Shoki Tsuba - Thoughts On Kao?

[kyushukairu]

Does anyone have any thoughts as to the artist of this tsuba? It is simply signed with a kao, though I have been unable to attribute it to anyone.
I have shown the tsuba to a few people and looked through Joly's Shosankenshu, though with no luck. The closest example is that of Yasushige (as attached) though it's still some way off.
The tsuba itself is shakudo, katakiri-bori, and depicts an oni fleeing from Shoki and running into a dragon. Any thoughts on the kao/potential schools would be much appreciated

[Tanto54]

Dear Kyle,

 

This looks like Yokoya School work, patina and kao.  I'll check and see if I can find a match.

[Tanto54]

Dear Kyle,

 

I'm still looking for this kao, but in the interim, I did find another Yokoya katakiribori tsuba signed with only a kao in the same place as yours.  This bolsters my belief that yours is also Yokoya.  By the way, the carving on the back is interesting and I know that you like unusual subjects.  It looks like more than just an oni (perhaps an oni with a dragon or kirin?)  Tell us more about what you think is on the back and how that fits or alters the standard Shoki & Oni motif.

 

http://nihonto.org.uk/kinko%20tsuba.html

 

[kyushukairu]

Thanks for this George! That's from Ian Chapman's website - a collector from UK and a member here - I wonder if it was papered to Yokoya.
As for the carving on the ura, I initially thought it was a dragon-oni hybrid, but when I was taking these photos it then appeared that the dragon was confronting the oni. Perhaps the artist wanted to portray the oni as so intent on escaping from Shoki that he didn't realise he was running into a dragon. Although the oni is always shown fleeing from Shoki, I've seen various variations of the oni hiding under Shoki's hat, or on his head, though these are usually depicted on okimono or netsuke, so it's nice to see something different on tosogu.

[Tanto54]

Hi Kyle,

 

I took a closer look at the backside, and I think that it is two oni instead of an oni and a dragon.  I say that because the figure facing us has "bangles" on his wrists (as does the figure facing away from us).  Bangles on the wrists are a common feature of oni.  I also think that I see his belly and hairy shoulders (more like an oni than a dragon).  In addition, the figure facing us is missing some of the typical dragon features (like a long "whisker" on each side of the mouth, scales, etc.).  I usually see Shoki with a single oni (probably 90% of the time), but occasionally I see him with more than one oni.  Therefore, I'm fairly sure that this is two oni fleeing Shoki (and the one facing us is "looking over his shoulder" and down from the clouds at Shoki as he flees).  I'm still looking for the Kao.

[kyushukairu]

Very observant, George. I think you may actually be right. I did a quick search for Shoki and oni ukiyo-e - since many katakiri-bori themes seem to be copied from woodblock prints - and found a couple of images which depict two oni in the clouds. The first seems shows two almost human figures fleeing in a similar position to that on my tsuba, whilst the second portrays Shoki as having caught one of the oni, though the oni themselves are closer to those on my tsuba. I had actually thought the dragon's tail was wrapped around the oni's waist (who has his back to us), but having seen these ukiyo-e I now realise that it is supposed to be a fundoshi as depicted on the single fleeing oni.

[TETSUGENDO]

Definately two Oni, I stopped by earlier but did not interject as I knew you fellows would sort things out!  As for origin it may well be later Yokoya school work.  Do keep in mind though that during the last third of the 19th century the Mito produced many works in the style of other schools.

 

-S-

[TETSUGENDO]

Kyle,

I believe the Kao on your tsuba is a possible variant used by Yokoya Soyo, third master of the school, I have not been able to confirm this.  Now all you have to do is ascertain the particulars. 

 

-S

p.s- My personal impression is that the work does not rise to an exaulted level, very nice but not top range.  At worst you have a very attractive piece of uncertain origin, on the up side there is the possibility of its being something better.  Best of luck!

[kyushukairu]

Thanks Steven,
I'll take that attribution! May I ask what led to you to suggest Soyo II in particular? 

One of the problems with katakiri-bori (particularly in shakudo) is that it is very difficult to photograph. There are some very fine features which do not show up too well in the images, such as the hair on Shoki's arm and the cloud design on his breastplate. The clouds on the ura are also extremely well carved, and quite a striking feature of this tsuba when seen in hand. I have several katakiri-bori tsuba by Ishiyama Mototada (one of the 28 masters of metal work in Kitao Shigemasa's print) and, in my opinion, the work of this piece is on par with Mototada

What do you think, George? As a collector of Soyo II, does the level of craftsmanship compare?

 

[TETSUGENDO]

Kyle,

 

Since you have the choice seat in the theatre lets go with your impressions, I am disadvantaged by a one-dimentional view.  Katakiri-bori is best seen in hand!  The draftsmanship, fluidity and calligraphic line all speak well, what's missing for me is a certain vigor I would expect of the best work....a direct observation may add the missing element.  One convincing passage of the piece is the  scene of the two Yokai which exhibit an understanding of the quirkiness of Itcho's style.  Do let us know what you discover.

 

-S-

p.s.-Yes, George should voice his feelings. As far as Soyo, I said "possible" the abbreviated Kao is theorized by some to apply...again I can't confirm this.

[Tanto54]

Dear Kyle and Steven,

 

I think that Steven made some very good observations about this tsuba and the work.  I especially appreciated his comment about the interpretation of Itcho's quirkiness/humor.  I personally do not believe that this is an alternative kao of Soyo II (the third Yokoya master), and I don't think that it is his work.  I think that Steven is right that the kao is close but many/most of the Yokoya students adopted kaos that were very close to Soyo II and Somin kaos.  Having said that, I still haven't found an exact match.  Kyle, you may want to consider putting it in the Translation Section to see if any of the other members can help.

[TETSUGENDO]

Thanks George,

 

I agree, as I have intimated my feeling is that although the work is quite fine it falls short of the exalted level of Soyo II.  I, after some protracted searching, have been unable to find an exact match to the kao.  And yes, subsequent kao's do follow a variation on a theme format. Putting notice in the translation section is an excellent idea, meanwhile I'll keep looking.

 

-S-

[kyushukairu]

Thank you for your comments and suggestions, chaps. It has been a most illuminating discussion, and I'm now left with a number of questions - which, as a philosopher is where I strive (Plato's Socrates famously claimed 'philosophy begins in wonder').

In a previous post I had mentioned katakiri-bori were copied from ukiyo-e, but from both of your comments it makes more sense that katakiri-bori were copies/interpretations of Hanabusa Itcho's work in particular. However, the extent to which subsequent (post-Somin) katakiri-bori was copied from Itcho is something which interests me. It also occurred that this is a good way of judging the artistic integrity of a particular piece, namely, whether a theme has been directly copied from Itcho or not enables one to determine the artist's originality.

I must admit my ignorance, I didn't initially know who you meant by Itcho - although I knew Somin was influenced by a friend who was a painter, I wasn’t aware of his name. This then led me to search 'Itcho' on the board and I came across a couple of posts which discuss Furukawa Genchin as a close disciple of Somin in following the katakiri-bori technique. This now adds a further possible attribution: that of the Furukawa school. It's not as glamourous as Yokoya, but one has to be open-minded and honest in the pursuit of truth

Ps. Whilst searching for work by Itcho, I came across this tsuba, supposedly by Haruaki Hogen (春明法眼作), which states the carving is a picture by Hanabusa Itcho (英一蝶画)

[TETSUGENDO]

Kyle,

 

Katakiri-bori subject matter finds its influences from many sources, Itcho being a major one.  You are correct about the importance of identifying source material, a familiarity with the Japanese visual arts is crucial to the understanding of tosogu on all levels, without it you are seeing with one eye.  BTW, don't get hung up on "originality" as, in many ways, western constructs do not apply here.  

 

Cheers,

     -S-

p.s.-considering the kao (see the two posts prior to yours), Furukawa is not a horse in this race.

[edzo]

Hi Kyle, researching tsuba myself, Tetsugendo is a direction i would explore, Yokoya Somin and the painter (a friend and possible collaborator. His style became very popular in Edo. MFA Boston collection exhibits one on google under Yokoya Somin for a look. good luck just 2 cents.

EdF