Japanese. Lacquer. 251 
where reigns eternal spring; or the white blossoms floating 
down some sparkling stream are likened to the bright spring- 
tide of life, and the end is typified by the mountain torrent 
whirling down the autumn-tinted maple leaves with resistless 
ower. 
; The flowers most frequently met with are the chrysanthemum, 
peony, wistaria, iris, lily, hydrangea, carnation, convolvulus, 
and water-lily ; while trees are mainly represented by the Pau- 
lonia imperialis, plum, fir, and palm. The stately bamboo per- 
haps holds the most prominent position on account of its almost 
universal utility and the symbolic value attached to it. 
Of all flowers introduced into ornamentation, the chrysan- 
themum is unquestionably the favourite. The Japanese name 
for this flower is the ‘“‘kiku.” In works of art it figures very 
largely, sometimes conventionally, sometimes naturally. In 
high-class objects made for the court the flower in a conventional 
form is disposed as a powdering ; in this form it is used as one 
of the imperial crests, although the origin of this crest is a much 
debated point. The chrysanthemum is considered emblematical 
of happiness. 
Next in importance comes the peony, emblem of regal power, 
often associated with the lion and the mythical Ho-ho bird. 
The wistaria, with its long pointed racemes, is a great 
favourite. Japanese literature is rich in witty and charming 
stanzas written in honour of the ‘‘ fuji,”’ in which it is alluded 
to as the emblem of youth and spring. 
_ The iris is a very general favourite with the Japanese artist, 
doubtless on account of its stately and graceful habit; the purple 
and white varieties are often shown in contrast. 
_ The lotus has long been held in veneration by the Japanese. 
Springing from the muddy waters, its pure white blossom is 
emblematical of the ransomed soul rising upwards to the divine 
light. The figures of Buddha and other saints appear seated on 
the flowers or leaves of the lotus. 
Much more could be said in connection with the artistic treat- 
ment of flowers, but I must now pass on to notice the trees, 
which appear in lacquer as frequently as flowers. 
First in rank, as the grandest of all trees of Japan, comes the 
* kiri ”’ (Pawlonia umperialis), which is one of the most magnificent 
vegetable productions of Japan. ‘The ‘‘kiri” frequently appears 
in art work, both naturally or conventionally rendered. In the 
latter form, under the name of the ‘‘kiri mon,” it forms one of 
_ the imperial crests of Japan. 
__ There is no tree so frequently represented in Japanese art as 
the plum (‘‘ume”’), and its flowers are especial favourites. The 
“ume” is found in all departments of Japanese art. In blue- 
_ and-white porcelain it constantly appears. The so-called haw- 
