Tsuba Kantei 2015...

[BIG]

Hi David,

 

nice Link

 

http://www.nihontocraft.com/Kanayama_tsuba.htm

 

 

Best Regards

[Soshin]

Hi Peter Reusch,

 

Thanks for the link to the nice example with a really great custom fitted display box.  At the beginning of the year I was in the market to find one really nice example of the Kanayama group for my collection that focuses on the different groups and schools of Owari and Higo Provinces.  I was considering this tsuba you linked to with NBTHK Hozon papers on Nihontocraft website and another tsuba with NBTHK Tokubetsu Hozon paper to Kanayama on a Japanese dealers website.  This other tsuba is no longer on the Japanese dealers website.       

[MauroP]

Hi everybody,

I have no particular or personal interest in pre-dating or post-dating that kind of tsuba we usually refer as Kanayama. But some reputed members in this forum have clearly stated that dating a Kanayama tsuba to mid-Muromachi "makes little sense in terms of cultural context" and advise "not take Sasano as any form of orthodoxy". Well, I don't indulge in any form of fascination for authoritative ipse dixit, but I'm not able to see new facts here. The Azuchi-Momoyama period is undoubtedly a very important political turning point in Japanese history, but lasted just 30 years, and in such short time is quite unlikely that the cultural context changed so abruptly. What I'm trying to say is that the burden of evidence should be sustained by the supporters of the Momoyama hypothesis.

Bye, Mauro

[Steve Waszak]

Hi Mauro,

 

In fact, the cultural context did change (relatively) abruptly in the Momoyama age.  Specifically (and germane to this thread), the rapid ascent of Tea Culture associated with the Buke meant that the particular aesthetic principles held and expressed by Tea were elevated to lofty heights.  Those aesthetics are easily seen manifesting in a variety of tea wares developed between the 1570s and the first decade of the 1600s.  Examples of ceramic wares specifically designed and developed for the kind of Tea practiced by the Buke in the Momoyama Period include Mino (Shino, Seto, Oribe), Iga, Raku, Shigaraki, and others.  The detailed aesthetic features present in such wares are very closedly emulated by Kanayama tsuba, along with other types of Owari province works of the time.  It probably doesn't hurt that the dominant political figures of the age (Oda Nobunaga and Toyotomi Hideyoshi) were both Owari men.  Further, Oda is known to have initiaed (or greatly expanded) the giving of objects such as tea vessels (and tsuba?) to his vassals for services performed especially well.  Prior to the Momoyama Period, the aesthetics we see so popular in Tea Culture of those decades were not in favor.  Instead, it was a much more formal, polished, slick and symmetrical Chinese aesthetic that dominated.  So not only did the (relevant) culture change dramatically over a short time, it changed specifically in the direction of an aesthetic that Kanayama tsuba perfectly embody and express. 

 

Cheers,

 

Steve

[Soshin]

Hi Steve,

 

Can you give us some other examples besides sword fittings of how the new Azuchi-Momoyama tea culture had an affect on the art aesthetic of things far removed from the tea ceremony itself? I am asking this question because I want to learn and I also find it intesting that the tea ceremony would have such a profound effect on items not at all used in the tea ceremony such as a katana. For example where thier tea ceremony style homes, riding saddles, and pajamas used by samurai?

[cabowen]

I'm sure Steve will be along but I would suggest a google search...Here is an excerpt from Wikipedia:

The next major period in Japanese history was the Muromachi Period, pointing to the rise of Kitayama Culture (ja:北山文化 Kitayama bunka^?), centered around the gorgeous cultural world of Ashikaga Yoshimitsu and his villa in the northern hills of Kyoto (Kinkaku-ji), and later during this period, the rise of Higashiyama Culture, centered around the elegant cultural world of Ashikaga Yoshimasa and his retirement villa in the eastern hills of Kyoto (Ginkaku-ji). This period saw the budding of what is generally regarded as Japanese traditional culture as we know it today.

The Japanese tea ceremony developed as a "transformative practice", and began to evolve its own aesthetic, in particular that of "sabi" and "wabi" principles. "Wabi" represents the inner, or spiritual, experiences of human lives. Its original meaning indicated quiet or sober refinement, or subdued taste "characterized by humility, restraint, simplicity, naturalism, profundity, imperfection, and asymmetry" and "emphasizes simple, unadorned objects and architectural space, and celebrates the mellow beauty that time and care impart to materials."^[6] "Sabi," on the other hand, represents the outer, or material side of life. Originally, it meant "worn," "weathered," or "decayed." Particularly among the nobility, understanding emptiness was considered the most effective means to spiritual awakening, while embracing imperfection was honoured as a healthy reminder to cherish our unpolished selves, here and now, just as we are - the first step to "satori" or enlightenment.^[7]

Murata Jukō is known in chanoyu history as an early developer of tea ceremony as a spiritual practice. He studied Zen under the monk Ikkyū, who revitalized Zen in the 15th century, and this is considered to have influenced his concept of chanoyu.^[8]

By the 16th century, tea drinking had spread to all levels of society in Japan. Sen no Rikyū and his work Southern Record, perhaps the most well-known—and still revered—historical figure in tea ceremony, followed his master Takeno Jōō's concept of ichi-go ichi-e, a philosophy that each meeting should be treasured, for it can never be reproduced. His teachings perfected many newly developed forms in architecture and gardens, art, and the full development of the "way of tea". The principles he set forward—harmony (和 wa^?), respect (敬 kei^?), purity (清 sei^?), and tranquility (寂 jaku^?)—are still central to tea ceremony.

[Soshin]

 

The Japanese tea ceremony developed as a "transformative practice", and began to evolve its own aesthetic, in particular that of "sabi" and "wabi" principles. "Wabi" represents the inner, or spiritual, experiences of human lives. Its original meaning indicated quiet or sober refinement, or subdued taste "characterized by humility, restraint, simplicity, naturalism, profundity, imperfection, and asymmetry" and "emphasizes simple, unadorned objects and architectural space, and celebrates the mellow beauty that time and care impart to materials."^[6] "Sabi," on the other hand, represents the outer, or material side of life. Originally, it meant "worn," "weathered," or "decayed." Particularly among the nobility, understanding emptiness was considered the most effective means to spiritual awakening, while embracing imperfection was honoured as a healthy reminder to cherish our unpolished selves, here and now, just as we are - the first step to "satori" or enlightenment.^[7]

Hi Chris,

 

I think these statement sum up my tsuba perfectly.  The wabi/sabi aesthetic principles as defined by Sen no Rikyū was clearly in play in the conceptualization of my tsuba by its maker.      

[Steve Waszak]

Well, Chris has stolen my thunder pretty effectively here...   I might only emphasize the specific architectural ethos and "pathos" expressed in the tea cottages of Momoyama times as being another manifestation of the particular aesthetic principles informing and/or surrounding Tea.  These cottages were significant architectural departures in some ways from the various structures associated with upper-class life (including Buddhist temples and Shinto shrines) of that period, and again, we may see the departures here echoing specfic aesthetic details in Kanayama tsuba (Chris' post notes many of these very well).  I would add, too, that certain media lend themselves especially well to the emulating or otherwise expressing of the aesthetics of Tea vessels of the time.  David, you'd mentioned saddles and "pajamas," but such media wouldn't be as suitable to the expressing of sabi, yugen, wabi, shibusa, and other aesthetic principles/values as iron likely would be.  Thus, tea kettles, ceramics, tsuba, stone lanterns, and the like work well for this aesthetic but other media may not.  There is much more that might be said here, too, concerning the likely semiotic function of tsuba (and Tea, of course) among the Buke of the period, but I recall a thread from some time ago already indulging in that, so I won't risk redundancy here...  

 

Cheers,

 

Steve

[Soshin]

Hi Everyone,

 

Received some feedback from the Tampa show about this tsuba which I had on display only. One issue that was raised was that I should consider submitting this tsuba for NTHK yushu-saku shinsa. Never seen any yushu-saku tsuba before therefore I have no reference point to judge the likelihood it would pass. Does the NTHK publish a book or magazine with them much like the NBTHK does with its Juyo Nihonto and Tosogu? I have seen NBTHK Juyo Kanayama tsuba before in the monthly magazine.

[Pete Klein]

NTHK shinsa is in Chicago in April so why not go there and ask them in person?

[Soshin]

Hi Pete,

 

Thanks for reply.  I remember telling Mark Jones, Grey Doffin, and others this at the dealers dinner Saturday night at the Tampa show the reason for not attending the Chicago show this year.  I can't make the Chicago show this year nor participate (i.e. submitting something and asking questions) in the NTHK shinsa as I normally do because I will  be going to Japan in April for a few weeks.  This is mostly a family related planning trip but I will get one free day in Tokyo to do all my nihonto related actives in around greater Toyko.        

[cabowen]

NTHK-NPO will be publishing a book of recent Yushu rated blades and fittings in the near future.

[Soshin]

Hi Chris B.,

 

Thank you so much for the reply. Looking forward to seeing such a publication by the NTHK-NPO. Let us known where and when such a book can be purchased. Since my tsuba entered NTHK shinsa before the NTHK, NTHK-NPO division can I submit it to the NTHK-NPO yushin-saku shinsa directly at Tampa next year? I am asking as I will be able to attend Tampa show next year but will likely just get a three day pass and not have a table.

[cabowen]

All Yushu submissions must be done in Japan. The Yushu shinsa is held once a year in the Fall. My understanding is it doesn't matter if it was submitted prior to the split.

[Soshin]

Hi Chris,

 

Mike Y. gave me positive feedback about the tsuba at the Tampa show. My tsuba is in my educated opinion comparable to some of the Juyo level Kanayama tsuba published by the NBTHK. Would it need to get a new kanteisho paper before submission to yushin-saku shinsa of the NTHK-NPO in Japan? If so then a submission via Paul Martin in Summer right before the Fall yushin-saku shinsa might be the way to go. I will be using Paul's service next month for the first time on a set of menuki that I want to submit to the NBTHK.

[cabowen]

If it already has NTHK kantei sho and you have the worksheet stating that it received over 79 points, then you would submit a copy of those along with the tsuba directly to the Yushu shinsa. No doubt Paul could do that for you.

[Soshin]

Hi Chris B.,

Thanks for the information. No problem then. I have the kantei-sho and the original worksheet stating that it recieved a 81 point score at the 2002 NTHK shinsa. I will discuss this later this year with Paul Martin about the timing of when I send it to Japan in time for NTHK-NPO yushu shinsa.