rather than pictorial, values were emphasized. Meanwhile the populace was becoming in-terested in art, heretofore a prerogative of thenobility. Among the artificers and tradesmen of thetwo capitals, Kioto and Yedo (Tokio), there arosepopular bourgeois schools, of which the best knownare the Shijo and Ukio-ye. Despised by the aris-tocracy, these won immediate favour with thepeople. Under Okio and his many fol

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