ABSTRACT
Speaking generally, art education in Japan has been based chiefly upon the principle of intuition. It has been the method of encouraging students to find their way through their own individual abilities rather than for the instructor to inculcate his own ideas into the pupil's head. It may be thought of as somewhat along the line of the training of a genius. l"'here was no systetnatic education
\vhich 'V()Uld imI)art kno\vlclige, for instance, based UIJon minute scientific anal)Tsis su~h as that ,ve see in Western countries today. 'rhls \vas especiall): true in regard to the training ()f dancers during the F~d() l>eriod. I)uring those (lays the students of this art received llrivatc lessons ti·orn their masters, and if they proved to have talent tlley in their turn came to be 01asters of the art. As far as training methods '\Tere concerned there ,vas but little difference bet\veen the training of dancers and of artisans. Artisans imparted their kno\vledgc and skill to their apprentices by employil1g them in tlleir business for a llunlber of years. '[he trai11ing of dancers \vas accomplished in nluch the same wa)T. No provision \vas made, for instance, for any public school \vhere any definite kno\vledge or practice of the art tnigllt be scientifically planned. "J'he students of
