Aoi-Art koshirae - Hama-mono?

[Lee Bray]

https://www.aoi-art.com/auction/en/auct ... 1213703271

 

In case some of you don't follow Aoi-Art regularly, I thought the koshirae in this auction maybe of interest and some good eye candy, if it's to your taste.

Having long admired the wave theme and the Omori style of deep carving and also very fond of decayed wood and the shape and textures of driftwood, I think this koshirae is stunning.

The patina of the shakudo is, for me, unusual and very appealing.

 

However, given I'm a Westerner with probably Western tastes(though I've lived in Asia nearly half my life), the lavishness of the koshirae and given the date of the tanto(1857), this makes me think of the term Hama-mono as mentioned by Reinhard in the Hisanori tsuba thread.

 

Is this Hama-mono or a Japanese aesthetic?

[Gabriel L]

I suspect this is just an example of extreme flamboyancy in the merchant class's (or that of some lords as well, I suppose) taste and means. I doubt something of this extreme calibre (and it is extreme no doubt) would be produced for foreign export, and I certainly don't see any western influence in it. I've seen a number of Edo-period examples of such "showoff" koshirae, and even though this was produced during the cusp of change my personal opinion is that this is simply another example of same.

 

Entering rant mode:

 

I think it is a mistake to generalize all of "the Japanese aesthetic" as one of reserved naturalistic asceticism. Obviously this is a hallmark of many Japanese arts and one of the aspects that makes them both unique and especially attractive, but the reality is that there exist many examples of highly decorated and elaborate works of Japanese art as well. Not just from the Meiji or even late Edo period, either.

 

Even at the time the most extreme examples of such "busy" work might have been considered in questionable taste, and some might argue that the "true" Japanese aesthetic is one of martial simplicity. However, my point is simply that some individuals in Japanese history did demonstrably have such taste, and it would be silly to reflexively explain such items as due to either western influence or demand.

 

I'm much more a fan of genuine history than of idealized or simplified history...

 

...End of rant.

 

Anyway, regarding this particular koshirae, yes it's a doozy. I am most impressed with the way the kogatana tip shows through the saya! Never seen that before. Not sure what you find particularly interesting about the shakudo color; looks normal (though well done of course) to me. Perchance are you referring to the tsukamaki? That's baleen, not shakudo. Very beautiful, very delicate (this one is in spectacular condition), and of course a "loaded" subject considering Japan's current involvement in whaling. And look at the emperor node on that samé! Creates the impression of the "pearl" that the dragon chases. Obviously a masterpiece of the craft even if way "over the top." I love it.

[Ford Hallam]

Gabriel ,

I haven't yet looked at the koshirae in question yet but just wanted to say that this;

 

it is a mistake to generalize all of "the Japanese aesthetic" as one of reserved naturalistic asceticism.

 

is perfectly stated. Your entire point is very well made and well worth remembering.

 

regards,

 

ford

[Gabriel L]

Kind of you to say so, Ford. I know the dangers of stating one's opinion...

 

—GLL

 

PS, I almost forgot! :bowdown:

Kidding, kidding...

[Bazza]

Entering rant mode:

I think it is a mistake to generalize all of "the Japanese aesthetic" as one of reserved naturalistic asceticism. Obviously this is a hallmark of many Japanese arts and one of the aspects that makes them both unique and especially attractive, but the reality is that there exist many examples of highly decorated and elaborate works of Japanese art as well. Not just from the Meiji or even late Edo period, either.

 

Even at the time the most extreme examples of such "busy" work might have been considered in questionable taste, and some might argue that the "true" Japanese aesthetic is one of martial simplicity. However, my point is simply that some individuals in Japanese history did demonstrably have such taste, and it would be silly to reflexively explain such items as due to either western influence or demand.

 

I'm much more a fan of genuine history than of idealized or simplified history...

Stunningly stated Gabriel, with elegant simplicity....

I have often thought that the taste of (some of) the ruling class ran to gauche, but it was their taste... Possibly an exemplar of this taste was Toyotomi Hideyoshi!!??

 

BaZZa.

EDIT: I meant to add that I have seen a wakizashi here in Oz that had a similar themed koshirae, particularly as per the saya, which I remember clearly, but not the rest of the koshirae.

[Ford Hallam]

nice one, Gabriel,

 

[Lee Bray]

I hope I didn't inspire your 'rant' from my final question as I realised at the time of writing that it was a little simply worded and to generalise the Japanese 'aesthetic' was foolhardy. :D

However, as I was asking about Tama-mono in specific, I thought I'd get away with it.

I've seen enough tiger striped tachi and furry saya to know that "reserved naturalistic asceticism" is only one aspect of a much more complex subject.

 

However, because of the era and probably more because of the saya than the fittings, as similar examples are well recorded, I just thought Tama-mono.

It's simply a term I wasn't familiar with until the Hisanori thread and wondered at this piece.

 

Nothing to do with the baleen, what interested me with the shakudo was the colour.

I tend to associate shakudo with black, although I know it can be manipulated to a variety of colours, but what interests me with this shakudo is the richness of the brown and how in the areas of wear(kashira) it has rubbed down to a silvery grey shade.

[Gabriel L]

I hope I didn't inspire your 'rant' from my final question...

Not at all. My "inspiration" was actually more general than some might believe, although the recent thread you referred to certainly contributed.

 

Nothing to do with the baleen, what interested me with the shakudo was the colour... the richness of the brown and how in the areas of wear(kashira) it has rubbed down to a silvery grey shade.

I see what you mean. It has a warm cast, but I'm not sure how perfect the white balance is in the photography. It certainly looks professional enough so perhaps it is truly browner than usual. It would be a great match for the saya and tsukamaki if so.

 

With respect to the kashira, I see the silvery portions, but again I am not sure how much the reflection of the light tent is involved... tough to tell. Does shakudo rub down to silver? I thought it had a gold-colored base. Also, there is some silver application elsewhere on the tosogu, so perhaps it is an actual inlay or something (but I doubt it, doesn't look quite right for that). Interesting.

[Ford Hallam]

In my opinion, and please don't go bumping foreheads on the floor again just 'cos it's me , the fitting are in shibuichi not shakudo. The tenjo-gane of the fuchi and the back of the kozuka do look like shakudo though.

 

When shibuichi has been handled a bit (which it really shouldn't be) the copper in the surface is oxidised further and rubs off as a simple copper salt leaving the surface somewhat silver rich. This is what gives rise to the silver highlights. In it's un-patinated state, or in abraded areas, the metal is a pale pink colour (actual tones depend on the silver percentage).

 

It's also quite common for shibuichi to take on a sleight brownish tinge. This isn't as the alloy would have looked when freshly patinated but is a consequence and part of the continuing oxidisation of the copper particles I mentioned previously.

 

The koshirae is quite an elaborate "fashion statement" but I don't think a particularly uncommon look. The saya looks like it's bit knackered...a bit of wood filler and a good coat of lacquer should tart that up nicely though.

 

ford

[Brian]

The saya looks like it's bit knackered...a bit of wood filler and a good coat of lacquer should tart that up nicely though.

Why do I get the feeling there is a sly wink smiley missing here? :lol:

Either that, or you really are agent provocateur

 

Brian

[Ford Hallam]

who...me? ....NEVER

 

[Nobody]

BTW; Which are you really talking about Tama-mono or Hama-mono?

Maybe Hama-mono

 

Tama-mono (賜物) – a gift; sometimes means a heavenly gift

Hama-mono (浜物) – (literally) products of Yokohama

[John A Stuart]

When I used the term tamamono in the other Hisanori tsuba thread I was refering to tsuba made for artistic appreciation given as gifts and never really meant to be mounted. I think Reinhard used the term hamamono saying it was for export. John

[Lee Bray]

Brian, I think Ford's referring to the knackered seam as opposed to the 'worm holes', though I could be wrong...

 

I wondered about silver nunome zogan for the worn area as you say, Gabriel, but it didn't look right.

I put it down to wear because it seems limited to that area of the kashira compared to the rest of the fittings, with the exception of the kozuka, and I figured that area would get the most 'wear' as I imagine the tsuka made for a convenient

wrist/hand rest when the tanto is worn on the obi.

 

Shibuichi makes sense. Thanks Ford.

 

Thanks for the input, guys.

The saya is something new for me with regard to the 'Japanese aesthetic'

I've seen it on modern Western made koshirae (I think on a piece designed by Antonio Cejunior) and also with Western carving so that gave thought to the recent topic of Hama-mono.

Thinking more, I realise that death/life and decay/rebirth is a popular theme and this fits.

 

Thinking even more, I realise I now need some koshirae and fittings books. :D

[Lee Bray]

BTW; Which are you really talking about Tama-mono or Hama-mono?

Maybe Hama-mono

 

Tama-mono (賜物) – a gift; sometimes means a heavenly gift

Hama-mono (浜物) – (literally) products of Yokohama

 

 

My apologies for the butchering of your language, Moriyama-San.

 

I was refering to Hama-mono and I shall amend the title accordingly.

[Ford Hallam]

Brian, I think Ford's referring to the knackered seam as opposed to the 'worm holes', though I could be wrong...

 

yeah...I was being naughty ...just strirring

[Stephen]

how big of a foopa would it be to remove the wood saya and have a new one mounted with the fittings....something like black stone finish...all the worm wood takes away from the brilliance of the metal work IMHO

[Carlo Giuseppe Tacchini]

I Get what you mean Stephen, but I think the contrast between the corroded and decaying saya and the elaborated furnitures is a beautiful one, sharing them the same range of colors.

 

I think that the replacement you suggest would give us a nice Koshirae but a bit "Déjà vu".

 

Just my uneducated guess.

[Ford Hallam]

I agree with Stephen ...looks like some mad netsuke artist took a "nibble" at the thing

 

In all seriousness, the sort of aesthetic that played with this weathered, worm-eaten sort of simulation is a long way from the kind of showy exuberance of the Omori Waves style fittings. It looks a bit like someone wearing really worn denim jeans and a tiara and cloak... Although I've probably just inadvertently set of this seasons fashion meme

[Lee Bray]

This is the original 'Shabby-chic'...

[Stephen]

Carlo

 

I understand your point of view, and it wouldn't have to be the saya I suggested. I have had worm holes /tracks on walking stick and none that large, I'm sure there different size worms but smaller ones on this saya might have not taken away from the tosogu.

[Carlo Giuseppe Tacchini]

It is possible the dimensions are intended to recall the type of insect that made them (as it seems not replicated anywhere on the saya), possbily with a meaning that eludes me

or that simply isn't there.

 

But you're right, thay are really big. It seems survived to the fire of Pier's Teppo squad.

[nagamaki - Franco]

Hello, pardon, just a thought, it occurs to me with the baleen and the wave motif that the saya is an attempt to replicate drift wood, which fits in with the overall theme. http://www.puppypalace.com.au/Shop/..%5Cspecials%5CDRIFTWOOD.JPG

[Carlo Giuseppe Tacchini]

Maybe it's the meaning I felt but wasn't able to find out. Sea bugs... Sharp mind.

[drbvac]

Good call Franco - I spend all summer on the beaches of the Island I live on and never thought of the effect sea water has on the wood and worm holes. It swells everything up but when it dries out there is something about the salt water that changes the wood cells and they dont' go back to the size they were and they all look distorted and weird, sort of spooky, could be the effect he was looking for and I for one LOVE IT! I have seen old hardwood oars and boat parts that did look like that after years in the salt water - that said the color should be almost white but - and maybe Carlo is right as well for sea creatures of some kind eating away at it

 

If that is the case and it is in the driftwood/sea context it is pretty spectacular for those who like it - classic case of those that like it like it a lot - or hate it - pretty amazing craftmanship either way for the mounts

 

I am sort of partial to the sea living on an Island

[Carlo Giuseppe Tacchini]

Good call Franco - I spend all summer on the beaches of the Island I live on and never thought of the effect sea water has on the wood and worm holes.

 

Go figure my second house is in Venice, and there are literally thousands of worms-eaten poles like that to secure boats everyhere, still I skipped it totally...

[John A Stuart]

Captai Nigel could probably give more information on the deleterious effects of salt water creatures on wooden hulls, but, I do know that bore worms were a scourge along with a host of other sea beasties. I have noticed as well that it is softwoods that show more effect from salt water immersion and are coveted by beach-combers for their looks, reminiscent of those seacoast pine trees often painted for their wind worn timelessness, a la Group of Seven and others. John

[Stephen]

As Dr B stated before, to each his own. I know there's a Japanese word for it when a composition comes together, in the culinary world its umami, this vision lacks it in use of drift wood or worm wood to my eye as it takes away from the metal art, I'm glad so many enjoy.

[John A Stuart]

I kind of wonder if it is actually driftwood, instead wood made to simulate the effect. John

[Gabriel L]

I'm virtually certain it is artificially carved to look that way. It just doesn't seem like real damage except perhaps for the seam on top that someone else pointed out.

 

I could believe the kodogu are shubuichi. It would explain the wear pattern well.