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JAPAN, fifty years ago, had not emerged from a social state which recalls that of the Middle Ages. The Daimyos divided up the empire into a few great hereditary fiefs. Between them and the peasants was a warrior caste, the Samurai, and a priestly caste, the Buddhist monks. Above was the Emperor, whom no one perceived, the mysterious intermediary between Heaven and men—and the Shogun, the real chief of the political and military organization, having powers of life and death. To bind the whole fabric together was the steady aim of the Japanese. Here, then, is our mediaeval society in its entirety—less sincere and better policed.
JAPAN, fifty years ago, had not emerged from a social state which recalls that of the Middle Ages. The Daimyos divided up the empire into a few great hereditary fiefs. Between them and the peasants was a warrior caste, the Samurai, and a priestly caste, the Buddhist monks. Above was the Emperor, whom no one perceived, the mysterious intermediary between Heaven and men—and the Shogun, the real chief of the political and military organization, having powers of life and death. To bind the whole fabric together was the steady aim of the Japanese. Here, then, is our mediaeval society in its entirety—less sincere and better policed.
[It is
this mediaeval character, retained by social and political Japan until the end
of the nineteenth century, which decided me to place this entire chapter, as
also all the others treating of the non-European arts, in the volume devoted to
the Middle Ages, which should be looked upon as a state of mind rather than as
a historical period. It is to be observed, however, that Japanese individualism
tends, from the fifteenth century onward, as in the Occident, to detach itself
from the religious and philosophic synthesis which characterizes the mediaeval
spirit.]
When
the revolution of 1868 caused the feudal system to fall like a piece of stage
setting which had concealed from Western eyes the true nature of Japan, the
Occident was astonished at the speed with which Japan assimilated the external
form of the European civilizations. At a bound it covered the road that we had
taken four hundred years to travel. The Occident could not understand. It
thought the effort disproportionate to the means and destined to failure. It
took for servile imitation the borrowing of a method whose practical value
Japan could appreciate before she utilized it, because old habits of artistic
and metaphysical abstraction had prepared the mind of the people for Western
ideas. Under her new armament of machines, of ships, and of cannons, Japan
retained the essentials of what had constituted and what still constitutes her
strength —her faith in herself, her controlled passion, her spirit of analysis
and reconstruction.
The
reproach addressed to Europeanized Japan is not new. She had been accused of
acquiring from China —and through China from India—her religion, her
philosophy, her art, and her political institutions, whereas she had
transformed everything, recast everything in the mold of a savagely original
mind. If one were to go back to the sources of history, one would not find a
single people, outside of primitive tribes, to which another people had not
transmitted the essentials of its acquirements. It is the wonder and the
consolation of our human nature. By this solidarity, which rises victorious
above all the wars, all the disasters, and all the silences, everyone who bears
the name of man understands the language of man. Chaldea fructified Assyria;
Assyria transmitted Chaldea to Persia and, through Persia, stretched forth its
hand to India and to Islam. Egypt educated Greece, Greece animated Italy and,
across the Middle Ages, guided the modern Occident. The Middle Ages of Europe
rejoined the Arabs, through Byzantium and the Orient. China, which had felt the
contact—by way of India—of Egypt, of Assyria, and especially of Greece—China
carried over all these mingling forces to Japan that the latter might make such
disposition of them as the teachings of her soil and her passion should
dictate.
When,
at about the time of Europe's conversion to Christianity, Korea transmitted
Buddhism to Japan and with it the philosophy and the art of the Chinese and the
Indians, the island empire occupied the same position that Dorian Greece did in
relation to Egypt and western Asia. Silent, as early Greece had been, Japan did
not know, any more than Greece, that she would have found the traces of her
ancient life if she had sought the formless statuettes in her tombs. Although
Shintoism deified the forces of nature, it had proscribed images. This was
doubtless a matter of dogma that was foreign to the soil of Japan and that
came, like Buddhism, from one of those ethnic elements —Mongol, Malay, or
Ainu—which contributed to the formation of the race. It is certain that Japan
accepted it only half-heartedly. As soon as Buddhism had opened its sanctuaries
to all the Shinto gods, and fixed their look in bronze and wood, the Japanese
recognized the image of their real desires in them.
But so
long as the original materials of the race cohered, its artists did not free
themselves from the need of Korea, from the immemorial will of the Hindus and
the Chinese. The seated gods with the lowered eyes and the open hands are like
a block, round and pure and modeled by the light. The spirit that inhabits them
flows from everywhere and envelops them in solitude and silence. One feels them
as bound up with space, and from all points they seem to gather its vibrations
into their fluid surfaces. Are they Japanese, Hindu, or Chinese? They are
Buddhist. It is but very slightly that religious sculpture begins, in the
eighth century, to reveal the silent germination of the true national
sentiment. The development is seen in the work of Kobo Daishi, the old statue
maker. In his statues of warrior gods, so radiant with energy, there is
something of arrested gentleness and
of arrested violence which is already
purely Japanese. He will not surrender his self-control. Whatever his fervor,
his anger, and the impulse of his heart, the Japanese, when he has attained his
true nature, will dominate the expression of these feelings.
Even
when men think they are the masters of those decisions which seem freest, it is
their general and unreasoned needs which dictate those decisions. When Japan
closed her ports, at the hour when the Fujiwara came into power, it was because
she wanted to grasp in herself the meaning of her own effort, amid the merging
currents of the military migrations and maritime exchange. This people does not
barter either its power of withdrawing into itself or its power of expansion.
As soon as it perceives that it is too much cut off from the world or that it
has been too active, it bends all its strength to dissipate rapidly the need
for repose that had succeeded action, or of the need for action which it
gathered from repose. It starts out on new roads with such a frenzy that it
must suddenly stop to retrace its steps and, turning its back on the horizon,
take an inventory of its conquests. In the ninth and the seventeenth centuries,
it forbade the foreigner to enter its harbors, once in order to assimilate
Buddhism and again to study in itself the deep echoes of the Mongol invasions
and the first incursions of the Occidental navigators. And it arrives at the
decisive stages of its creative genius at a moment about equally distant from
the time when it closed itself in and the time when it reopened.
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