Who's responsibility is it anyway? Thoughts on traditional culture from the viewpoint of a traditional artisan.

[Miura]

1. Let me pose a question:   We have doctors overburdened here, because nobody wants to go through med school. We have lawyers overburdened because of all the meaningless lawsuits and law school is hard to get through.... and be good at.  How is it their additional burden and responsibility to teach "laymen" to do their jobs?  So why would you suggest that it is the responsibility of the properly trained individuals to train hobbiests or the "demoized" lay crattsmen who wish to do inferior work for less?; In effect creating a cheaper and less professional competition?

2. The problem is the lack of understanding of the community of the arts.  I'm on here with mountains of information and experience under my belt.  As I see it, my responsibility is to inform the general public of the truth of the matter and provide them the knowledge required to make informed decisions and the best course of action. That I will do for free. But it is super offensive when I get people telling me that it is my responsibility to teach the community to do a job that has taken me years of my life to learn and perfect.   I contain an intangible cultural property in my mind.  Just as a lawyer or doctor's mind contains knowledge that took them many years of study and experience to obtain. 

3.  So.... You would pay a good doctor a high wage, to ensure you survive an operation?  You would pay a good lawyer a high wage to ensure that you don't go to jail?   So why would you not pay a good fee to a restorer to do a good job on your art if you really want to preserve and protect the item and preserve and protect the traditional arts that support the profession?

4. I have addressed this in a previous post, but Ill address it again. These are the reasons that there are so many short cutters, and so many people who dont want to go through with a proper training or evaluation before going out and setting to work.  The community has gotten used to the bad work and cheap prices of the untrained, and because of this, the community at large has been dumbed down and the standards lowered.  This is a result of the attitude of the community at large and the misinformation provided by people in it for their own purposes who have focused on being loud on social media rather than learning the respective art or finishing their projects.  What the community needs is to be properly informed, and to respect the work of our ancestors and the arts and research of our predecessors.

5. Most of us do provide information basically "for free" to people who want to study the arts under us.  BUT it means that we expect people to sacrifice by making a commitment such as studying under us so that we can ensure that 1. The standards of the art community are protected 2. the quality of the work is high 3. they are worthy of being introduced to and supported by the community 4. They understand loyalty and, debt, and respect.  Without meaningful training and the gratitude to the people who have taught them a very valuable profession, the community is overrun by people with just enough information to be dangerous and the title of "studied in Japan".  Just think about it:  How much does law school cost?  How much does Med school cost?  Free?  Most artisans just demand quality, loyalty, indemnity, and respect.  I hope the community can understand this and put their money where their mouth is and prospective artisans can take the plunge of time, money, effort to achieve excellence. 

5.  I do think it is senseless to argue about who is best trained, because everybody checks the resume and references of the people that they ask to do work for them right? So there should be no arguments?  My resume speaks for itself.

I think there has been enough said on this subject at this point. And I think that people have been informed.  The first role when you hire anybody  for anything is to check their record.  Im guilty of making that mistake in the past regarding the guy with the fake armor organization in England. I would not do that again.

[b.hennick]

You present good points that will find many who will agree with you. I am among that group.

I collect mainly swords. Too often I see swords that were polished by inadequately trained people. Those who save money by using people who lack formal training may later learn that they wasted their money on inferior work. 

[chris covington]

8 minutes ago, b.hennick said:

You present good points that will find many who will agree with you. I am among that group.

I collect mainly swords. Too often I see swords that were polished by inadequately trained people. Those who save money by using people who lack formal training may later learn that they wasted their money on inferior work. 

We’ve all seen swords polished by “those guys.” They have some basic skill, and clean the blade up, but up-close you see they destroyed the proper geometry of the sword, for the era and school. I never realized that the armor community is filled with those amateur folks, hocking their services as professionals, too. Just as it is important for a polisher to understand all of those important details about sword schools, eras, smiths, etc. a katchushi needs that same level of knowledge about schools of armor. I think we’re lucky to have Mr. Mancabelli here, since he has that level of study. If you want mochi go to a mochi maker, not a baker. If you want katchu work, go to a katchushi, not a bowl lacquerer.

 

Chris

 

Btw, Mr. Hennick, are we the only people who use our full names around here? I feel like I’m in a mid-90s AOL chatroom sometimes. 🤣

[b.hennick]

Hi Chris:

I have been a collector for a long time. I guess that I am old-fashioned. I carry a fountain pen as well as a ballpoint pen. The ballpoint also has a built-in stylus and becomes a cell phone stand. So although old-fashioned, I like new things too.

[Miura]

11 minutes ago, b.hennick said:

Hi Chris:

I have been a collector for a long time. I guess that I am old-fashioned. I carry a fountain pen as well as a ballpoint pen. The ballpoint also has a built-in stylus and becomes a cell phone stand. So although old-fashioned, I like new things too.

When I write letters to people I use an inkwell. And yes. I still write letters to people.  Now as a sign of respect, and to let them know they are worth the time of day.

[chris covington]

1 minute ago, b.hennick said:

Hi Chris:

I have been a collector for a long time. I guess that I am old-fashioned. I carry a fountain pen as well as a ballpoint pen. The ballpoint also has a built-in stylus and becomes a cell phone stand. So although old-fashioned, I like new things too.

Were you on the old Nihonto email groups? I remember having great email conversations with the late Mr. Jim Kurrasch. He was always very kind to me and encouraging even though I was just a teenager at the time.  

[chris covington]

3 minutes ago, Miura said:

When I write letters to people I use an inkwell. And yes. I still write letters to people.  Now as a sign of respect, and to let them know they are worth the time of day.

If it is important, I seal the letter with wax and my signet ring with my coat of arms. 

[Miura]

36 minutes ago, chris covington said:

Were you on the old Nihonto email groups? I remember having great email conversations with the late Mr. Jim Kurrasch. He was always very kind to me and encouraging even though I was just a teenager at the time.  

I remember Jim, I used to be friends with him too. Really nice guy.  Met him when he would come for the kantei kai when I was an active member back in the 90s. 

[Miura]

36 minutes ago, chris covington said:

If it is important, I seal the letter with wax and my signet ring with my coat of arms. 

Yup. same as me.  I have a wax seal as well that I carved myself from brass using my own Kamon. (the kanji for 3 三　= Mi for miura　三浦　)

[Arthur G]

An important thing is this.

Antique Dealers are often very well known for doing all sorts of mischief to make things sell.

For example, if an Antique Dealer takes a nice old 19th century table, strips it down to bare wood, and refinishes it poorly with modern materials, is he now a carpenter?

Of course not. 

The same goes for armor. The man in question is now and always has been an Antique Dealer. Nothing else.

Go to professionals like Andy if you want restoration.

 

[Luc T]

You are right Andy.   I had the chance to visit Nishioko Koubou, and I am imrpessed by the way he teaches his deshi.    I am also impressed by his work and his knowledge of history.

this is a lifetime job if you ask me.   It is a joke to think you can learn this by yourself.

to me, the biggest problem by the layman is the lack of indepth knowledge of Japanese history.

I saw the most stupid combinations of assembled armors on the market lately.  Incredible.  

[Jussi Ekholm]

How many qualified armor restorers there are in Japan? How many there are outside of Japan?

[Matsunoki]

33 minutes ago, Jussi Ekholm said:

How many qualified armor restorers there are in Japan? How many there are outside of Japan?

Jussi poses a critical question.
In all fields of Japanese Art there simply are not enough trained/competent restorers and from what I have seen and heard over 40+ years  that number is not exactly growing. 
There are many reasons for this…….the time it takes to learn……insufficient income in a very expensive world…..a lack of the basic ability to start with……disillusionment half way through…..insufficient teachers…it’s a long list.

 

So, no matter how much we would like to see everything correctly conserved imo it is simply not realistic or even possible.

 

If there is an answer to this dilemma I’d like to hear it. We do not live in the “ideal world”. We live in one full of harsh realities.  It saddens me greatly and is extremely frustrating. 
 

[Luc T]

3 hours ago, Jussi Ekholm said:

How many qualified armor restorers there are in Japan? How many there are outside of Japan?

I can count the ones I know on one hand.

there are guys that are good in odoshi.  some are good with urushi or ironwork.   but complete educated restorers... very, very few.

Nishioka is training 3 young guys.   They have to work 10-15 years for peanuts till they can do independent jobs.   Much respect for those guys.

[Luc T]

about the transformation from deshi to shokunin, , I am sure Andy can tell much more about this than me but this is the philosophy.

I think it comes from Piers, some years ago:
The teacher is watching the temperament of his deshi, and waiting for him or her to mature in character and settle down, until he/she understands the required social obligations as second nature or breathing the air around. That, more than the skill, will surely take the years to achieve, and perhaps guarantee that this person will never leave the path in future.
Then the risk of releasing him/her into society can be taken by the sensei, and the deshi can become a fully-fledged shokunin with knowledge and wisdom and humility, and the will to keep learning, and a resultant respect for and from others.

[uwe]

Crucial question Jussi!

Colin underlined the sad consequences and Luc backed it with numbers. That’s the situation and I merely wanted to emphasize that with my post in the other thread. Not more, not less!

So no offense, Andy! The importance of traditionally trained, professional restorers (or katchū-shi) is totally out of question! I’m glad we can add another finger to Luc’s hand since you popped up here 🖐️
It’s a pity that you got me wrong….but your example with the doctor fits well. Before you can pay a doctor you have to find one…no doctor…no cure for the patient and that’s obviously the moment quacks come into play. For what reason ever. May it be stinginess, may it be despair or simple ignorance.

As mentioned before, I’ve no solution either for this dilemma, but I think we can at least fight the ignorance?!

[Arthur G]

Bad restoration work is more often than not worse than none at all.

This is something important for the community to realize I think.

[Alex A]

Trouble is, you cant stop these people doing what they do.

 

Must have seen hundred plus swords with bad polish in the UK alone. As mentioned earlier its the Dealers and also owners that don't want shipping hassles or high charges for getting it done properly. Dealers look to make profit so they go for the cheaper commercial finish.

 

Have to say, there are dealers that wont send or advise a cheap polish on a good blade.

 

There are dealers that don't care either way.

 

Ignorant owners don't know what's involved and will send it anywhere, others have a go themselves. 

 

Some might say low end mediocre blades don't deserve an expensive polish, what's the point, that guy in the next town (so to speak) will do an ok job. (being honest and not condoning it)

 

Does that seem to be the trend for armour? 

 

I cant imagine someone paying an high price for a quality armour that needs restoring, then short cutting on quality restoration, but i guess it happens. I say that because armour comes across as a lot more niche than swords.

 

 

[Miura]

21 hours ago, Luc T said:

You are right Andy.   I had the chance to visit Nishioko Koubou, and I am imrpessed by the way he teaches his deshi.    I am also impressed by his work and his knowledge of history.

this is a lifetime job if you ask me.   It is a joke to think you can learn this by yourself.

to me, the biggest problem by the layman is the lack of indepth knowledge of Japanese history.

I saw the most stupid combinations of assembled armors on the market lately.  Incredible.  

Well, maybe you could visit my place once and then be as good an advertiser for me as you are for Nishioka san!    But yeah, knowledge is very important.  One thing we have to remember is that a lot of armors from sengoku period were put together at that time as composites.  And a lot of daimyo armors from the Edo period are also composites. Just a fact of life.  But as composites they have meaning from the historical set and setting of the time of manufacture.   The armor that sold at the french auction a while back with modern scales, a switched out helmet, and now a switched out mempo... thats a whole different story. Its modern fantasy, and not even historically proper.  And not myochin!!!!      If you are going to make a composite armor that is proper to the school and period of manufacture, You should know what the heck you are doing.   But keep in mind, a lot of armors get broken apart on the auction blocks.  I have tracked down and put back together several armors that got broken.  Sometimes I ended up getting them cheaper though because the dealers couldnt sell the independent parts for what they hoped.  Sometimes I paid more though! 

[Miura]

12 hours ago, Luc T said:

I can count the ones I know on one hand.

there are guys that are good in odoshi.  some are good with urushi or ironwork.   but complete educated restorers... very, very few.

Nishioka is training 3 young guys.   They have to work 10-15 years for peanuts till they can do independent jobs.   Much respect for those guys.

By the way.  NOBODY wanted to be an armorer's deshi until I came along!  Because of the television shows I did and the PR I did for the armor world, suddenly he started to get people interested.  Part of the sales pitch was.... there should be Japanese people doing it.  At any cost.  So various people without any knowledge or experience went into the field.  And there was a group of guys pushing Japanese guys at Miura sensei.  A couple worked a month or two but they could not stand his demands for quality.   I had one guy who showed up at my door and said he wanted to be a deshi.  I said "What was your degree in?" .... "No college"..... "did you graduate highschool?" ..... "I quit"....... "What was the last book you read?" ...... "I dont read many books".... I said  "Go read a bunch of books" come back and discuss them with me.  First step.  Never came back.  One problem is that people think that Craftsman=artisan.  In Japan it is way way different. Somebody like him might learn how to cut sushi or make mud bricks.... but not armor.  Unfortunately, the word "shokunin"  in modern times has the stigmata and image of the lower crafts but the word encompasses the higher arts. People do have pre-judgmental notions about Artisans and craftsmen.  Im trying to change that.  The help and understanding of this community is greatly appreciated. The one thing that I respect about Nishioka is that he is having his students take the long road. 

[Alex A]

On 5/15/2023 at 1:37 AM, Miura said:

 

 But it is super offensive when I get people telling me that it is my responsibility to teach the community to do a job that has taken me years 

 

 

From another's perspective. Your complaining about amateurs working on armour, they are going to do it whether you like it or not. If you care so much about the armours they are ruining then would it not make more sense to give advice and help prevent more armour being ruined? 

 

Obviously see your point but just a thought.

 

 

[Luc T]

Well Andy, I haven't seen enough work from your hands to make publicity, maybe this changes after a visit of your koubou.   I can Imagine that politics are a part of the game, but on the other hand, Robert Soanes is a deshi from him, and he is supporting him under all circumstances.  

"And a lot of daimyo armors from the Edo period are also composites. Just a fact of life.  But as composites they have meaning from the historical set and setting of the time of manufacture.  "   sure, most of them have older (or younger) parts.  but if you 'read' the armor, it makes sense.   Although it takes decades to understand this.

"The armor that sold at the french auction a while back with modern scales, a switched out helmet, and now a switched out mempo."

Are these modern scales???? I did not notice!

[Miura]

33 minutes ago, Alex A said:

 

 

From another's perspective. Your complaining about amateurs working on armour, they are going to do it whether you like it or not. If you care so much about the armours they are ruining then would it not make more sense to give advice and help prevent more armour being ruined? 

 

Obviously see your point but just a thought.

 

 

You didn't read all the way through my previous articles.  I said that its neither here nor there for me regarding bad restorations on basket cases.  Don't put words in my mouth or misquote me.

[Alex A]

I've read everything you have written so far in all your posts.

 

The impression i get is you boast a lot about your capabilities 

 

Just thought a man on a horse as high as yours could put that great knowledge to better use, rather than moaning and bitching on a forum

[Miura]

31 minutes ago, Luc T said:

Well Andy, I haven't seen enough work from your hands to make publicity, maybe this changes after a visit of your koubou.   I can Imagine that politics are a part of the game, but on the other hand, Robert Soanes is a deshi from him, and he is supporting him under all circumstances.  

"And a lot of daimyo armors from the Edo period are also composites. Just a fact of life.  But as composites they have meaning from the historical set and setting of the time of manufacture.  "   sure, most of them have older (or younger) parts.  but if you 'read' the armor, it makes sense.   Although it takes decades to understand this.

"The armor that sold at the french auction a while back with modern scales, a switched out helmet, and now a switched out mempo."

Are these modern scales???? I did not notice!

I didn't say anything about Robert soanes.  I do have respect and support for him in his endeavors.  You want to see my work, please order some.     But honestly most of my work these days is for shrines or museums and its restoration.  I fit in collectors when I have time though.  And by the way, I can guarantee that you have seen my work. you just didn't recognize it. When I was a slave I did a lot of work for Members of the Japanese armor society. I did the work, never took credit.  And you know my policies regarding confidentiality. 

 

The helmet originally had a gold shikoro.  Those scale armors Im pretty sure are 20th century. They used to come up for sale regularly on yahoo.  There were such scale armors around in the Edo period though the sizes of the scales were different. And some horse armors were re-fabricated into human armors.  i think the one that sold was modern though. And the "shikoro thing" magically appeared on that hachi before it left Japan.   I remember it well.  Probably around 10-15 years ago.  After it sold recently it ended up with a new mempo.... The armor is NOT juyo level though.   Definitely not for the legitimate Kokusai Nihon Katchu Bugu Shinko Kyokai. 

[Miura]

17 minutes ago, Alex A said:

I've read everything you have written so far in all your posts.

 

The impression i get is you boast a lot about your capabilities 

 

Just thought a man on a horse as high as yours could put that great knowledge to better use, rather than moaning and bitching on a forum

Im not on a high horse. I think I'm pretty humble with all the time I have been donating to you. Thank you for complimenting my "great knowledge", no thank you for the mis-characterization "moaning and bitching".  You have the right not to read any or all of what I write.  But reflect on yourself. I have to work in this field. What you see as bitching and moaning, I see as informing people of what we have to deal with on a daily basis. Im trying to inform the people here as I see most or al l of you as potential customers or supporters of the Traditional arts.  Maybe not my customer, but somebody else going through the same thing as me.  whats your profession by the way?

[Alex A]

I'm a dolphin trainer

 

Anyways, we have both made points, time to move on.

 

 

[Miura]

13 minutes ago, Alex A said:

I'm a dolphin trainer

 

Anyways, we have both made points, time to move on.

 

 

Not many of those around.  So would you say that after reading all of the "bitching and moaning" that I have done on the Nihonto message board that you have gleaned some sort of useful information as to the world of armor? I have written a lot as of recently.  Or is it a waste of my time?  In Japan we have a saying from the days of old:   it goes something like this.  Kuge live in their own world of luxury.  Samurai are absorbed in the world of politics but mostly read books and tell others what to do.  Farmers are busy in the spring, and the fall, and have festivals and lie around in between.  Shokunin have no time.  I find this to be true.  Yet here I am donating my valuable time to people like yourself. Be careful how you characterize what I say.  I left this forum 10 years ago and I was probably better for it. Im just shocked at what has happened to the armor community since I came back.  I don't need to be here. I see my service as voluntary. 

[Miura]

14 hours ago, Luc T said:

about the transformation from deshi to shokunin, , I am sure Andy can tell much more about this than me but this is the philosophy.

I think it comes from Piers, some years ago:
The teacher is watching the temperament of his deshi, and waiting for him or her to mature in character and settle down, until he/she understands the required social obligations as second nature or breathing the air around. That, more than the skill, will surely take the years to achieve, and perhaps guarantee that this person will never leave the path in future.
Then the risk of releasing him/her into society can be taken by the sensei, and the deshi can become a fully-fledged shokunin with knowledge and wisdom and humility, and the will to keep learning, and a resultant respect for and from others.

 

I do agree with this philosophy in general.  I have indeed spoken at length regarding this.  The community of craftsmen and artisans is very important, as is the network that holds the industry (for the lack of a better word)  as a whole.  For example, I generally use urushi from a preferred dealer here in Japan to keep his business alive even though he is quite expensive.  I have options, but I want him to survive because if he is gone, prices go up and the providers will be less.  

One thing that I think the quote above leaves out is the responsibility of the teacher to the student.  In modern times, this relationship has become bastardized.    The duties and responsibilities of the "deshi" to the "shisho or sempai" appears to go one way.  Traditionally it went both ways.  The shisho did basically hold the reigns of power over the deshi, but also paid for their living expenses, the quality of their work, travel expenses, materials, tools, and stood up for them publicly, or punished them depending on the situation.   In the recent times, I have seen deshi treated as if they are gods gift to the arts..... just because they are "sacrificing" themselves to the arts.  In effect, they are spoiled.  My teacher was a traditionalist, but the one thing that I wish he didn’t do, was the humiliation of me in front of other people. There is a reason he did it. By his explanation it was to make people see me as devoted and enduring something unendurable so that people had respect for me.  Ill give three examples.   1.  At a meeting of the Japanese armor Society we gave a talk.... there was a table. He said go to the other side of the table.  So I walked in front of the table to go around the other side.  he said:  "Dont walk in front of the table!", so I tried to go around the back side. then he said "Don't walk behind me!"  He would do seemingly stupid things like this sometimes just to show that he was the teacher and I was the student.  2. At Tsurugaoka Hachimangu when we took his armor to be enshrined at the  new museum, I was setting it up for the photography.  At that point I was holding him up (physically) everywhere we went. I even had to hold him when he went to the bathroom.  Sometimes I had to pull his pants up etc.  Anyway.... he had to sit in a chair and watch me set up the armor.  After its all set up and nice, he starts yelling "That Helmet is off balance! what the hell are you doing!"  So I went over, and tilted the shikoro until he was happy.  The staff and the photographer looked on in horror.  So I finished the job, and looked at the photographer and said "carry on" .  So she is standing there.... hmm... um Miura san..... the helmet is off balance...  he says "no its not it looks good from here"  She says, Please come over here and look... So i have to hold him up, and move him in front of the armor.  He says "its off balance".  "put it back Anjin".     3.  One day I was working on a helmet in the workshop.  Suddenly he calls me in.  Puts a square block of metal in front of me and says  "Draw the center line".  Gives me a pen.  Im thinking... ok right. this is a trick.  He is sitting there smiling.  So I make like im measuring things out etc.  As soon as I set pen to surface he bursts out.... the equivalent  "You stupid f@#ing idiot! You know nothing!  You'll never be anything!  You come in to my place and bother me!  Get out! GET OUT! Go back to your own country!"  as he was going up the stairs.  I hear a can of beer open. He chugged it. Then another can of beer open.  I went back to the workshop and continued my work.  Contemplating why the hell I was enduring that kind of mental torture.  A few hours later I heard the footsteps down the stairs, the shoji open, then the door to the workshop open.  He is standing there (ala Dave Chapelle- Rick James). "Anjin san.  I'm sorry for what I did. I didn't mean what I said.  You, you have what it takes to be good. You are a fast learner. You are the real deal. Just remember that." I said... "Thank you?"   He walks away saying.... "your a fast learner.....Anjin.... a fast learner".... footsteps up the staircase..... beer opens.  These are stories that relate to my experience with my teacher.  This is a traditional bond that MOST deshi today do not have with their teachers. And the so-called “lay craftsman” never endure.  My saying is as long as your teacher is alive, you will always be a deshi.  Because he will always be the master. You may work for yourself,  and you may be successful and skilled at what you do, but that bond to the master artisan is never broken for a true deshi.    And I think that helping a guy take a leak i something that most people couldn't or wouldn't do.    

On the other hand, in the olden days, the the "shisho" would pass on customers to the deshi, when they were ready, and gradually, by working them in to collaboration pieces that the master would sign as his own, and then eventually and in some cases both signed, and then the independence known as "dokuritsu" where the student signed his own name, unless he continued under the same name and workshop.  In the case of my teacher.  We did work on a couple projects together.  But most of the customer base that he had when he was working were dead or well into retirement.... or nearing retirement. There just wasnt the base.  I will place a lot of the responsibility of that issue on the shoulders of the Nihon Katchu Bugu Kenkyu Hozon Kai.   At its foundation it was about preserving armor. (thence the hozon) so they supported the traditional culture surrounding it.  Over the years it became more about who has the "best" armors, showing, but not sharing, politics, gossip, rumors.  And that’s where we are today. I remember when I would volunteer to participate, or show my own item I would get answers like  “the display has been decided”, or you can carry the chairs and clean the floors etc.  Members of that organization were not treated equal. I’d ask why did this kabuto get Juyo and that kabuto get hozon. Answer:  “because it belongs to so and so”.       Ill use his name because its just a true defamatory story about me that exemplifies what happens and to Luc's point... why we I dont teach lay-craftemen.....    Some years ago, after I had done a television show, I had a stalker.... who was writing harlequin romance novels about me online. All kinds of sex things, then her imaginary narrative ended with me giving her a beating.... Anyway as we all know, the internet can be a terrible propaganda tool when put in the hands of the wrong people.  I sued for defamation and won. I got the third largest payout in Japanese history for Defamation and got a restraint order in the settlement.  I basically had to do the case myself as most Japanese lawyers are not logical so I had to teach him how to do his job!    Anyway, this however has not stopped people from using what was once written online to badmouth me.... because somebody wrote it.  It becomes gossip.  So one day I come in and Miura sensei told me that Katsuhiko Toyota (who does not know me... only met very briefly on a couple occasions) came in and told Miura sensei that I was abusing women (he had read the online fantasy novel apparently and thought it was his responsibility to spread the gossip through the armor world).  I later found out that he had told this to other people as well.   This is the problem with allowing people to establish even a minor position of authority on a subject without having gone through a “right of passage” in the field.  Its so easy to go after a person's reputation, and if people in positions of power or "with lots of followers"  do it, it can indeed effect you, whether your "friends", "customers", "employers" or other people believe it or not, the Japanese may begin to avoid you, because in general they do not want controversy.   This is a shame.  And at this point in my life I have lost all tolerance for this kind of behavior.  In Japan I have never seen an artisan go after an artisan. Though I have seen the factionalization and politics of the customer based "hozon kai" groups encourage discord in the community.  When discord takes place, artisans generally withdraw and try to avoid these goings on.  The "lay craftsmen" on the other hand..... don't know the half and cant share in what it takes to become a real artisan. If they did, they would forego the gossip and focus on their work. 

Finally, I ill say that I know a lot of what I say is misinterpreted or misunderstood.  I would welcome private messages to myself regarding whether or not you think I am helping the community at large through sharing my experiences, or if you think I should save it for a novel. It takes an enormous amount of time to write and share my experience, though a lot of people tend to want to know.  Or at least seem interested.  Please feel free to PM me and give me your feedback.  Otherwise Ill keep the posts short, sweet, and devoid of the lifetime of experiences that i have that back up my viewpoints.

[Miura]

18 hours ago, Jussi Ekholm said:

How many qualified armor restorers there are in Japan? How many there are outside of Japan?

Thank you for asking.  For armor, because of the span of time, the enormous back work that is necessary to be a qualified restorer is immense in my opinion.  I have seen the research that Arthur has done and am impressed. Getting to that level would be where I would want my students to start at ideally.  But anybody with that level is very rare.  And unfortunately in the case of Arthur, he does not want to be a restorer.   My current students have the backgrounds.  Hopefully another will be coming to Japan and training soon. 

At this time, I would say that probably the most qualified would be Mr. Ozawa who works for the National museum in Tokyo.  He trained under Makita Saburo (intangible cultural property).  I would add Mr. Nishioka, however he does work in non-traditional media depending on the demands.  I would add myself to the list.  I trained under an intangible cultural property artisan as well.  Nishioka's teacher and My teacher was the same.  Morita Asajiro. Nishioka was his deshi at the end of his life, my teacher was deshi in the middle of his life.  There are others who do different levels of restorations, but as far as complete and experience, I would put them at the top.  Mr. Morisaki's company handles restorations but I believe that they frequently outsource to other craftspeople.  I know that Katsuhiko Toyota has done restorations in the past as a lay craftsman.    There are others, Tachibana, Kato, Sato, Ogawa.  Depending on what you want you may be able to get what you want. There are european restorers as well. Some specialise in cashew urushi, others in lacing. I believe that Mr. Soanes in England is a traditionalist and uses real urushi.