What does good / superior nanako work look like?

[kaigunair]

Not sure if this is a can-o-worms but I hope its an appropriate noephyte question....

 

Looking into the Yanagawa school, I keep reading about the superior nanako ground work on shakudo. I was wondering if there is a set of guidelines regarding how to judge nanako work and how to distinguish between "good" and "superior" nanako work. What are the kantei points?

 

All other factors being consistent, is smaller nanako work better than larger sizes? Are there different nanako patterns (and are they named like patterns in the hamon or ji)?

 

Finally, is there a difference between nanako work that was done before vs after the main designs were carved out or inlayed in? I've read about the nanako preparers who worked for the goto and yokoya smiths, which I interperate to mean the nanako was done prior to the addition of motifs/figures. However, I've seen lots of nanako work that seems to follow the inlayed or carved out designs, implying the nanako was applied after the design. Any insight into this topic and how it affects kantei would be much appreciated.

 

Thanks in advance.

[Brian]

viewtopic.php?f=2&t=12854

viewtopic.php?f=2&t=11551

 

Brian

[kaigunair]

Thanks for the link Brian. Can't believe I missed those threads.

 

I'm still curious if there are different styles and terms for nanako, or is nanako just done one way, like calling something made of shakudo or shibuishi. Are there some nanako more square than circle, sizing (ko-nanako vs nanako like terms for nie). Are there schools that had a trademark style nanako? How about deep vs shallow nanako?

 

Maybe I'm over thinking this area, and there is just nanko done in very tight & straight lines, and nanko that, well, isn't.....

[nagamaki - Franco]

This is from the book, 'Soken Kodogu Yogo to Meisho no Kaisetsu, an Explanation of Sword Terminology Taken From The Notebooks of Rear Admiral Edwin T. Layton, U.S. Navy (Retired) and other sources' by Alan Harvie:Nanako Ji: "fish roe ground" A surface decoration produced by forming very small raised bosses by a sharply struck punch or burin called 'nanako tagane'. Shakudo is the metal most often used, but copper and gold are quite often employed. The harder metals, shibuichi, silver and iron are rarely decorated in this way. The size of the dots vary from 0.04" to 0.008" (25 to 125 and inch) and the regularity of the work is marvelous as the dots must be spaced entirely by touch. The dots are usually arranged in straight lines or in lines parallel to the edge of the piece being decorated, but sometimes in more elaborate patterns. Used on guards since the Momoyama period although the technique existed since much earlier periods. Usually done by specialist 'nanako-shi', but sometimes done by the maker of the guard himself. The articles of sword ornamentation made by the Goto artists were practically all on shakudo grounds with nanako finish; after the emergence of the machibori artisans in the mid-Edo period and the popularity of the newly inspired kozuka, shakudo grounds with nanako finish "became the rage". Nanako finish is probably an evolution and refinement of a very old style finish (which it vaguely resembles); "millet finish", 'awa ishime', which is found on some old armorer tsuba. However, awa ishime consisted of small, round dimples punched into the surface of the ground; on the other hand, nanako is formed by striking the ground with a cup-shaped punch to raise, and project upward from the surface, small semi-hemispheric nipples. Since we find nanako finish on old yamagane grounds, it was in use as early as the Kamakura period. It is note-worthy that a nanako finish on a shakudo ground has been used since the time of the first Goto [1440 - 151] in the mitokoromono, "set of three", for use on formal or ceremonial occasions. Later, shakudo nanako became the regular finish for use by the metal artisans. (deleted repeated sentences) In applying nanako, meticulous and scrupulous care must be used in positioning and striking the "cupping tool" in order to achieve fine, regular, carefully and closely spaced, identical results, row after row. Careless, imprecise and even coarse workmanship can be detected in the nanako of some older works and on "ready made" products, but work of later years, executed with infinite and scrupulous care, are beautiful beyond belief. However, even the finest of execution of nanako finish applied to brass (shinchu) or shibuichi fails to carry the distinct air of refinement and elegance of similar work on shakudo. The very elegance of nanako workmanship reflects not only the extraordinary skills of the Japanese in the execution of minute, detailed work, but also their tremendous patience and artistic inspiration. It is said that blindness of nanako workers at thirty years of age was usual because of the microscopic and meticulous work so carefully and patiently executed. On many old tsuba, pre-dating the period of the Goto, one encounters nanako laid in horizontal or vertical rows; on subsequent work nanako was applied along curved lines conforming to the shape of the tsuba. The Goto family are classed as artists, just as painters, sculptors and calligraphers; they personally carved, engraved, or formed designs in metal, some of which were anchored by the 'shikakari' (1)method, but the nanako was done for them by specialists in that work, whom they employed for that single purpose. The Goto attached the greatest importance to the recruiting, training and careers of superb nanako artisans, but scarcely a single name is known today. Oral tradition is that by careful examination of the workmanship in the execution of nanako, the identity of the Goto master can be determined. There are several types and classifications of nanako, some exceptionally minutely executed, while others show mixed effects:Tatsuta Nanako: Applied in horizontal rows, this style is prevalent in Goto work. There are three discernable types developed over the years. Type A is that of the early Goto and is seldom encountered. The nipple grain is small and closely set with attention to the vertical alignment which is slightly slanted. Type B is the form used by the mid-Edo Goto and many other contemporary schools. The grain is a little larger and the angle is diagonal to the edge to which the horizontal grains run parallel. Type C, in vogue during the closing years of the Bakufu, has the grain smaller and relatively low with evidence of excellent hammer control, resulting in a a very even and fine nipple line. The alignment is horizontal with reference to the edge and the vertical alignment varies somewhat.http://www.nihontokanjipages.com/forum/ ... .jpgGunome Nanako: Said to have been invented by the second master of the Muneta family, Matabei, about 1560. There are two patterns: Type D shows the original design in which the nanako nipples are so arranged as to fall uniformly into diamond shaped groups of five each with a straight line produced on each of the four sides. The second, and later pattern Type E, was with the nipples. larger in the case, being arranged in rows at absolute right angles. The gunome is so-called due to the resemblance to that of the disposition of 'go' pieces on the board in the game of 'Go'.http://www.nihontokanjipages.com/forum/ ... .jpgDaimyo To Nanako: Introduced approximately a century later (ca. 1740 - 50) by another Muneta master, Norinao, was the so-called daimyo to nanako, due to its being deemed to be of such excellence as to be reserved for the use of the great lords: daimyo and nobles. The grains, or nipples, were arranged in horizontal rows separated by spaces of equal size. In some, the background has flowered figures on it, so small they can only be seen with the help of a fairly strong magnifying glass. In some cases there are three grains, one on top of the other. Ignored by the Goto family but used by other kinko. Seldom seen.Shaka Nanako Ji: The nipples of the type of nanako are extremely large and are said to resemble the "curls" one sees on the head of Buddha -- representing the snails that covered Buddha's head to protect him from the heat of the sun -- according to Buddhist lore. Irregular nanako was, as a general rule, punched by the shitaji, plate makers, or amateurs and is of no consequence. It should be remembered that nanako was punched free-hand and was not meant to be scrutinized under a magnifying glass. Necessary allowances should be made when patterns are being examined. In the style of decoration called 'kin sunago ji', gold dust ground, the design is in flat inlay of various metals and then gone over with nanako. The uniformity and regularity of the grains when changing from a hard to soft metal, or the reverse, is wonderful.

 

Below are examples of nanako from two kozuka, the 1st a Sonobe, the 2nd a Goto. Each example begins with a scale size image of a portion of the nanako viewed at a distance of 16 inches, the 2nd images are blown up for detail. Both are shakudo nanako executed in single punch. Any distortion in the enlarged image is in the image, not the actual piece. The Goto nanako is virtually so small it is difficult to see without magnification.

 

 

[kaigunair]

Franco, this is exactly what I was looking for! Wonderful article. Thanks!

 

Will look to pull it apart and find examples of each type of nanako discussed. Thank you again!

[b.hennick]

Had you been at the Chicago sword show presentation by Mike Yamasaki you would have seen botrh poor and good nanako. The good stuff is amazing.

Note the pattern of the nanako.

[cabowen]

I find that good nanako is like pornography. You will know it when you see it...

[kaigunair]

Hi Barry,

I wish I had been able to make it, but the august show will have to do. I'll be there in had with my nex + 16mm macro lense looking for nanako.

 

As much as I appreciate the picture, it is hard to see the details of the individual nanako itself in order to determine which type of nanako it is per the great article posted. It is a lovely circular pattern though! I think it will be a long while before I will be able to afford a goodsuperior nanako tsuba. Plus, the example I"m looknig at is also a kozuka. Fortunately, many of the club members have kozuka where I think it would be difficult to find a circular pattern arrangement on.

 

The article confirms my belief that there is much more detail in "nanako" than most are aware of. I don't recall any of the Japanese dealer websites specifying nanako types, which surpises me. It would be like saying all patterns in a ji are "curley" or "straight". With so many different terms for specific jigane, I thought it strange the same attention isn't paid to "nanako"....

 

a very interesting topic

[kaigunair]

Hi Cabowen, looks like we were replying at the same time. I'd prefer to think in terms of a good wife whom you'd gladly spend all your $ on and you grow to appreciate more and more as you learn about the finer details, vs the alternatives....

 

While it is easy to appreciate good nanako, knowing more about the different types and techniques out there is hopefully a step towards connoisseurship.... :D

[Brian]

Barry,

Very nice indeed. Not often you see nanako following the curves like that. Quite impressive.

 

Brian

[nagamaki - Franco]

Will look to pull it apart and find examples of each type of nanako discussed. Thank you again!

 

One key to ID'ing good nanako is regardless of how much it is enlarged thru magnification or enlarged imagery, it still retains its perfect look. Lots of nanako looks just fine, even impressive when small, but the litmus test is how does it look under additional magnification. Under such circumstances all of the sudden the spacing and rows begin to show a lack of uniformity in what otherwise looked "perfect" when small. In the two examples previously posted the rows, spacing, and overall patterns remain absolutely true no matter how enlarged.

[kaigunair]

Wow Franco, that's great!!!! Thanks so much!!!!

 

Is there a similar diagram that describes different shapes of the single nanako itself? I found an older thread that talked about the Goto using a crescent shaped head vs round....

 

Gotta get that book!

[nagamaki - Franco]

Is there a similar diagram that describes different shapes of the single nanako itself?

 

There may well be, don't know. In some cases I'm sure that is a kantei point in id'ing certain schools and makers, especially when they made their own punch.

[raiden]

left to right - unsigned, Goto Mitsunari, Omori Hidekazu, araki Tomei.

[raiden]

They are the reverse side of Fuchi

[kaigunair]

Thanks mike. I really appreciate how you post exquisite pieces an even more so when you help neophytes like myself with examples like these.

[Brian]

Thanks Mike, great photos. That first one is unusual, and very effective. Really like the pattern.

The pics also show something that I wasn't expecting....not all of the nanako by top makers is as uniform and perfect as I expected. That Tomei nanako is well done, but not those perfect straight and even lines we always expect. Maybe we put these quality expectations into too-neat little boxes and don't allow for variations. All great examples though.

 

Brian

[runagmc]

I thought the same thing, Brian... I would have expected better...

Then again, the lighting and magnification could be partly to blame...

[Brian]

Thinking about it...I think the reason may be that Mike's photography is simply too good.

I was looking at them, and wondering what they would look like in real size, and if anything like this, then that nanako really is staggering considering the size.

 

Brian

[Ford Hallam]

Brian,

 

this is the irreconcilable issue with where we're at with digital photography. We so easily produce close up images today that even 10 years ago would have been cause for amazement. We tend to forget that a photograph, no matter how sharp or close, is only an approximation of the real thing.

 

Rene Magritte made exactly this point...

 

 

the caption reads; " this is not a pipe"

[nagamaki - Franco]

Not all nanako are created equal, appreciation requires evaluation of consistency in strike, cone shape, spacing and lines. Keep in mind that the nanako is being produced as much by feel as anything else, too small for visual to be the primary guide, so consistency of tap force and feel placement of the punch in relation to the nanako previously made is critical. Think about it, just one or two misalignments can create a domino affect in a row that very well may extend to more. One must also consider and take into account the overall affect as intended as part of the scene being depicted. Is some of the nanako being of different shape intentional, purposeful, or not(?). The following image, again, is the Sonobe Yoshihide. Although focus is distorted, it still demonstrates its quality nanako.

[raiden]

Ishiguro Koreyoshi

[raiden]

Kono Haruaki

[raiden]

ugly cast nanako kozenshi kazuuchi mono.

[Ford Hallam]

This is some pretty tidy nanako. From a Kamishimo Daisho koshirae I once owned.

 

[Brian]

Thanks to you and Mike, I have now had to add 2 new smileys. :lol:

 

 

Brian

[Soshin]

Thanks to you and Mike, I have now had to add 2 new smileys. :lol:

 

 

Brian

 

Hi Brian,

 

So that is why I see the two new smileys this evening. With what Mike Y. posted. I will need them as well.

 

 

 

Yours truly,

David Stiles

[runagmc]

Ford, that may be the most uniform nanako I've seen to this point... it would be hard to do any better than that I think...

[Bazza]

Does Ford's example suggest the use of a matrix punch????

 

BaZZa.

[runagmc]

I assume by matrix punch you mean a multi-nanako punch, which is a possibility...

I've never tried one, but having played around with regular nanako punches, I would think it would still be very difficult to maintain such uniformity even with a multi-nanako punch...

 

After a fair amount of experimentation, I can do pretty good looking nanako, but I still haven't been able to achieve this kind of perfection, so I don't know One thing I do know is that the angle of light reflection, and viewpoint of the camera (or your eyes), can hide imperfections in the nanako, so maybe it's not quite as perfect as it appears in these photos...