Edo Period Tsubashi - some insight into the approach to work

[Ford Hallam]

The following was previously on my blog and forum but following a question regarding the repeat production of designs I thought it might be of interest.

 

It comes from volume 7 of Cpt F Brinkley’s “Japan- Its History arts and Literature. Vol.7 . pictorial and applied art. London 1904”

 

The writing style may be a little old fashioned and some of the ideas he expresses are perhaps considered outdated today but I still think there is a lot to consider here. I’ve taken the liberty of inserting the odd explanation of some of the less common words, mainly for the benefit of some of you for whom English is a second language.

 

It is a saying of the philosopher Amamori Hoshiu that “in art there are four grades, The inferior ( heta ) , the skilled ( kosha ), the expert ( jozu ) and the master ( meijin ),” and that “ the same classification applies to the conduct of the gentleman.”

 

In such wise, also, may be distinguished the merits of carvers. Adopting that principle in compiling this work, I have divided the carvers of sword-furniture into three ranks.

Natural talent combined with the skill acquired by long practice constitute the" master," who stands, at the highest point of his art.

Next comes the "expert," concerning whom, however, a triple subdivision must be made ; namely, the expert who ranks next to and immediately after the master, then the expert who, though originally of "inferior" ability, has nevertheless by zealous ( enthusiastic ) and patient effort developed the skill which ought to be the aim of every student;

finally, the expert who by conceiving and executing some attractive novelty, obtains the passing plaudits ( praise ) of a curious public, but whose works ultimately lose their charm and stand revealed as unworthy of lasting admiration.

 

All artists that do not rise to the rank of " master " or " expert " may be classed as "common," There are certainly gradations ( levels or steps ) among these last, but the sum of the matter is that they belong to the "inferior" order and are persons of vulgar endowments ( common or crude abilities ). In every art the idea is first conceived, and the hand thereafter moves in obedience to the mind. The loftier ( more refined or higher ) the mind, the nobler the execution. An artist who produces inferior work should be ashamed rather than proud.The connoisseur of art objects must apply the same principle in forming his judgements. Nobility of mind, absolute impartiality ( not to choose sides ) , and entire disinterestedness ( not judging on the basis of your own taste ) are the three essentials of a sound critic.

 

The old-time carvers set out by learning from their masters how to handle the chisel, and when they had acquired skill in the technical processes they made their own designs and sought to develop a special style. Thus, even those that did not rise to the level of " experts" often produced work showing skill, force, and graces of composition.

 

So degenerate ( below a normal, decent level ), on the contrary, are modem carvers that if they find an old work of fine quality, they carefully copy it by taking an impression ( making a wax copy and casting ). But their unskilled use of the chisel easily betrays them, for their execution is invariably prolix ( taken an unnecessarily long time ) and awkward. None the less when, after long toil and much pain, they have succeeded in carving, polishing, and colouring, they fondly imagine themselves great artists, and with consummate ( skilful ?) silliness inscribe their names on these productions, pointing the finger of scorn at other sculptors.

 

It is with the carver as with the painter. The good pictorial artist, after acquiring a thorough knowledge of the uses of the brush as taught by his master, copies many fine old pictures and studies them earnestly, so that, when he comes to paint independently, he has always before his mind's eye a model showing the inimitably ( unique ) exquisite points of the great chefs-d'oeuvre ( masterpiece ) of the past. But he never prostitutes his natural talent so far as to make slavish ( unthinking ) imitations. Thus every touch of his brush is eloquent ( speaks well ) of original talent, and the true critic cannot fail to detect the merits of his work.

 

Very different is the practice of the "inferior" painter. His solicitude ( concern or intention )is almost entirely about the motive of his picture, scarcely at all about the brush-work. He is not versed even in the rudimentary ( basic ) art of using the "charred stick" (charcoal) to change the scale of a drawing, or to alter the shape of the figures. He prefers to make tracings of old pictures and to reproduce them with elaborate accuracy. There are not a few of these imitators, and the connoisseur, whether of painting or of sculpture, must needs be on his guard lest he deceive others as well as himself.

 

One naturally supposes that men like Joi, Somin, ToshiHisa, Yasuchika, and other masters, who, by giving birth to a glyptic ( carving ) style of their own, achieved world-wide fame, and whose doors were thronged by eager applicants for their productions, must have amassed much wealth. But it is impossible for a man to be great in art and mercenary at the same time. The common craftsman as he bends over his task, is forever estimating the wage it will bring. Thus the taint of covetousness is inevitably transferred to his work, constituting a feature which more and more repellent as time goes by, and finally banishes the specimen to some degraded shop of a dealer in old metal.

 

The true artist, though conscious that he toils for a living, has his recollection of the fact effaced ( to rub out ) by love for his work. At times he will lay aside his chisel for months if he finds that his heart is not in his work. When the inspiration arrives, however, he becomes so completely absorbed in his task that he cannot bear to lay it aside, day or night, until it is finished.

 

There is vitality in the result ; it is surpassingly good. But if the question of gain be considered, it is found that although the productions of the master fetch a high price, the profit to him is not as great as that accruing from inferior work quickly executed (made) and cheaply sold. The poet Basho says, " Pity it is that the shira-uo (a, tiny river

fish of silvery transparency and almost colourless, Japanese anchovy) should have a price." A great artist is injured when the price of his work is discussed : it should be above price. Business men would do well to lay this precept to heart; " Only to accumulate gold and silver is to be their slave." The true aim should be to develop an extensive trade and to achieve a great career, just as the artist cherishes and strives for the reputation of his art rather than of himself.

[ROKUJURO]

Thank you, Ford!

 

A wonderful text, showing a deep understanding! Nice language as well, a proof of artistic skill in his field.

[Dr Fox]

Also thank you Ford, for attributing to the word 'vulgar' the term 'common'. In the understanding of old English the term vulgar, indicates an act by a common or low born person. I recently tried (perhaps un successfully) to explain the use of that very word.

[MauroP]

Hi Ford,

thank you for your effort to make the text more understandable. Curiously as an Italian I’m more comfortable with the old words rather the new ones. It’s a pity (from my point of view, of course) that Latin heritage is fading out in modern English.

Regards, Mauro

[John A Stuart]

Hi Mauro, language evolves, sometimes the classical aspects get left behind and the nostalgic among us mourn the loss. I am one as well. Modern English has lost a lot of its romance. I am sure the Romans must have heard something like; " Gee, this Latin sure is losing its Greek heritage!!". John

[kaigunair]

"Nobility of mind, absolute impartiality ( not to choose sides ) , and entire disinterestedness ( not judging on the basis of your own taste ) are the three essentials of a sound critic."

 

Could someone unpack the first characteristic?

[John A Stuart]

Do you mean, "Nobility of mind"? The intrinsic honour and/or integrity of thought preceding action, selflessness. I hope that is what you were wanting, Junichi. John

[kaigunair]

Yes. Trying to understand "Nobility of mind" when in comes to critiquing/evaluating tosogu. Alt definition is "the state or quality of being morally or spiritually good; dignity".

 

Goodness/selflessness and honor/integrity when viewing tosogu...? Sounds good, but how does this play out in real life? Better yet, if one lacks this, how does one develop such "Nobility of mind", if it can even be developed.

 

Not just musing here as it seems a very serious but necessary state of mind...

[John A Stuart]

It seems to me that the 2nd and 3rd essentials described are derivitive of the 1st. John

[kaigunair]

So selfless honesty guided by impartiality, and independence (financially and ideologically)...

 

I can see why a passionate collector would make for a poor critic, second only, perhaps, to the artist himself....

[Pete Klein]

I can see why a passionate collector would make for a poor critic, second only, perhaps, to the artist himself....

 

Oh, SNAP! ROFLMAO!!!

[Henry Wilson]

I think it is understandable if an artist becomes over-zealous considering what s/he has invested in the whatever art they pursue.

 

As for the collector, it is a wonder where the passion comes from.

 

To me for this discussion, the intentions of a critic is what nobility is all about. Is the critic trying to explain something for the greater good, or make a point that is self-serving?

[Soshin]

To me for this discussion, the intentions of a critic is what nobility is all about. Is the critic trying to explain something for the greater good, or make a point that is self-serving?

 

Hi Henry,

 

A very good point.

[runagmc]

The true artist, though conscious that he toils for a living, has his recollection of the fact effaced ( to rub out ) by love for his work. At times he will lay aside his chisel for months if he finds that his heart is not in his work. When the inspiration arrives, however, he becomes so completely absorbed in his task that he cannot bear to lay it aside, day or night, until it is finished.

 

Sad, but true... (toiling for a living, hoping to be able to make a living, because the love to create is almost all consuming at times). What do the other artists on the board think?