Unknown Fuchi

[davel]

Also have a Fuchi hanging around here, no documents or additional info. I suppose it's a very recent piece ?

 

 

Thxs again

 

Dave

[Nobody]

As a shot in the dark;

The motif could be Kanju (干珠) and Manju (満珠).

Ref. http://en.wikipedia.org/wiki/Tide_jewels

 

The attached picture of Kanju and Manju appeared in an old thread.

Ref. viewtopic.php?f=15&t=5245

[Ludolf Richter]

Hi,the last 2 Kanji (in Sosho-grass writing) read Nagatsune:

H 06539,1722-1787.Look at the pic.Ludolf

[davel]

Thxs guys, looks indeed the same Rudolf..any idea where i can digg up more info ?

 

Dave

[Nobody]

FYI; http://www.mfa.org/collections/search_a ... =nagatsune

[Ludolf Richter]

Hi Dave,Nagatsune (Haynes-index H 06539,1722-1787.family-name Ichinomiya) was born somewhere in the Echizen province and later moved to Kyoto.He became a student of the Tsuba artist Yasui Takanaga.He also studied painting under Ishida Yutai.In 1770 he received the honory title Echizen (no) Daijo and was granted to use the honary clan-name of Minamoto.Later he received (the highest) title of Echizen (no) Kami.

He is considered to be one of the 3 greatest Tsuba artists of the 18th century.There are many forgeries on the market.Ludolf

[davel]

@ Rudolf, you're my hero Just curious where on earth you gathered all of that information ..

 

Thxs again !

 

Dave

[reinhard]

looks indeed the same

Dave

 

Don't go for the signature alone. Try to compare design and workmanship with some of the established, genuine examples. Afterwards you will probably not be so optimistic anymore, I'm afraid, but this is part of a learning experience and will do you some good in the long run.

 

reinhard

[davel]

They always told me i'm to positive

 

So the signature here on this fuchi doesn't really belong to this artisit ? I'n a newbie in the field..

 

Dave

[nagamaki - Franco]

They always told me i'm to positive

 

Dave

 

Hi Dave,

 

Please stay positive, only add a touch of cynicism to your approach. What I think reinhard is getting at is that workmanship comes first and confirms the mei and not the other way around. It is important that collectors learn how to recognize the differences between geuine work and a copy, especially when the copy happens to be a pretty convincing copy right down to the mei. (on a side note, when in doubt the answer is simple, submit the piece to shinsa). Tosogu appreciation, like nihonto appreciation, comes through kantei, and in kantei the mei is not revealed until after the piece has been identified. Another issue is that if the collector depends on the mei for recognition, they might pass by a genuine master's piece sitting right under their nose simply because it is mumei. On the flip side, a collector might have several signed pieces they're proud of, but all of these examples might be mediocre because the collector never learned how to differentiate between levels of workmanship, instead focusing mostly on how to recognize the mei. Shoshin, gimei, the point is "collect the work, not the mei".

[davel]

@Nagamki

 

Got it..in fact I have this fuchi here for several years and wasn't interested in the mei untill i found this board

 

But you're right, it's about the art, not the signature in the first place. Thxs!

Dave