Commentry by Cpt F Brinkley, circa 1904

Hopefully a thought provoking read.

Commentry by Cpt F Brinkley, circa 1904

Postby Ford » Mon Mar 10, 2008 2:45 pm

The following was previously on my blog but Dustin wanted to continue the discussion here, so here you go .

Karl Wunderlich, in Berlin, sent me a copy of the following piece of text which I think may be of great interest to some of you who . 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The writing style may be a little old fashioned and some of the ideas he expresses are perhaps considered outdated today but I still think there is a lot to consider here.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.


Much to think about and discuss me thinks...better make a place for that to happen :?
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Re: Commentry by Cpt F Brinkley, circa 1904

Postby Albert R » Sun Sep 03, 2017 12:51 am

Nine years waiting on a reply...
Well, another worthy post that gives one pause. Assuming some skill, the question is whether one has the discipline and fortitude to become the master. Which then begs the question, if people did not have to worry about food and shelter (and the excesses of consumerism!), how many could have reached the level of master.
One another tack, one could categorize one's self and determine where one could conceivably (honestly) go. It would then be incumbent to work towards that goal. I would be satisfied at this stage of my life to reach a sensitive workmanlike level of competence. Mastery? Probably too late in the game to reach, though I would like to recognize it when I see it!

Albert
PS: I have been working my way through many a sub-forum little by little. I hope no one has any objection to resurrecting older posts with good information in them!
AAR
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