2 SHOWS OF JAPAN'S NATIONAL TREASURES
The art gallery at the Asia Society, 725 Park Avenue, at 70th Street, boasts ''Emaki: Narrative Scrolls From Japan'' (through Nov. 6), a small but incomparable group of lively ''picture scrolls,'' from medieval times to the 20th century, which regale us with dramatic scenes of adventure, romance, battle, history, biography and Buddhism. And at the Japan House Gallery, 333 East 47th Street, there is ''Autumn Grasses and Water: Motifs in Japanese Art'' (through Nov. 13), a gathering of 50 elegant, sumptuous things from the 13th to the 19th centuries - screens, lacquerware, textiles and porcelains adorned with classical Japanese emblems of nature - mostly borrowed from the Suntory Museum in Tokyo, which organized the show in conjunction with the Japan Society. One of the key differences between Japanese and Western art is the strong pictorial tradition developed by Western painters since the Renaissance, based on a structured composition depicting the figure and other objects in a unified space. ''Decoration'' - i.e., design that lacks this pictorial structure - is considered secondary, and in Western culture the ''fine'' arts thus have it over the applied, or ''decorative'' arts. But no such distinction occurs in Japanese art, where the decorative and the pictorial can even coexist in the same object. For one thing, the Renaissance concept of pictorial space never invaded Japanese art, and for another - as Masakazu Yamazaki, a Japanese playwright and critic, points out in in essay for the splendid ''Autumn Grasses'' catalogue - the Japanese have always viewed artmaking as a highly social activity.