Tcat Posted July 8, 2011 Report Posted July 8, 2011 Greetings gentlemen. This is another begging letter, once again displaying my lack of general nihonto knowledge. Perhaps someone can help me fill in some of the gaps (gaping voids) again. Can anyone suggest a school for this one? Regards, Quote
Ford Hallam Posted July 8, 2011 Report Posted July 8, 2011 Hi Alex, not too sure this is actually of Japanese manufacture. It looks to be an honest piece of work but not pre-modern period in my opinion. Is there anything on the back? regards, Ford Quote
Tcat Posted July 8, 2011 Author Report Posted July 8, 2011 Ford, thanks for the reply - how very interesting........ there is nothing on the back in terms of design or mei, just a simple smooth matt finish. I have seen tsuba with a very similar style heron/egrit rendering before, but always assumed they were Japanese. This came as part of a koshirea (no matching kodogu) that I obtained from Don B. in London about 18 months ago. Here is a slightly closer shot. If not Japanese.....then......who/where? a "fake"? Quote
Ford Hallam Posted July 9, 2011 Report Posted July 9, 2011 Hi Alex the heron theme is quite a common one on Japanese tosogu but the the actual composition and rendering that bothers me on this. With genuine antique pieces of this type either the maker was an accomplished artist and drew their own designs or they relied on design books that were produced for this purpose. This design seems to be "unaware" of the many conventions that would be almost instinctively followed by classically trained workers. The technique is all genuine inlay and the materials all look reasonable although the leaves appear to be unpatinated, perhaps red gold. If it is red gold then it's definitely not Edo period. The way the tree bark is carved is a bit vague and here there are quite clear approaches one would expect to see. Have a look at Hamano work to get an idea of how traditional workers would have treated a tree like this. The way the bottom of the design is abruptly cut off with that last section is simply wrong in Japanese design terms, it doesn't make any sense nor add to the composition at all. The 3 clusters of leaves on that bit are also a bit like clusters of chips, not leaves. The chiselling of the willow branches doesn't seem to know what it's supposed to be. In classical work this would be done with a kata-kiri chisel which leaves a cut that is reminiscent of the way a brush stroke swells and thins as it moves across the paper with one edge of the cut nearly vertical and the other gently sloping away at different widths depending on the overall depth etc. I wouldn't call this fake though. Someone has obviously gone to a lot of trouble and the work, despite missing the mark compared to traditional work, is still a fair bit of workmanship. It may well be the work of a contemporary Japanese hobbyist or just as easily a western amateur. I know Don Bayney well btw, please give him my regards when you next see him. regards, Ford Quote
Tcat Posted July 9, 2011 Author Report Posted July 9, 2011 Ford, Fascinating. I always thought there was something a little "odd" about the composition, and it didnt seem to fit into any school I have ever come across in my somewhat limited reading and online research, hence my asking. I know exactly what you are talking about regarding the willow being uncertain. The "leaves" also look somewhat weak - I believe them to be copper, but my photography skills here are poor and I cant be sure the colours are right. What I meant about the heron was that I have seen almost identical heron rendered in the same style and manner in other works, but the rest of the scene seems a little strange. It is wonderful to have input from someone as knowlegeable as you on the matter. I probably wont see Don again for a while as I am now based in Beijing, but your name has come up in conversation in the past and of course he speaks very highly of you and your work. Many thanks, Quote
Guido Posted July 9, 2011 Report Posted July 9, 2011 Tcat said: ... I am now based in Beijing, ...Hi there, neighbor - I live in the Sanlitun area. Shoot me a PM if you would like to get together for a couple of beer and some Nihontô talk! Quote
Tcat Posted July 9, 2011 Author Report Posted July 9, 2011 I will take you up on that Guido, PM sent. Quote
Ford Hallam Posted July 9, 2011 Report Posted July 9, 2011 Hi Alex, well I hope what I'd suggested makes sense and helps to provide some sort of rationalisation for my opinion. I can't claim to be "all knowing" :D but I do spend most of my waking life (and dreaming too , for that matter ) pondering this art form so if I can provide some insight that helpful I'm satisfied. Enjoy your beers with Guido too :D ...NMB is almost a dating agency for sad lonely old bastards now regards, Ford Quote
Tcat Posted July 10, 2011 Author Report Posted July 10, 2011 Ford Hallam said: Enjoy your beers with Guido too :D ...NMB is almost a dating agency for sad lonely old bastards now Hahaha! well, I hope I wont offend anyone if I bring a lovely local girl (or perhaps two....what say you Guido?) along with me for the beers, and I might add I am still yet to hit 30, but am very keen to talk Nihonto with experts. If it makes any difference, I think I qualify as a sad lonely old bastard at heart - and many people have told me so Quote
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