Virtually every literary magnate of the Occident has found one or more interpreters in modern Japan.
By way of this culture, Estonia entered the mainstream of the Occident.
The sum of the matter is that the modern Japanese ceramist, after many efforts to cater for the taste of the Occident, evidently concludes that his best hope consists in devoting all his technical and artistic resources to reproducing the celebrated wares of China.
Missing the perfume-laden air of the Occident, a visitor is prone to infer paucity of blossoms. But if some familiar European flowers are absent, they are replaced by others strange to Western eyesa wealth of lespedeza and Indigo-fera; a vast variety of lilies; graceful grasses like the eulalia and the ominameshi (Patriaa scabiosaefolia); the richly-hued Pyrus japonica; azaleas, diervillas and deutzias; the kikyo (Platycodon grandifiorum), the giboshi (Funkia ovala), and many another.
He did not obey the laws of I linear perspective as they are formulated in the Occident, nor did he show cast shadows, but his aerial perspective and his foreshortening left nothing to be desired.