1kinko

Ishiguro school, Ashmolean Museum

It's all steel/iron from a kanna blade. My work, very possibly my 2nd or 3rd after class with Patrick Hastings.

Utsushi of Toyoaki of Choshu plume tree. Recycled kanno blade.

Araki Tomei but probably gimei.

Isshi as I recall.

No results for Kano Natsuo, todogu, or metal work.

Other side

Hallam School. Original 2019, shibuichi on copper.

Here's a different mantis.

One like this was for sale at the San Francisco show about 6 years ago. I presume it was a tsubashi's example piece at one time.

Ishiguro School, Ashmolean Museum. Note diamond shaped nanako.

The composition doesn't tell any tale that I can see and the execution is mediocre imho. That combined with the mimi suggest a reuse of something less refined like maybe 2 copper plates? Any sign of a seam in any of the ana?

So, straight line nanako (like the video of Ford making nanako at the V&A) are enough of a problem even with etched guide lines- how do you think curved nanako would be done without guidelines? I’m sure there were nanako-shi who could do it but, imho, the smarter or less skilled would have engraved guidelines first, perhaps by scribing from the edge to the center at the proper interval. Some deeper guidelines seem to me to help create squarish nanako, but not leaving the precise distance between individual nanako can also result in squarish or pentangular nanako when seen up close. With regard to multiple nanako punches, we often see their use on furniture and armor. There is a good article on the building of Buddhist butsodon that shows a wide variety of punches used by these metal workers (sorry but this is the only information I have on my hard copies- WEB.kanagu.PDF [2006]; Section 7: The work of the decorative metal fittings artisan (kazari kanagu shi).

Utsushi 2 Tsukagawa wrap in progress.

Utsushi 1

The Hanna face is very poorly carved- nothing like Ishiguro or Murakami skill.

Franco- Nope, just a general observation gained from examining a lot of nanako with squarish sides and engraved concentric lines.

Square nanako- just the preliminary method of marking where the nanako should have gone. Easier with straight lines to guide.

About 65, only to house my tosogu, created after courses with Patrick Hastings and Ford. Also created sayas and racks for several.

The seppa can also be carved out so as not to damage raised sections of tsuba.

How about a section labeled the Hallam School here on the NMB?

Education is not hate.

I seem to remember one of the current participants was also the protagonist for cast iron tsuba who wouldn't listen to reason and was one if the reasons Ford dropped out of commenting on tosogu. Would any of the current commenters be supporting cast iron swords or acid etched swords or corroded swords? Beauty may be in the eye if the beholder, but there are limits. Call a spade a spade and move on.

The entire tosogu craftsmanship world in the west was opened up by Ford and he was 1 step away from mukansa in Japan. I hope NBTSK awards him a life time service award. I was fortunate to take classes (3) from him and to visit him in England 2 years ago. He will be sorely missed.

Looks like many posted here- like a lump of iron left in the driveway for several months.