History of art . stone it had lifted, in the treesof its forests which it cut down and trimmed for thebuilding of its houses. Kano Monotobu saw how thebirds polished their feathers in the morning dew andhow the cranes stretched out slender legs as they sankearthward in their slow flight. Except for some sleepycreature of the air, its neck under its wing, its plumageruffled by the cold of the dawn, nothing would be seenbut the boats lost in fog and in space. . Ill This austere vision was very soon to be China, there had arrived the world of the Mos-lems, of India and Persia, o
History of art . stone it had lifted, in the treesof its forests which it cut down and trimmed for thebuilding of its houses. Kano Monotobu saw how thebirds polished their feathers in the morning dew andhow the cranes stretched out slender legs as they sankearthward in their slow flight. Except for some sleepycreature of the air, its neck under its wing, its plumageruffled by the cold of the dawn, nothing would be seenbut the boats lost in fog and in space. . Ill This austere vision was very soon to be China, there had arrived the world of the Mos-lems, of India and Persia, of the Portuguese and theDutch. Japan had either to free her mind of the robust JAPAN 121 education of the Chinese or else submit to them defin-itively and surrender her privilege of Kano masters, on the outskirts of the evolutionof ideas, were turning the continental tradition intoacademic formula, little by little, also some of them—Eitoku, for example, a powerful poet of tree forms—. SoAMi (xvi Century). Landscape. {From The Kokka.) unfold an arresting personality in the discipline theyobserve. Meanwhile, the live elements of the countrvstrongly concentrated scattered energies in the growthof audacity and faith which followed the protectionistedict of lemitsu, which again closed Japan to the outerworld. In a movement analogous with the one that wastaking place at the same moment in western Europe^— ^ It is, moreover, remarkable that the intellectual evolution of Japanshould correspond almost exactly, in its general directions, with that of theOccident. Its Renaissance is of the fifteenth century, its classicism is ofthe seventeenth, its art of pleasure and fashion is of the eighteenth, itslandscapists of the nineteenth. 9 122 MEDIEVAL ART which was realizing its classic expression in France,in Holland, in Spain, and in Flanders at the same
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