The Japanese Collections 7 



developed into a ritual of almost religious character. 

 In the peaceful years of the Tokugawa period, the 

 crafts came into their own ; for this period was one in 

 which people had time for beautifying the objects of 

 daily life. The process of lacquering, the craft of 

 working in metal, and the making of wood-block prints 

 are three branches of industrial art in which the people 

 of Japan excel. The two last-mentioned are well illus- 

 trated by examples in Gunsaulus Hall. 



In the smaller room, there is on view a portion of 

 the collection of prints presented to the Museum in 

 1921 by Helen C. Gunsaulus in memory of her father, 

 Dr. Frank W. Gunsaulus. One-fourth of the entire col- 

 lection is shown at a time, being replaced every two 

 months by a new selection. The larger part of the col- 

 lection is in Room 51, where, on application, it may be 

 seen by interested students. For exhibition purposes, 

 the entire collection has been divided into four groups, 

 each illustrating a well-defined subject, as follows: — 



1. The art of Hokusai and his followers. 



2. The New Year's festival, games and pastimes. 



3. Gods and heroes. 



4. Architecture and the home. 



All of the prints in this collection belong to the class 

 called surimono, a name given to cards of greeting for 

 special occasions, such as New Year, birthdays, and 

 meetings of poets and artists. This art flourished 

 between the years 1780 and 1860, — that period known 

 as the Japanese renaissance, when the minor arts were 

 at their best. These prints were produced for private 

 circulation and not sold, as was the ordinary print, 

 which was made mainly for the shopkeeper and 

 peasant. Surimono were the charm and delight of the 

 literary and artistic world, and were presented as 

 souvenirs to a limited group of friends. The process by 



[7] 



