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Voltaire Cang argues that the ''iemoto'' system was able to develop because, by the 1750s or so, many arts had grown to have enough of a following that they could support themselves by following their own aesthetic or artistic path, rather than being beholden to the whims of a more limited set of patrons. Many became able to rely entirely on income from sources such as students paying for certification, thus freeing themselves entirely of reliance on patrons. As a result, schools could develop and maintain their own distinctive styles and forms in a more concerted manner, and pass these on to new generations of students. The ''iemoto'' style of teaching, in which an ''iemoto'' sat at the top of a hierarchy of professionals, semi-professionals, and amateurs, emerged at this time, and any given school or master gained strength and prestige from having an ever-growing hierarchy of students and masters under it/him - or, from the reputation of an extremely limited and select group permitted entry.
Voltaire Cang argues that the ''iemoto'' system was able to develop because, by the 1750s or so, many arts had grown to have enough of a following that they could support themselves by following their own aesthetic or artistic path, rather than being beholden to the whims of a more limited set of patrons. Many became able to rely entirely on income from sources such as students paying for certification, thus freeing themselves entirely of reliance on patrons. As a result, schools could develop and maintain their own distinctive styles and forms in a more concerted manner, and pass these on to new generations of students. The ''iemoto'' style of teaching, in which an ''iemoto'' sat at the top of a hierarchy of professionals, semi-professionals, and amateurs, emerged at this time, and any given school or master gained strength and prestige from having an ever-growing hierarchy of students and masters under it/him - or, from the reputation of an extremely limited and select group permitted entry.
The development of the ''iemoto'' system represents a significant change in how the arts were passed down, and how artistic networks were organized. In the medieval period, any accredited master could accredit others to go take on their own students; this resulted in quick and extensive spread for many arts, but did not create tight-knit networks. Under the ''iemoto'' system, the ''iemoto'' (grand master) claims exclusive right to accredit teachers, thus strengthening the value of the accreditation, and creating a more tightly-connected network of members of the school. Under this system, all students and teachers within the school benefit from the prestige of being associated with, and accredited under, a recognized school, while the ''iemoto'' and the school itself benefits from the prestige of having so many adherents.<ref>[[Eiko Ikegami]], ''Bonds of Civility'', Cambridge University Press (2005), 168.</ref>
==Characteristics==
==Characteristics==