History of art . no MEDIAEVAL ART plicity of natural forms in the presence of instinct, ofspace, and the wind. Kano Motonobu, the son of the founder of theChinese school, could now borrow from the continentalpainters practically^ all their subjects, their motifs, andtheir composition. At bottom there existed such anantagonism between the spirit of the islands and thespirit of the continent—the one resolutely objectiveand quite devoid of sentimental partiality, the otherso often employing the aspects of the world for demon-strating and moralizing—that what Monotobu natu-rally transmitted to his
History of art . no MEDIAEVAL ART plicity of natural forms in the presence of instinct, ofspace, and the wind. Kano Motonobu, the son of the founder of theChinese school, could now borrow from the continentalpainters practically^ all their subjects, their motifs, andtheir composition. At bottom there existed such anantagonism between the spirit of the islands and thespirit of the continent—the one resolutely objectiveand quite devoid of sentimental partiality, the otherso often employing the aspects of the world for demon-strating and moralizing—that what Monotobu natu-rally transmitted to his pupils before all else was theprofoundly constructive action of Shiubun and Ses-shiu. He brought to his task the power for synthesisthat only a predestined genius possesses, and, in him,archaic culture could not fail to establish, on an inde-structible base, the powerful sentiment for nature thatthe Japanese people had been seeking for five or sixcenturies in the depths of its soil, in the seed that ex-pande
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Keywords: ., boo, bookcentury1900, bookdecade1920, booksubjectart, bookyear1921
