Release date is 2025-09-06

Introductory -- Painting -- Colour printing -- Sculpture and carving -- Metal work -- Keramics -- Lacquer -- Landscape gardening and the arrangement of flowers.

Richard Illner and the Online Distributed Proofreading Team at https://www.pgdp.net (This file was produced from images generously made available by The Internet Archive)

"Arts and crafts of old Japan" by Stewart Dick is an introductory art history survey written in the early 20th century. Aimed at general readers rather than connoisseurs, it explains the aesthetics, materials, and methods behind Japan’s traditional arts, from painting and color prints to sculpture, metalwork, ceramics, lacquer, gardens, and flower arrangement. It sets these arts within their social and historical context, contrasting Japanese conventions with Western expectations and highlighting the key schools, masters, and techniques that shaped “old Japan.” The opening of Arts and crafts of old Japan sets out the author’s purpose, cautions against unreliable criticism, and names a few dependable authorities, then offers a broad introduction arguing that Japan’s refined aesthetic culture, calligraphic training, and lightweight architecture produced arts marked by suggestion, restraint, and superb design. It sketches Japan’s historical backdrop—from the arrival of Buddhism and temple-centered culture through samurai rule and Tokugawa peace to the disruptive contact with the West—before surveying painting’s forms, brush-based conventions, and major lineages (Buddhist imagery, Tosa/Yamato, the Chinese-influenced masters such as Sesshiu, the Kano school, Korin’s decorative originality, and the Ukioyé turn toward everyday life). The book then outlines the rise of color printing as a democratic art, its block-cutting and printing process, and its leading figures (Harunobu, Kiyonaga, Utamaro, Toyokuni, Hokusai, Hiroshige), noting later decline with aniline dyes; it proceeds to Buddhist sculpture in wood and bronze (including the colossal Buddhas of Nara and Kamakura), the shift to realistic portraits and netsuké miniatures, and finally to metalwork—temple bells, lanterns, mirrors, the Miochin armourers, and the sword tradition—pausing to describe casting methods and the ceremonial ethos of sword-forging. (This is an automatically generated summary.)

Originally published: London: T. N. Foulis, 1906