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Updated: May 22, 2025
Though I saw them for the first time in the flesh, I recognized them at once. Here were the identical fisherfolk who have sat for centuries in the paintings of Tsunenobu, not a whit more immovable in kakemono than in real life. I almost looked to find the master's seal somewhere in the corner of the landscape.
We were ushered into a Japanese room, beautiful proportions, a lovely kakemono in the alcove it's a scroll, not a kimono and a five-legged little table made of metal with mother-of-pearl inlay.
The room was devoid of furniture, its only decoration being a vase of carefully arranged flowers in an alcove, and a queer kakemono that hung on an ivory stick. As he was inspecting the latter, the nesan again approached him. This time she seemed to have designs upon his coat, and despite his protest began to remove it.
The An-dera was also called Amida-ji, and was dedicated to Amida-Nyorai and to other Buddhas. It was fitted up with a very small altar and with miniature altar furniture. There was a tiny copy of the sutras on a tiny reading-desk, and tiny screens and bells and kakemono. And she dwelt there long after her parents had passed away.
For instance, in one play the palace of Lord Hosokawa, in which was preserved the celebrated painting of Dharuma by Sesson, suddenly takes fire through the negligence of the samurai in charge. Resolved at all hazards to rescue the precious painting, he rushes into the burning building and seizes the kakemono, only to find all means of exit cut off by the flames.
If a visitor be present in the house, the guest-chamber will be decorated afresh every day, each design showing some new and unexpected beauty in screen, or flower-decked vase, or painted kakemono. There is one vase which is always carefully supplied with freshly-cut boughs or flowers. This is the vase which stands before the tokonoma. The tokonoma is a very quaint feature of a Japanese house.
Below this Sai-no-Kawara scene appears yet another shadow-world, a wilderness of bamboos! Only white-robed shapes of women appear in it. They are weeping; the fingers of all are bleeding. With finger-nails plucked out must they continue through centuries to pick the sharp-edged bamboo-grass. Fourth kakemono: Floating in glory, Dai-Nichi-Nyorai, Kwannon-Sama, Amida Buddha.
The former court of the little temple has been turned into a vegetable garden, and the material of the ancient building utilised, irreverently enough, for the construction of some petty cottages now occupying its site. A peasant told me that the kakemono and other sacred objects had been given to the neighbouring temple, where they might be seen.
And these are the legends of them: First kakemono: In the upper part of the painting is a scene from the Shaba, the world of men which we are wont to call the Real a cemetery with trees in blossom, and mourners kneeling before tombs. All under the soft blue light of Japanese day. Underneath is the world of ghosts. Down through the earth-crust souls are descending.
Our rooms are divided from one another by partitions of paper or the thinnest veneer, which can be partially drawn aside so that the rooms may be thrown into one. Here and there mottoes are inscribed on hanging shields, and we see that they are written in the same singular characters as are used in China. On one wall hangs a kakemono, or a long strip of paper with flowers painted in water-colours.
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