JAPAN
It is a saying of the philosopher Amamori Hōshiu 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 constitutes 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 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 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 among these last, but the sum of the matter is that they belong to the "inferior" order and are persons of vulgar endowments. In every art the idea is first conceived, and the hand thereafter moves in obedience to the mind. The loftier 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 judgments. Nobility of mind, absolute impartiality, and entire disinterestedness 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 works showing skill, force, and graces of composition. So degenerate, on the contrary, are modern carvers that if they find an old work of fine quality, they carefully copy it by taking an impression. But their unskilled use of the chisel
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