Koshirae

[Jean]

What are the characteristics of an Higo Koshirae often depicted in commercial sites?

This label seems to cover a lot of different mountings

[Rich T]

Basically Koshirae that is made up of Higo tosogu. I know that sounds like I am stating the bleeding obvious, but it is hard to pin point any simple characteristic.

 

It is good to remember, within the Higo school are the following main groups.

 

Hayashi

Kamiyoshi

Hirata

Nishigaki

Shimizu

 

Then there are individual groups like

 

Tsuboi

Nakane Heihachiro

Toyama Yoriie

Tani Denji

Misumi Yukitsugu

and Suwa Ikuhei

 

Just looking at the first 5 main groups, their work crosses over with common theme's among all of them but then also, there are very individual works like Shimizu Jingo, Hirata and Nishigaki. So trying to pinpoint what makes Higo koshirae something other that the fact that the fittings are Higo would be difficult.

 

I think one theory is that the fact that there were so many artists within the Higo group, and that the best work was highly sort after when it was made, the result was that the themes and styles were copied by many other artists and groups as well.

 

Cheers mate

 

Rich

[myochin]

Bonjour Jean,

 

There was a Higo Uchigatana Koshirae for sale at Christie's Japanese Art and Design auction that took place in London last May 16th. The description is still available on their web site but there is no longer a picture. Not quite sure if I can post the picture here because of copyright/ownership problems.

 

Paul.

[Ford Hallam]

In general I think it can safely be said that the shape of the fuchi and kashira used in the Higo style of mounting are quite distinctive. The fuchi has the so called, jar lip, shaped profile, ie; it tapers in toward the handle. The kashira is invariably of a rounded domed form. These traits are of course seen on swords from other areas but in Higo, after the time of Hosokawa Tadaoki, it would appear to have become "de riguer".

 

The taste in Higo would also seem to favour doe skin for wrapping the hilt, and polished and lacquered same on the saya.

 

Tadaoki's own sword, mounted in what has become known as the " kasen koshirae" style perfectly illustrates these traits. Tadatoki was a very influential leader, not only in Higo, and was hugely influential in supporting and encouraging the metalworkers of his domain. As an accomplished aesthete he no doubt had a major influence on their artistic expression and also the popularization of the classic Higo style koshirae.

 

Ford

[Ford Hallam]

This is the aforementioned Kasen Koshirae.

[Martin]

In general I think it can safely be said that the shape of the fuchi and kashira used in the Higo style of mounting are quite distinctive. The fuchi has the so called, jar lip, shaped profile, ie; it tapers in toward the handle. The kashira is invariably of a rounded domed form.

 

See this Link to Curran´s current auction:

 

http://cgi.ebay.de/ws/eBayISAPI.dll?Vie ... :IT&ih=011

 

cheers,

[Rich T]

Indeed he has pointed out many basic characteristics I seem to have forgotten about for some reason. More the fool me. I should know better.

 

Thanks Ford for keeping me on the straight and narrow.

 

Cheers

 

Rich

[Ford Hallam]

Hi Rich,

 

I reckon you've been mesmerized by those Higo tosogu books of Mr Ito's, I got mine a couple of weeks ago. Absolutely fabulous!, thanks for the heads up there.

 

I think it is actually very difficult to keep in mind a broader view of the subject while we inevitably tend to focus in on specific artists or schools, if only for a while.

 

Ford

 

p.s. Another fairly common Higo trait is the tendency to lacquer the same on the hilt black. This was common battlefield practice pre; 1600 and was intended to prevent the same from rotting in the often damp conditions while on campaign. The use of doe skin on the hilt dates from those time as well.

[Nobody]

There is an article on the general rule of Higo koshirae at the Web site of Gifu branch of NBTHK. However, it is minutely written in Japanese, and I cannot translate it properly.

 

http://www.h3.dion.ne.jp/~nbthk-gf/ronjyutu03-1-5.htm

[Rich T]

Hi Rich,

 

I reckon you've been mesmerized by those Higo tosogu books of Mr Ito's, I got mine a couple of weeks ago. Absolutely fabulous!, thanks for the heads up there.

 

Your right there mate, they are wonderful books indeed. I think however you are being too kind as I am sure I had a grey matter moment LOL. Someone asked me today if I was concentrating on tosogu more so than swords and I said I was, he said he agreed it is a very big field and I think with little literature in English and probably in general, a difficult path to traipse down.

 

Well that's my excuse :-)

 

Cheers

 

Rich

[paulb]

Hi Ford,

Just wanted to check your comment regarding black laquered same and doe skin binding. You mentioned it was a Higo trait. I thought it was a more general style relating to a period (Tensho) rather than specific area.

There are many alternative theories as to why laquer same such as sign of retired samurai but your explanation makes more sense.

 

A while ago I completed a Koshirae in Tensho style but it does not have Higo koshirae. The tsuba is early Owari the other fittings date from around Tensho. Is this a mistake on my part?

[Jean]

Thanks Guys, Merci mes amis

 

That is really what I call "an educational site".

 

Another question, I have seen several times fuchi with a flattened side, Is this related to the Kozuka?

(cf. the last one in the following link)

 

http://www.aoi-art.com/fittings/350-399/05373.html

[Ford Hallam]

Hello Paul,

 

I think you get the gist of my comments regarding black lacquered same and doe skin wraps on hilts.

I've heard that suggestion that it denotes a retired warrior but frankly it never really convinced me. The use of lacquer as a waterproofing agent was very commonplace. Some years ago the Tokyo National museum held an exhibition of all ( as many as they could gather anyway ) the uchigatana koshirae that are still extant. Apart from those examples belonging to high ranking warriors ( and preserved in temples and shrines etc. ) the overwhelming "look" is of a plain black saya, black lacquered same on the tsuka, Doe-skin wrap, plain iron fuchi, lacquered buffalo horn kashira with the wrap over it and a simple ( often quite thin) iron guard.

 

My impression of Hosokawa Tadaoki's personality is that as an veteran of many of the earlier campaigns his taste was informed but the utilitarian nature of these battlefield weapons, hence the adoption of certain traits.

 

From the sounds of it your Tensho koshirae is spot on, as long as the hilt is well waisted, I think the waisting and significant flair at the kashira end is a real pointer to this style. The Higo hilt is quite a different shape. To be really accurate to period, a lacquered horn kashira to end off. Of course you can't go wrong with a good Owari guard.

 

Jean,

you are quite correct with your assumption. The area you are referring to is called " kozuka atari". It can be seen on fuchi from many different scholls. You probably also know that the Higo swords often include a unique implement called a "umabari" or horse needle, for letting blood from the horses legs! These would often take the place of kozuka or kogai.

 

regards, Ford

[Jean]

Hi Ford,

 

Thanks for this fantastic answer and I did not know about umbari being used in Higo Koshirae!!! Does it imply that most Umbari were forged in Higo?

 

In fact, I did not know what was its difference from kogatana in its utilisation.

 

Are Higo koshirae associated with Sengoku wars? Were they so much horses in Higo at this period?

 

I am going to launch a new thread on Umbaris, that's fun

:D :D

[Ford Hallam]

Hi Jean,

 

yes, I think it's safe to say that umabari were only made in Higo. As far as I know Higo province did breed horses and so I imagine they had a few

:D . The classic Higo koshirae look came about after the Sengoku wars, when Tadaoki was in his later years and a little less war-like, but as I mentioned much of the feel of this look came from those earlier times.

 

We must also remember that the main sword of the higher ranked warriors was carried tachi style. The Higo style has more in common with the Uchigatana type of mounting which was worn the same way as a katana.

 

It's a massive subject really! , that's what keeps us all interested I suppose.

 

cheers, Ford

[Pete Klein]

Here's some drool material:

[Pete Klein]

close up:

[Pete Klein]

this koshirae was Juyo Kodogu, from Ginza Seikodo.

[Jean]

Hi Pete, Ford and Mates,

 

On Ricecracker website:

http://www.ricecracker.com/

 

Sword SK14, there is an Higo Koshirae, Is this kind of Kojiri typical of Higo Koshirae?

 

The kogai handle looks like a bashin handle

[Ford Hallam]

Morning Jean,

 

I don't know that I would say this type of kojiri is typical, but they are certainly not uncommon. I get the impression that this combination of kojiri and the full, lacquered leather wrap with the metal band in the middle is more of a late Edo period fashion. That's just the impression I have, I'd be interested to hear what others may think.

 

I must agree with you on the kogai, it does look like a more functional bashin.

 

Koichi,

 

am I right in reading "bashin" and "umabari" both from the same Kanji combination? thanks.

 

Ford

 

p.s. Thanks Pete, that is yet another sword that I must now lust after, my wife is not well pleased!

[Nobody]

am I right in reading "bashin" and "umabari" both from the same Kanji combination? thanks.

Yes, same kanji (馬針). "bashin" is Chinese reading while "umabari" is Japanese reading. But AFAIK, the kanji usually read "bashin".

[Ford Hallam]

Thanks for that Koichi, I'll buy you a tokkuri or 2 of something nice next time I'm in Tokyo, perhaps autumn.

 

kampai!, Ford

[Markus]

The classic Higo koshirae look came about after the Sengoku wars, when Tadaoki was in his later years and a little less war-like, but as I mentioned much of the feel of this look came from those earlier times.

 

Not to forget that Tadaoki was one of Rikyû´s seven pupils, so also

the esthetical sense of tea taste had very great influence in his artistical alignment.

[Ford Hallam]

This koshirae over on Aoi-art is from Higo too. This example is a little different from the general type we've been describing thus far but should also be noted as a not uncommon alternative look from this province.

 

The obvious give-away here is the Hosokawa mon on the saya. The tsuba has some sleight Higo traits but I'd suggest more of a Umetada school influence. The gold nunome-zogan on the rest of the metal fittings is typical of that province though.

Note also the "inu-me", or boar's eye shaped shitodome ana in the kabutogane/kashira, this shape is also a common Higo trait. It appears on kozuka, bashin and as hitsu-ana on tsuba as well as in many other places.http://www.aoi-art.com/fittings/7200-7249/07216.html

 

cheers, Ford

[Curran]

Jean, Martin, Ford, Peter, and all-

 

I'd not read this thread till now. It was a bit surprising to see a link to my own auction. Funny thing is that the fuchi/kashira is the only thing not to sell. I thought it was the best thing I had listed.

 

I do not know that there are too many hard rules with the Higo koshirae, as there are with things like complete Owari koshirae. I may be wrong. I have had a very long O-tanto (too early to be called a wak.) being done up in Higo koshirae. (It has been away with the artisan for 3 years, after 3 years of finding the items to assemble.... so don't try this at home unless you want to wait 6 or 7 years), but yes Ford and you have touched on most of what I know. There is an awful lot of subtle variation among the Higo sub schools, not to mention the copy cats know knocked off their designs and fact that much of it is not signed.

 

With so many Higo sub schools, calling something Higo can mean a lot of things. Still, the gold paulownia or arabesque frillwork on iron, often with an umbari and a higo school tsuba, and the distinct shapes of the higo fuchi/kashira are all pointers. But a lot of it got mish-mashed into frankenstein pseudo-higo koshirae during late Edo when the "Edo Higo" stuff produced in Edo came onto the market and you got higoesque type stuff that often didn't have the polish or cleaness of the earlier Higo work.

 

If I get my o-tanto with koshirae back this year, I will post a picture.