Question About Matched (Theme) Koshirae Fittings

[Barrie B]

 

 

In line with the aesthetic philosophy espoused by the cult of Cha-no-yu sets of matching anything would have been eschewed. A koshirae that displayed only tadpoles would have been regarded as terribly dull, possibly reflective of an uncultured and unimaginative mind and lacking a refined sense of taste. Having every piece decorated with the same subject hardly requires any thought at all, the Edo period equivalent of matching Louis Vuitton luggage  

 

I was reading a very good topic in the Tosogu thread (Fun Set of Menuki by Soshu) when I read Fords post and stated to get curious about this. Although I can totally agree with you, Ford, I am also confused. Matched fittings look nice - don't they?

 

I remember a fantastic Tanto Koshirae that was for sale on this board in Jan of 2013. All the fittings were exactly the same material and theme; made of silver by Sakai Kishin (H 03210.0) displaying Sakura blossoms or flowers. A beautiful Koshirae from memory..

 

 

I have this set displaying pine needles.. Although the Tsuba, Menuki and Kozuka are missing and might have been different (i.e. displaying pine cones instead of needles or a completely different theme that ties in some way), we see koshirae with the same fittings (ensemble) regularly.. many made all by the same hand and completely matching. 

 

I have also previously heard strong debate on this forum about deliberately not matching the fittings as well…. I also agree with this theory - and there are many very fine (historical) examples that proves this...

 

I had never considered that all matching fittings could be considered 'dull'.. Is this a product of our unrefined 'Western taste'..?

 

Again Ford, your contribution is appreciated and certainly food for thought… Thank you.

 

Barrie. 

[John A Stuart]

There are times when matching tousogu are magnificent and times where mismatched look great too. However, it isn't just cobbling any old thing, it takes thoughtfulness and there is usually some connectedness between the pieces. Maybe not readily apparent unless the viewer is of the culture or supremely aware of it. Like fuchigashira having a pine theme and the tsuba having deer depicted, maybe bat menuki. John

[Pete Klein]

...then add a pinch of Yatsuhashi:

 

[Soshin]

Hi Pete,

 

Is that your tsuba? I really like it.

[Pete Klein]

http://art.thewalters.org/detail/28056/tsuba-with-the-eight-plank-bridge-yatsuhashi-from-the-tales-of-ise/

[Alan Morton]

Very very nice set Baz

A& S

[Ford Hallam]

Hello Barrie

 

As John pointed out and you asked, yes, there are times when a matched set can look quite good and even appropriate. I merely offered that bit of info as a counter to what seemed like a pretty one-sided view-point being expressed on that other thread

 

But the military mind is not the most natural ground for irregularity and apparent haphazardness. The Shogunate and the warrior class in general were pretty uptight bunch really. Despite the whitewashing we're talking about an oppresive military dictatorship. They liked things kept in order and in their place. It was the Chōnin (townsmen) who were the real arbiters of taste and style in the Edo period and for the most part they regarded the warrior class as unrefined and boorish.

 

An intelligently and sensitively put together set of apparently mismatched fitting would signal the taste of a confidant and singular aesthetic mind. A well known example might be the Kasen koshirae puported to have been 'designed' by Hosokawa Sansai, the higo Daimyō. In fact it's a feature of Higo koshirae that they don't match in a conventional sense, except for han-dachi mounting.

 

Recent discussions might have correctly observed that skilfully mismatched elements are also a feature of the aesthetic expression known as Iki. It's somewhat ironic that attempts are being made today to suggest that the Samurai class were 'hip' with Iki though. The underlying spirit of Iki was one of defiance and subtle rebellion. A show of spirit in the face of a couple of hundred years of abusive control. Iki is the antithisis of warrior culture. Warriors impose and follow rules, the oppressed resist and subvert those rules.

[Barrie B]

Thanks Ford.. Very interesting - and educational. It has certainly changed my perception about (all matching) Koshirae..! 

 

Barrie.

[Ford Hallam]

Happy to add food for thought, Barrie :-)

 

It occured to me, thinking further about the Higo 'style', that far from being truly idiosyncratic the reiterations of the style Hosokawa Sansai created are not creative expressions at all. For the most part they, yet again, follow prescribed rules. It's an interesting to consider genuine creativity in the face of an essentially conformist social structure.

[Pete Klein]

I would suspect that Hosokawa Tadaoki aka Sansai as one of the seven disciples of Sen no Riikyu was educated in the principles of wabi cha and therefore would have had the ability to coordinate stylistic pairings of tea wares and artworks for the tea ceremony.  He also was directly involved with Oda Nobunaga, Toyotomi Hideyoshi and Tokugawa Ieyasu in important campaigns  and would have been exposed to many cultural occasions.  He and Furuta Oribe (another of the seven disciples) were the only ones to see Sen no Rikyu off to his death, and later saw Oribe off to his.  He brought Hirata Hikozo with him from Tango (where he had worked along with his father Matsumoto as kinko to the Hosokawa) in the move first to Buzen ~1603 and then to Kumamoto (Higo) Domain in 1632 when his son Tadatoki was given the region by the Tokugawa.  There Hikozo, and after his death in 1635 his son Shosaburo  influenced the makers Nishigaki Kanshiro (who had come with fro Tango), Hirata (to become Shimizu) Jinbei (he was the first Hikozo's nephew) and others.  It would seem that much of Sansai's life was spent prior to the move to Buzen/Kumamoto and therefore any stylistic ventures would not be 'Higo' influenced but would rather become the influence to Higo style.  Suffice it to say I would imagine Sansai would have been capable of designing a koshirae, or at very least have known how to conceptualize one.  The influence of wabi cha would most likely be a component.

 

 

https://en.wikipedia.org/wiki/Kumamoto_Domain

https://en.wikipedia.org/wiki/Hosokawa_Tadaoki

[Ford Hallam]

Pete,

 

I merely refered to the 'Higo style' as this is what we now recognise Sansai's origional expression as having inspired. My point being that what we now recognise as Higo style derives from what he did and is not in it's reiterations really in any meaningful way expressively original, merely fashion.

The reference in his aesthetic to the cult of tea was previously acknowledged when I pointed out the preference of unmatching items used in that ceremony. 

[kaigunair]

But the military mind is not the most natural ground for irregularity and apparent haphazardness. The Shogunate and the warrior class in general were pretty uptight bunch really. Despite the whitewashing we're talking about an oppresive military dictatorship. They liked things kept in order and in their place. It was the Chōnin (townsmen) who were the real arbiters of taste and style in the Edo period and for the most part they regarded the warrior class as unrefined and boorish.

 

....Recent discussions might have correctly observed that skilfully mismatched elements are also a feature of the aesthetic expression known as Iki. It's somewhat ironic that attempts are being made today to suggest that the Samurai class were 'hip' with Iki though. The underlying spirit of Iki was one of defiance and subtle rebellion. A show of spirit in the face of a couple of hundred years of abusive control. Iki is the antithisis of warrior culture. Warriors impose and follow rules, the oppressed resist and subvert those rules.

 

Ooh, have to disagree.  Tozama vs Fudai samurai.  Higo exile of Sansei was one, Satsuma and Choshu samurai were quite oppressed and resistant to the Tokugawa shogun and his boys....up to the point of the Meiji restoration.  To imply that these warriors were anything but in opposition to the establishment, for hundreds of years, would be re-writing history.  Its surprising that the study of tosogu DOESN'T include a deep analysis of the subversive and anti-shogunate message fittings produced during the Edo period probably contain depending on what area and what clan ordered them...  (probably doesn't apply to machibori kinko to the same extent)

 

My understanding of Edo period classes is that the "merchant" class still wanted to be bushi class...and paid to be adopted into it when they could.  If anything, I would think the practice of samurai wanting to be part of the nobility was in decline after Oda/Hideyoshi/Tokugawa.  But I would love to see some historical evidence that the merchant classes stop seeing themselves as less than the bushi class... 

[Ford Hallam]

 Junichi

 

It may be true that within the ruling class there were always resistant factions to the centralised goverement but, never the less , on the whole the Samurai class oppressed everyone else. Surely you can't disagree with that statement.   It's worth remembering that the warrior class only comprised 7 to 10% of the population yet for the most part discussions here seem to evolve around Samurai history, which is understandable, but it does present a very one-sided view of social history in Japan.

 

And just to be clear, central goverment tended to focus on the capital city in terms of social control while local Daimyo were left to control and tax their own subjects. The Daimyo were then subject to levies and regulation by the bakufu. Trade out of Nagasaki was an exception as it was a very important economic centre for the goverment and they kept a close eye on matters there. And yes, there are records of merchants buying status but this hardly suggests that as a group they aspired to be warrior class but rather merely that certain individuals wanted increased percieved social standing and perhaps the concomitant business advantage their new position bought.  A close reading of various social histories makes the relationships between the warrior class and the rest very clear. In fact extant records make for facinating reading and the constant attempts by the bakufu and Han leaders to regulate and censor the populace are almost amusing in that they reveal a society continually wriggling to find ways to escape this restrictive control. Remember also that the Edo period was  an era of increasing taxation and regular periods of famine when starving commoners rioted in desperate attempts avoid staving to death. A too successful merchant who flouted his wealth might easily find everything confiscated and himself banished to some backwater. The warrior class were seen by the general populace as parasitic, capricious and dangerous. And it is in this almost nihlistic context to life we find the townspeople 'living for the day' and in many subtle ways 'flipping the bird' to their overlords. Not a great deal of love lost there.

 

As for evidence of resistance to state oppression as expressed in fittings you'd have to look to other art forms. This is generally discussed in most books on Edo period art. And it wasn't the warrior class making the art The Iebori were the ones following the rules and expressing the officially approved taste while the Machibori lived as Chōnin. This is why Machibori work is so lively and innovative while the Iebori just kept doing what they'd always done.

 

Mining, Monies, and Culture in Early Modern Societies

 

Market Integration and Famines in Early Modern Japan

 

Japan to 1600: A Social and Economic History

 

Handbook to Life in Medieval and Early Modern Japan

 

Lust, Commerce, and Corruption: An Account of What I Have Seen and Heard, by an Edo Samurai (Translations from the Asian Classics)

 

Kaempfer's Japan: Tokugawa Culture Observed

[Ford Hallam]

it seems that the topic I've touched on, that of commoner and warrior relations in the Edo period is probably too complex to properly characterise in forum posts but as I've offered a few thoughts already I feel it important to at least add one more salient feature. That being the actual economic realities both faced.

 

The fact is, the economic growth during the Tokugawa period was bad for the samurai but good for the commoners.

 

"While they were not shy about commenting wryly on the state of society, urban commoners were not political activists. Peasant protests did break out in the eighteenth century,largely due to authorities’ failure to provide relief during times of crop failure and food shortage. But the new urban bourgeoisie did not attempt to overthrow the warrior government. Rather, urban commoners tended to turn away from the troublesome world of politics. They used their newfound wealth to fashion a new style of life and art. While the new style borrowed aspects of elite “high” culture, it was in many ways utterly new to the early modern urban scene. By the Genroku period (1688-1703), one could see in Edo and other cities a flourishing merchant class that was developing a cultural style all its own. Merchants flaunted their wealth, building enormous houses and dressing in finery that exceeded that of samurai. The shogunate was not at all happy about this. It repeatedly issued laws forbidding merchants to wear fine silk clothes and restricting the construction of large and showy homes in merchant quarters."

 

[Tokugawa Japan: An Introductory Essay by Marcia Yonemoto, 2008]

[kaigunair]

Ford,

 

While I understand and have believed much about the samurai vs merchants and farmers, it is interesting to ponder how much of the current view point is based on the meiji narrative of the Edo period, as well as post wwii anti-militarism spirit.  I love a kurosawa as much as the next guy, but he had a POV and narrative to tell which we can debate about how historically accurate it was.  How much of this would be like future studies on life during the early 21st century, looking at the Occupy, Fruitvale and Ferguson protests and extrapolating what life was like in the early 21st century. What level of control of the arts and daily life would be attributed to the 1%'ers?  How political is all the artwork (including movies and television) during this time and how much of it fluf to make a buck?  Its interesting to look at current Chinese cinema and their view point of pre-communist life of the everyday man.  How different or similar is basis for which we form our view of the bushi class during the Edo (early, mid, late) or other periods?

 

But more on topic, for comparison purposes, Iebori themes would be better compared against something like Kaga goto, the Maeda being a tozama daimyo.  Or against the themes of Satsuma and HIgo works.  We might wonder whether there were hidden meaning behind the oft neglected Choshu landscapes.  These were daimyo who felt they had a better claim to the throne than the Tokugawa, better background and pedigree, learning and nobility.  As warriors, they would not have taken Tokugawa rule on their backs, and would have taken every small opportunity to communicate their disdain - so why isn't this in our tosogu studies?  

 

The typical machibori examples, while taking technical skill and perfection to new heights, would not have been initially crafted to contain the same depth of symbolic and often times subversive meaning compared to fittings produced in domains whose clans chafed under Tokugawa rule. Machibori were produced to appeal to the general public, and would more readily reflect a hopeless resignation of those not in power - the ephemeral nature of life, with the best example being ukiyo, and the "floating world" of the pleasure quarters.  As you pointed out, when the bushi class lost control of the wealth, corresponding power shifted to the nouveau riche merchant class - the feeling of the machibori could be more akin to "bling bling, or flash for those frequenting the red light district.  Yes, culture and learning dictated that machibori themes would also evolve to touch upon tea, and the themes would get more deeper as machibori became more acceptable to the bushi class.  But if we're looking for subversive themes, my money is on early Edo regional fitting themes.

 

On a personal note, my own family background demonstrates that going back just 2 or 3 generations, bushi class status was still an important aspect in everyday Japan.  If there was any enmity or disdain from the "lower classes" who were oppressed by the big bad samurai, it ended when you had the chance to become part of the bushi class.  This would be the time corresponding to the late meji and into the pre-war showa period.  Would love to discuss over drinks one day.  Somewhat related is the fact that its only been a few years since Google got into some trouble after it posted Edo period maps against current modern maps- buraku district were being shown and families attached to those areas were upset this information was becoming public.

[IanB]

The Royal Armouries collection includes an aiguchi fitted with an unsigned kozuka of better than average quality decorated in silver and gold on a shakudo nanako ground. The decoration consists of swirling water, represented by silver lines, three tiny leaves in gold being swept along by the current and a winged insect in gold. At first glance it looks like a conventional piece until you realise the leaves are those of aoi. Clearly this is an anti-shogunate piece implying the break up and dispersal of the Tokugawa. I interpreted the insect as representing a short life. It was a brave person who wore this aiguchi.

Ian Bottomley

[Guido]

Clearly this is an anti-shogunate piece implying the break up and dispersal of the Tokugawa.

 

It's called 葵に水 aoi ni mizu and was not an uncommon motif; it is also seen on items of the Tokugawa family, especially lacquer ware and kimono.

[Henry Wilson]

If possible I would be very interested to see images of the said motif.

[Guido]

If possible I would be very interested to see images of the said motif.

 

Try the 大徳川展 catalog of the National Museum.

 

Or ask Mr. Google.

[Henry Wilson]

Mr Google?

 

 

 

Seriously, thank you for the great pictures Guido. I hope Mr Bottomley can supply pictures of the said kozuka!

[Ford Hallam]

Junichi

 

you got me...all those books I referenced  were really just a smokescreen for the fact everything I know about the samurai class and Edo life I learned from Kurosawa movies. Evidently, for the past 20 years or so, professional scholars and researchers have similarly been swayed by Kurosawa despite a wealth of actual period documentation.

 

I suppose that in any dictatorial situation there will always be those who, when given the chance, will join the ranks of the oppressors. It doesn't take a lot of study to learn that very human fact.

 

 

But these rather bold claims will take some evidence in the form of actual examples and comparisons to sustain.

 

"As warriors, they would not have taken Tokugawa rule on their backs, and would have taken every small opportunity to communicate their disdain"

 

Did they?....can't say I've noticed it much in tosogu.

 

"The typical machibori examples, while taking technical skill and perfection to new heights, would not have been initially crafted to contain the same depth of symbolic and often times subversive meaning compared to fittings produced in domains whose clans chafed under Tokugawa rule."

 

Agan, examples please...

 

"Machibori were produced to appeal to the general public, and would more readily reflect a hopeless resignation of those not in power - the ephemeral nature of life, with the best example being ukiyo, and the "floating world" of the pleasure quarters.  As you pointed out, when the bushi class lost control of the wealth, corresponding power shifted to the nouveau riche merchant class - the feeling of the machibori could be more akin to "bling bling," 

 

 

The general public!  more like the wealthy merchant elite. As for bling bling...Goto black and gold is pretty bling, as is Ishiguro work. Shakudo nanako signals nothing but very expensive extravagance. In fact on the whole the machibori are far less bling bling than the Iebori schools. To characterise the merchant taste as merely bling bling is to ignore the entirety of Edo period art but perhaps thet's the problem with these narrow samurai/tosogu focused view-points. And why are they now hopelessly resigned if they have the chance to elevate themselves to exhaulted samurai class?

 

I have to say, Junichi, your description of elements the warrior class being all deep, meaningful and stoically, yet subtly, resistant to the Bakufu versus the shallow, 'bling bling' loving, prostitute visiting townsmen does rather paint you as a bit of a propagandist/apologist for the Samurai class.

 

Seems to me you're trying to create a narrative that fits your preconceptions without first exploring the evidence objectively.

 

I'd suggest that anyone wanting to more realistically explore this idea might consider the penchant for ancient Chinese themes in Machibori work. These relate to Confucian ideals, wise Emperors,  Sages and honourable warriors. These can easily be seen as a witty expression that highlighted the very failings of the Bakufu that made life difficult for the commoners. The most familiar subject would be that of Shoki persuing the Oni. I needn't elaborate on the symbolism, I trust.

[IanB]

Next time I go into work I will take my camera. However, unlike the images shown, the aoi leaves are not growing as a plant but are just three separate leaves with no other foliage. To my mind that is a reference to the Tokugawa.

Ian Bottomley 

[kaigunair]

Ford, 

You misunderstand me.  I do not believe that all samurai were all "deep, meaningful and stoically (sp)".  Rather, its that I don't believe they were all inhuman brutally oppressive mini-dictators who merely upheld tenants of bushido when convenient, who did not care at all about farmers or merchants, seeing them only as fodder and animals to be exploited at every chance.   And that all these wanna be warriors were completely subservient to the Tokugawa Shogunate after the dust on Sekigahara settled.   

 

Quote

"As warriors, they would not have taken Tokugawa rule on their backs, and would have taken every small opportunity to communicate their disdain"

 

Did they?....can't say I've noticed it much in tosogu.

 

- Agree.  But not noticing and not existing are two different things.  If anything, I'm hoping discussions like this spur on our search and understanding, knowing we should be seeing more examples. 

 

Here is an analogues situation:  We know for historical fact that there were a great number of Kiristian among the daimyos and samurai in the 16th and 17th centuries.  Yet if we based our figures on the number of corresponding number of verified "Christian" themed tsuba, we'd come up with a different figure.  Are we saying that this is because they didn't exist or were only nominal followers for which Christianity would not have be reflected on their tosogu, or does it have something to do with our understanding of what constitute a "Christian" tsuba. What would be acceptable "proof" in the context?

 

Regarding machibori themes, I am not saying their themes were not deep, but that they were obvious. Like a guy fawkes mask or lady gaga.  Again, perhaps studying how dissent is outwardly signaled in communist China would be better than trying to put a western spin on what we think it should look like.  What I don't think Edo period Japan could be compared to is North Korea.

 

I had wanted to get through all the references you had initially posted, as I try to do on all posts.  But you posted to entire books without explaining their relevance (perhaps for me to infer from titles that they support your viewpoint?).  It is a good reading list nonetheless and I will pick up titles as time and opportunity present themselves.   I admit I cannot link my ideas to published works and academic papers and the burden of proof of my counter-viewpoints to your comments are on me.  I've attempted to add my reasoning and explanations to the extent appropriate for an online forum vs an academic paper. 

[Ford Hallam]

Junichi,

 

no need for the 'sp'....the full quote is perfectly correct.

"all deep, meaningful and stoically, yet subtly, resistant to the Bakufu"

 

So you want a nuanced appreciation of the warrior class but are evidently still comfortable with your one dimensional characterisation of the commoners

 

The point is, 'The Last Samurai' isn't an accurate portrayal of popular feeling towards the Samurai of Tokugawa Japan. (Touché to me, methinks :-) )

 

 

Agree.  But not noticing and not existing are two different things.  If anything, I'm hoping discussions like this spur on our search and understanding, knowing we should be seeing more examples.

 

 

Here you are illogical. You make a claim and then acknowledge that evidence is not presently available. You then go on to state that it ought to be because " we should be seeing more examples" so we just need to find the evidence you need to prove your point.  I think you've got your approach arse about face.   Find some evidence, any evidence, and then lets have a think about what it may mean. Your approach is intent only on finding 'evidence' that supports a position you've already settled on.

 

 

 

But yes, If you like, lets explore this subject matter\theme issue on tosogu. I've offered some very clear Machibori examples. The Shoki and Oni theme is a perfect statement of my view. Lets see some Iebori subversive work from the provinces then...

 

The list of books I posted were to demonstate that there is a wealth serious academic work available on which to form a view of Edo society.  These were merely the ones literally on my desk today...I have more.   This one is pretty impressive. http://www.amazon.co.uk/gp/product/022606056X?psc=1&redirect=true&ref_=oh_aui_detailpage_o00_s00

I'd suggest reading them all and more and then seeing where your perceptions are.

[kaigunair]

Junichi,

 

no need for the 'sp'....the full quote is perfectly correct.

"all deep, meaningful and stoically, yet subtly, resistant to the Bakufu"

 

So you want a nuanced appreciation of the warrior class but are evidently still comfortable with your one dimensional characterisation of the commoners

...

 

Here you are illogical. You make a claim and then acknowledge that evidence is not presently available. You then go on to state that it ought to be because " we should be seeing more examples" so we just need to find the evidence you need to prove your point.  I think you've got your approach arse about face.   Find some evidence, any evidence, and then lets have a think about what it may mean. Your approach is intent only on finding 'evidence' that supports a position you've already settled on.

 

Ford,

Actually this started off because I was pointing out your one dimensional characterization of the bushi class.      

 

What you see as illogical is based upon your assumption that I am offering up a researched theory, when what I have been offering is a testable (i.e. not tested)  hypothesis.  And yes, all hypothesis are based on underlying assumptions and presuppositions, which I can see you clearly don't agree with.   And a hypothesis is formed usually because something does not conform to the accepted dogma of the day.  Why make an ad hominem attack when you don't agree?  Arse this and arse that - Just say you think I have my head up my ass with my ideas.  Be more bushi about it.  Or how about a machibori approach:

 

 

As to defending my hypothesis, some areas of study towards suggestions regarding subversive themes:

 

Kikusui themed items.

Monkey and gourd themed tosogu.

Satsuma fittings on "Fuji", where the mountain cap is rendered with 3 separate peaks.

Meaning behind Choshu landscape themes.

goto mod 1.isimage.zip

[Brian]

And I was silly enough to think an educational debate could exist without turning confrontational.

Ian, very keen to see the kozuka. From what you describe, sounds like a clear message to me, but let's see...

 

Brian

[kaigunair]

Brian, I'm good with this level of "confrontational".  Anything interesting should illicit strong emotions, but it is nice to attempt to keep the ideas and topic focused to the main arguments vs the person offering the counter opinion.  I am offering up an untested idea, so I can appreciate some of Ford's head slapping and frustration while trying to ed-u-macate another hobbyest bumpkin with a another cockamamie idea...

 

Hopefully you're ok with this level too, but this is your sandbox (and thanks for trying to keep out the poop)....

[Brian]

I'm good with it if you are. And Ford is always good with a decent "debate"

 

Brian

[Ford Hallam]

Junichi,

 

my description of your assertion as illogical requires no assumptions. You made your point clear in what you wrote. I didn't need to assume anything at all.

 

And saying you have your thinking "arse about face"isn't an ad homenim. It's a common English expression that describes a way of thinking that's back to front. As I pointed out, you pre-suppose an outcome and then want to search for supporting evidence. An ad homenim attack would be me suggesting that you are somehow of uncertain birth and ugly, thereby attempting to cast aspersion on anything you write. Naturally,  no gentleman would stoop so low.

 

As for characterisations of the bushi class it think it fair to make some generalisations given that they were the de facto controllers of the country. Do we need to isolate individuals to somehow mitigate the general effects of Bakufu governance? We don't accept the suggestion that there were some Nazi's who where actually quite decent poeple when we consider the general impact of National Socialism in Germany, do we?

 

As for your concept of Hypothosis, let's start with a dictionary definition...

 

"a supposition or proposed explanation made on the basis of limited evidence as a starting point for further investigation."

 

Note my emphasis on 'limited evidence'. Thus far you've offered no evidence at all, only suggestions and vague mis-directions.  So I don't regard your imaginings as an hypothesis at all, but merely fantasy. To be blunt, it all sounds a little like fundamentalist religious belief and not at all like any sort of reasoned consideration of historical data.

 

And finally,  your suggestions for possible subversive themes;

 

Monkey and gourd (don't forget catfish) _ classic Zen parable

Choshu landscapes ~ an obvious predeliction for Early Chinese landscape paintings. An aspect of antiquarian appreciation which on a tsuba would signal a degree of refined culture.

No idea what you're reading in to the other two ideas.

[Ford Hallam]

Brian

 

no need to worry. No confrontation here, I'm clearly wasting my time.

 

But for anyone who might actually be interesting in seriously exploring the notion of subversive or critical themes in tosogu might I suggest a start is made to study what forms they took in Edo period Japan in other creative areas like painting, printmaking and the theatre. Once you have a proper understanding of the various forms of parody and satire that evolved during that time you may be in a better position to look for examples in tosogu. Rather than making superficial and subjective guesses based on modern and Western perspectives.

 

The last book I linked to has 3 excellent chapters that explore precisely this topic.  No doubt the terms 'kokkei, sakasama, iyō and kikai' will be new here but they describe well defined forms of parody, satire and critique as expressed in Edo art. If you know what they are and what to look for you may find them in tosogu. I'll leave with a hint though, these are predominantely the products of Chōnin, towspeople, culture and as such are much in evidence in Machibori work. My point being, if you are in search of something it helps to know what it looks like before you start.

 

Anyway, I've 'helped' enough so I'll bow out now.