New Start

[paulb]

Dear All

I have said many times I am not a fittings person, which to some extent is true. However I am finding myself increasingly drawn in to the subject and dare I say it, I am enjoying learning. My interest at the moment is very simple and doesn't depend on school material or age, it is just what I like.

I have attached some images below of some recently acquired pieces. Anyone attending the last Token of GB meeting in December may be familiar with the fuchi kashira.

I loved the subject and the quality is about as good as I have seen in a long time. The nanako on both the fuchi and kashira is incredible and the colour of the shakudo fantastic.

Best of all the subject matter makes me smile!

 

[Fuuten]

Are you Banksy?

[Curran]

Chinese Zodiac Rat and all the associations of saver, happy home, cleverness, etc.

Late Edo, well done nanako.

I had a pair of puppy menuki executed and finished very similar to your rat menuki. I never identified the school, but they were pleasant little things.

I sold them in Tampa one year. I'd expected to see more like them over time, but rarely do.

 

As for "just liking what you like".

You start out that way, get into schools and knowing all sorts of things about various makers,

but eventually you go far enough down the road that you come back to "just liking what you like".

 

While I own a few big name pieces, half of what I own are mumei pieces I just like for reasons of color, shape, size, or design.

One is shaped like a go-stone and highly polished. Another is a very large ko-kinko flower tsuba with a lot of color to it.

Pete Klein probably has one shaped like a 1000 year old tea-cup.

[paulb]

Thanks Curran

I think you do the same with swords. I started buying what I liked without really knowing why. As I learned more I realised what it was that triggered the "Like" gene.and started focussing on schools and periods that fed that craving. More recently I have really loved swords that I have seen from many different traditions and periods. The benefit in doing it in phase 2 is that you can understand better what it is you like and better understand the quality of what you are looking at.

When I first started looking at fittings I forced myself to focus on iron, believing it was the right thing to do. While I still find some iron tsuba that really float my boat I have been increasngly looking at small fittings and enjoying the pure art and sometimes humour in their composition and the incredible skill in combining different alloys and finishes.

As I said I am really just dipping my toe in the water but am enjoying the experience (thankfully with a lot of help from those who know a lot more than I do)

BTW yes you are right they are late, the Fuchi kashira signed Ichi-Jo and papered by the NBTHK the menuki unpapered and unsigned so anybodies guess. The reason I went for them other than their charm was the similar treatment of the rats in the fur and tail.

[Stephen]

[Curran]

Signed Ichijo and NBTHK papered? Wow, that is pretty nice.

I've seen lots of his work, but rarely gotten to study it under magnification or learn more than a few kantei points about specific examples of his work.

 

Stephen- had to do that a few times over the years.

 

Paul, you mentioned humor:

    I picked up a pair of ko-Goto menuki last year. I wouldn't have been sure of ko-Goto if their twin wasn't in the 2003 DTI catalog with NBTHK papers.

They are probably about c. 4th gen Goto. Kantei points are basically that they tend to be smaller [Each of these is about the size of an american penny], deeper, and no cutting corners on material (gold uttori).

Also, exception attention to detail..... hands, toes, hair, etc.

    Attached is an image for humor purposes:  positive proof that the bald man's comb over existed in late 1500s Japan.

[paulb]

thanks for sharing those and I agree they hit the humour button very well. I think what adds to it is the great attention to detal and fine quality which seem to magnify the impact.

while I have many other failings as the years pass by so far the comb over is one I have not had to experience personally (about the only postivie attribute) instead my "iron blond" (my own invented term for grey turning white!) thatch makes me look like an ancestor!

[Pete Klein]

Paul - would you mind sharing a picture of the tenjogane with the mei?

 

Thanks.

[paulb]

Hi Pete

image attached.

I dont have the papersin hand at present but will pick them up on a couple of months when i next meet up with the seller.

[Pete Klein]

Paul -- were they green or white paper?

[Guido]

Paul -- were they green or white paper?

 

Pete, you really know how to subtly insult people ...

[Pete Klein]

Well Guido, my intent was not to insult anyone but simply to verify my thought that this is most likely an older NBTHK paper as I have no confidence in the workmanship or mei being by Goto Ichijo. Instead of insult, I would offer, illumination...!

[paulb]

Before we get carried away regarding what this is or isnt or indeed whether the papers are rigt or not can I make the point that I didnt buy them based on papers. In fact I didnt know they had any until it was mentioned after I had bought them. As I said I havent got them in hand. My guess is they are older white papers.

I am aware that older papers (especially green or blue) causes mass panic when talking about swords although in reality the number of "bad papers" was relatively few. I will rely on the fittings enthusiasts to confirm if that is also true for fittings.

Bottom line is I am not insulted subtely or otherwise, I bought them based on what I saw and liked not what attribution they may or may not have.

Whether ichi jo or not the workmanship to my unecucated eye stands up well in comparison to much else i have seen

cheers

Paul

[Pete Klein]

Paul - that's actually where I was going to. You said this at the introduction of the thread and I fully understand you as I do the same on occasion. As this is an educational forum it is important to be certain all levels of participant understand that, "the Fuchi kashira signed Ichi-Jo and papered by the NBTHK" required clarification due to the lack of credibility of many early papers along with the reality that papers can at times be incorrect in general and should be utilized as a learning tool and not dogma. For what it is worth here is an example of Ichijo F/K I ran across just this morning which I find interesting:

 

[paulb]

thanks for sharing these Pete they look great

From what little I have seen the school seems to have had a very diverse range of subject matter. was this typical of later schools?

[Pete Klein]

Most of the Machibori craftsmen worked in varying motifs. Goto Ichijo was top rank in late Edo as were many of his students. One of his students, Araki Tomei, is known for and mostly used the millet theme but did other works such as these: http://www.nihonto.ca/araki-tomei/index.html

[paulb]

I know Tomei and have seen several pieces by him which I think are mind blowing. You may also remember Ford Hallams homage piece after Tomei which I have the good fortune to see on occassion.

I think I struggle more with fittings than swords because they are in many ways more subjective. The technical abilities of these craftsmen is beyond question but that which differentiates the best comes down to composition. Although this is also true for swords with a blade it is in a more restrictive environment and limited range of material (i.e. steel)

I have a long path to follow

[Pete Klein]

Well, I would offer that not only composition but also craftsmanship of the highest order were determining factors. Even the 'great names' produced pieces of different levels of craftsmanship (and by this I mean levels of high craftsmanship) but when they 'pounced' their work was breathtaking. Whatever the theme be it subtle or ostentatious it is the ability of the craftsman and when applicable his team to bring it forward.

[Curran]

 Even the 'great names' produced pieces of different levels of craftsmanship (and by this I mean levels of high craftsmanship) but when they 'pounced' their work was breathtaking. Whatever the theme be it subtle or ostentatious it is the ability of the craftsman and when applicable his team to bring it forward.

 

Pete and I have side-bar chatted on this before. Some of the big name makers were very productive over a lifetime.

A Picasso doodle on a napkin to pay his lunch bill isn't the same as some of his masterworks.

 

Likewise, I've seen Juyo menuki by a big name [yet prolific] maker going for about $20,000 and at the same time seen a somewhat forgettable tsuba with what has been judged to be an authentic signature by the NBTHK. It was going for much much less.

     And vice versa:   your average Hirado Kunishige doesn't command much money, but one of his tidal wave design tsuba with western characters around the edge command quite the premium as iconic work by him.

[Pete Klein]

"Pete and I have side-bar chatted on this before".

 

I had dirty vodka mar--tooni..s.....burp!

[Curran]

After work the past 3 weeks, I could use a drink too.

 

Think I'll just stick to a pint,

   Two at most.

Three and I'll drunk dial our Congressman

   Four and I'll be chatting with the Holy Ghost.

 

[Apologies to Dorothy Parker for bastardizing her poem.]

[Alex A]

Thanks for sharing Paul, I can see why this other caper can become addictive too.

 

Some good close up shots, first time ive seen hair on fittings 

 

Be good if someone could start a thread were folk can exhibit their high class fittings with good close up shots, so folk like me not in the know, can see what its all about.

 

Edit, in fact il start a thread, hopefully we will get some contributors.