Page:Brinkley - Japan - Volume 7.djvu/348

 Shinjiro had not received any training when he executed his first work, a model of a foreign steamer which he saw coming into port. The general rule, however, was a long apprenticeship. The sculptor of wood commenced his course in the atelier by chiselling a decorative pattern of formal type, in order that he might acquire skill in spacing. He then passed to the carving of floral scrolls, especially the leaves of the asa (hemp-plant). The next stage was to shape a Daikoku deity of affluence and then an Yebisu (deity of fortune). These figures were in the form known as deki-ai-butsu (ready-made Buddha): the hands and arms were not shown and the drapery was roughly blocked out. Thereafter the student passed to the chiu-butsu (middle-class Buddha), showing the hands and arms; and finally he arrived at the jobutsu (first-class Buddha), complete in every detail. This course occupied from seven to ten years, and the student was now regarded as ichinin-maye, or an adult artisan. Under no circumstances was he allowed to use rule or compass: everything had to be done by eye. The modeller in wax for purposes of bronze-casting, equally with the sculptor of metal or wood, had no guide except a sketch drawn by himself or furnished by some pictorial artist. There was no question of pins to map out the surface, or of a pointer to transfer contours. Further, it was always a supreme test of the artist's skill that he should be able to achieve the desired result with a minimum of labour. Thus the ivory-carver Tomochika received applause for his ability to block out a statue by means of a hatchet only, finishing it off with the knife (ogatanakogatana [sic]); whereas lesser experts used the kogatana from the first.