interesting mei

[raiden]

Couldn't find the Ikkin thread, so I just put this mei here, very interesting!

[Stephen]

Indeed!

[Ford Hallam]

Mike obviously knows, having had the pleasure of studying the piece in hand but can anyone else see exactly what is rather special, or unusual, about HOW the mei is done?

[Lee Bray]

It is very slightly raised inlay, in imitation of thick ink?

 

Gorgeously done.

[Ford Hallam]

it is slightly raised, yes...but how?

[Lee Bray]

Magic, of course.

[Bazza]

Is it gold lacquer???

 

BaZZa.

[Ford Hallam]

real gold and real silver or shibuichi.

[Stephen]

applique but with what medium I cant say

[Brian]

However it's done, it's beautiful work. Is this Funada Ikkin?

 

Brian

[Geraint]

Surely not nunome zogan?

[Ford Hallam]

Not nunome-zogan

 

and yes. Funada Ikkin II, if memory serves with respect to the kao. Books still not all unpacked...

[Stephen]

if its not applique, put us out of our pain, some of us only have so long dont ya know~

[Ford Hallam]

put us out of our pain, some of us only have so long dont ya know~

 

ok, ok...but only because I care :D and you won't get this sort of detail anywhere else either, no matter how many Japanese texts are translated.

 

The initial technique used is called keshi-zogan. The mei is chiselled as usual but the cavities thus produced are then filled with an mercury/gold amalgam. The mercury is driven off by means of heating and the process repeated until the cavities are completely filled. The surface is burnished to compress the gold infill and then polished smooth using fine stones, and charcoal. The clever bit is the next step. The silver, or shibuichi, ground is then lightly etched to leave the gold ever so slightly raised. This also explains that curious texture on the ground, it reflects the internal structure of the metal.

 

Standard keshi-zogan can be generally distinguished from regular wire inlay by examining the ends of lines. With wire the end is relatively square whereas with keshi-zogan it tapers out as the chisel lifts out of the line. It is possible to create a squarish end with a chisel so you need to sometimes look for other clues like tiny pockets in the gold which you'd not see if it were wire. Keshi-zogan can only be carried out on non-ferrous metals and alloys.

[b.hennick]

Hi Ford:

I am looking forward to reading that and other gems in the book series that you are working on. Now that the funding pressure is off it is great to see that you have some time to share with us on messageboard." Nice when a plan comes together."

[docliss]

This interesting mei reads FUNADA IKKIN YOSHINAGA with kao, and this mei and kao are, surely, those of Funada Ikkin I.

 

John L.

[Brian]

Thanks Ford, that is awesome info.

And of course to Mike, for sharing it. Would love to see more pics of the kozuka. Great when the mei itself is as artful as the work itself.

 

Brian

[Ford Hallam]

Hi Dr John

 

of course you're correct. The left hand vertical stroke of the 1st generation master goes below the horisontal stroke while the son's does not. Now I'm spurred on to get my library in order

 

Here's the link to the lengthy discussion we had about the two;

http://www.militaria.co.za/nmb/viewtopic.php?f=2&t=11103&st=0&sk=t&sd=a&hilit=funada+ikkin

[raiden]

As far as I know, and have been told, this mei is very rare being done in zogan. I have never seen one before, and I have bought alot of Ikkin in the past years. Very interesting and well done mei. I will take pics later, been busy with a big project and taking care of my son.

BTY I hope Im not crossing any lines, but we just put up a very nice tenryushi masataka with akikusui hamon and nmb members can get a special discount