274 IVORY AND THE ELEPHANT
Besides
rules and regulations, every artist adds his own ideas to these, and
with skill and individuality peculiarly his own, helps on a progress
which reveals to us a great field for artistic exploitation,
considering the masterpieces that have lately been evolved.
"Our
works in ivory carving show wonderful delicacy and artistic finish and
the vital spark, so to speak, of talent and accomplishment, and are
greatly admired not only at home but abroad.
"But
the education in the art consists of the teacher's verbal instructions,
directions, etc., and the pupil's willing hands; there never has been
nor can be any mere text-books.
"It
is a record of the secrets learned by his own individual experience
that Mr. Sòma Kuninosuké, member of the Tokio Society of Carving, has
recorded in the book which he has named 'The Methods of Ivory Carving.'
He is ambitious to raise the standard of ivory carving and add
somewhat to the nation's fame and glory. With these few words I
recommend this book to the public, for I am very much pleased to say
that it will give great benefit to future students."
The
fourth introduction is furnished by Doctor Kawata, one of the foremost
students of the Chinese classics and Lec-turer-in-Ordinary to His
Majesty the Mikado. He gives some interesting information as to the use
of ivory in ancient China. Of this and other matters regarding ivory
carving, he says:
"Looking
through the ancient Chinese books we find mention of quite a number of
vessels and ornaments cut from ivory; for instance, ivory chopsticks
are noted in the great history called 'Shiki,' dynastic and
biographical records reaching back as far as the beginning of the Han
[B. C. 206, A. D. 220] dynasty.
"When you examine our old records you will find that all
