272 IVORY AND THE ELEPHANT 



"The latest and most appreciated of all the fine arts is 

 carving in ivory; what I mean to say is that ivory carving 

 was never so much admired as now, never placed on so high a 

 pedestal. And yet we have just achieved our first text-book 

 for that art. I hope there will soon be forthcoming text-books 

 for all branches of carving in wood, stone, and metal, and also 

 for painting, embroideries, etc.; they are so much needed. 



*' There is no doubt, at any rate, that this new book of 

 Mr. Sen-rei is a brilliant achievement. Students will 

 understand what I mean, a treasure house of valuable in- 

 formation for those who have any wish to utilize it. The 

 author stands absolutely at the head of his class. 



"To conclude, one word more to students of this art: if 

 you want your knife to move freely and have mastered the 

 necessary technique and acquired dexterity in the use of 

 hands and arms, you ought to seek what I will try to define 

 as a silent and meditative understanding of self — the self- 

 knowledge that no book can give you. The student of 

 art should seek for methods and rules in the visible forms 

 about him, and acquire the spirit from the influence of the 

 invisible (the pen name signed by the writer, Sessin gio-so, 

 signifies 'Old Fisherman of the Snowy Marsh')." 



The second introduction, by Baron Kuki Riiichi, of the 

 Imperial Privy Council, at one time minister to the United 

 States, and now president of the Imperial Museum of Tokio, 

 contributes a stanza by the philosophical poet, Daigaku 

 Zenshi : 



"Oh, thou cherry-tree of Mount Yoshimo! 

 Thou bloomest beautifully year after year. 

 Would I or any one break thy trunk and look in, 

 To see if there were any flowers within.?" 



This is followed by the third introduction from the pen of 

 Dr. Watanabe Koki, a former president of the Imperial 



