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SalaMarcos

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About SalaMarcos

  • Birthday 03/07/1982

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    https://www.linkedin.com/in/marcos-andr%C3%A9s-sala-ivars-52958527/

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    Male
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    Spain
  • Interests
    Tsuba - tôsôgu.
    Musô Jikiden Eishin ryû iaijutsu (Yamauchi-ha Komei Jyûku)
    Ryôen ryû naginatajutsu.
    Kashima Shinden Jikishinkage ryû kenjutsu
    Japanese art and Japanese koryû.
    Fishing.

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    Marcos Sala

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  1. Dear Steve, It's my plan to make a translation, but I didn't did it yet. I will post here when it's done. Thank you for your interest.
  2. Hoy me gustaría compartir con ustedes mi última conferencia para la Universidad Ritsumeikan y la Universidad de Bucarest: Título: El valor de la concepción errónea del otro: El caso de las espadas japonesas y sus herrajes a finales del siglo XIX y principios del XX. De 1641 a 1854, el gobierno japonés Tokugawa limitó el contacto con Occidente a la Compañía Holandesa de las Indias Orientales (VOC), a través de la isla artificial de Dejima (Nagasaki). Esto terminaría con la firma del tratado Peace & Amity de 1854 con los Estados Unidos, abriendo los puertos de Shimoda y Hakodate. En los años siguientes, otras naciones como Reino Unido, Francia o España, firmarían tratados similares, provocando la apertura de nuevos puertos. A pesar de que la principal intención de las potencias extranjeras era conseguir puertos de abastecimiento en la carrera ballenera comercial, lo cierto es que pronto las ciudades que abrieron sus puertas se convirtieron en un lugar de intercambio cultural entre Japón y Occidente. Tras la caída del gobierno feudal de los Tokugawa, y la llegada de la era Meiji (1868-1912), los viajes de occidentales a Japón y viceversa se multiplicaron exponencialmente. Es en este momento cuando las mercancías japonesas vendrán a transformar la historia del arte occidental, como es el caso de los grabados japoneses ukiyo-e y su influencia en los pintores impresionistas y postimpresionistas. Sin embargo, se estaba produciendo otro fenómeno: la compra de objetos japoneses por parte de occidentales, para traer recuerdos de sus viajes a este exótico y lejano país. En este contexto, las espadas japonesas fueron algunos de los objetos más buscados por estos viajeros. Sin embargo, la concepción errónea del “otro” los llevó a desnaturalizar estos objetos, transformando el uso de varias de sus partes. Los japoneses, aprovechando este desconocimiento, comenzaron a fabricar souvenirs para turistas sin valor artístico ni monetario. Nos centraremos en dos áreas principales de producción de este producto, Nagoya y Yokohama. La compra masiva de estos objetos por parte de los occidentales, que creían llevarse un trozo de la cultura japonesa, así como su posterior revalorización (aún hoy), nos dejan aún sin conocer “lo otro”. https://youtu.be/gBjwfNqLNoE
  3. Thank you for your kind words! In this forum, years ago there was some topics about Nagoya mono and Hama mono. I think the members of this forum will know the 90% of the lecture, but it's very important to teach other university and museum researchers in order preserve the nihontō and tōsōgu.
  4. The Symposium will start at 8:30h and my lecture about Nihontō and tōsōgu at 12:20. I will try to record it and upload to YouTube. Thanks for the interest!
  5. Today I would like to invite you to my next lecture, registered at the International Congress of Japanese Studies of Kyōto Ritsumeikan University and Bucharest University, this Friday 31th March at 12:20 Romania time. It is completely free but you have to register in this link previously. https://docs.google.com/forms/d/1By-vdY5kNtF7Ydcz7hl5Vt7QQEutrffkeSAuIY3KewM/edit Here's the Zoom link to access, no password required. https://ritsumei-ac-jp.zoom.us/j/92724137035 Although they insist that to be sure, it is better to also register at the previous link. This is the abstract of my intervention. 1 / 1 International Symposium on Japanese Studies (Re)-imagining and (re)-translating Japanese culture Abstract. Title: The value of misconception the other: The case of the Japanese swords and its fittings in the late XIX and early XX centuries. From 1641 to 1854, the Japan Tokugawa government limited the contact with the West to the Dutch East India Company (VOC), through the artificial island of Dejima (Nagasaki). This would end with the signing of the 1854 Peace & Amity treaty with the United States, opening the ports of Shimoda and Hakodate. In the following years, other nations such as the United Kingdom, France or Spain, would sign similar treaties, causing the opening of new ports. Despite the fact that the main intention of foreign powers was to obtain supply ports in the commercial whaling career, the truth is that soon the cities that opened their doors became a place of cultural exchange between Japan and the West. After the fall of the feudal government of the Tokugawa, and the arrival of the Meiji era (1868-1912), the trips of Westerners to Japan and vice versa multiplied exponentially. It is at this time when Japanese merchandise will come to transform the history of Western art, such as the case of Japanese ukiyo-e prints and their influence on the Impressionist and Post-Impressionist painters. However, another phenomenon was taking place: the purchase of Japanese objects by Westerners, to bring back memories of their trips to this exotic and distant country. In this context, Japanese swords were some of the objects that these travelers most searched. However, the misconception of "the other" led them to denature these objects, transforming the use of several of its parts. The Japanese, made use of this ignorance, and began to manufacture souvenirs for tourists lacking artistic or monetary value. We will focus in two mayor areas of production of this goods, Nagoya and Yokohama. The massive purchase of these objects by Westerners, who believed they were taking a piece of Japanese culture, as well as their subsequent revaluation (even today), leave us still not knowing "the other".
  6. Dear Dan, I don't know if they wanted to publish my paper, but I will try to record the conference and upload it. Best regards! Marcos.
  7. Dear colleagues, if you're near to Liege, Belgium, I'm happy to invite you to this conference: Siddham & Samurai: A study about the Brahmic Japanese bonji on samurai swords. The Brahmic Siddham scripts of Sanskrit about Buddhist texts came to China thanks to the Silk Road. The Siddham characters became popular at the esoteric Japanese Buddhist schools to represent the different forms of Buddha as well some of the prayers. Since the VI century, aristocrats and warriors used those prayers, searching for protection. Through the centuries, those warriors became samurai, and from the XIII century, many of them asked his forgers to put some bonji characters to protect their weapons and armors. Here we will study some works where the Brahmic Siddham Bonji became both fashion and protectors in the life of the samurai.
  8. Thank you very much for all the interesting pictures!!
  9. Dear Manuel, I already posted about my tsuba that's identical to yours. By the way, congratulations for your research!
  10. Today I present to you the last tsuba of my collection, a tetsu tsuba signed by Tomoyuki from the Yazu/Yaji school of Chōshū. A wonderful work of bori carving with tagane to leave in high relief the figure of some ships that testify to the permanence of a naval culture in Japan even during the Edo period. The omote side represents a brave sea full of large boats, something that contrasts with the peaceful side of the ura, which shows a calm sea and a small ship. The mimi is richly decorated with a border that depicts lightning and sparks, called kaminari raimon, an indisputable hallmark of this artist. Murakami Kosuke identifies him as the possible seventh generation of the Yaji/Yazu school of Chōshū, while Fukushi Shigeo maintains this premise, based in Ogura studies, but also provides the hypothesis, with which I agree and I think is very correct, that It is the sixth generation, and it is also a clear heir to the techniques and style of Tomohisa, whom Shigeo considers the true founder of the Yazu/Yaji school. A clear example is this tsuba, which was made practically identically by Tomohisa as this type of border decoration or mimi kaminari raimon was usually done by both tsubakō. It has a Hozon certificate from the NBTHK. Now my family anecdote of this tsuba. Last May, on our last trip to Japan, my wife surprised me with a fabulous gift. And although the gift was given to me, it is actually a gift for the whole family, the reason is as follows: it is a tsuba signed by Tomoyuki 友之 the tsubakō that gave name to our second son, Tomoyuki Martín. As in the case of our first son, Naoyuki 直之 Jorge, I told my wife that she could choose the name from a list of about 3,000 names that belonged to tsuba artists. In the case of Tomoyuki, we liked that name with those kanji for him to share with his brother, as well as the meaning that is something like "the parents' wish that he live surrounded by friends", and also the number of strokes of his name plus surname was a number of good omens, so we finally decided on this one.
  11. Dear Dale, Thank you very much for your post and pics! Certainly I saw it on menuki, fuchi-kashira...but never in tsuba. All the examples you showed are very interesting, specially the first one. Maybe Ōkawa's work is first one in sukashi? Didn't know, but I'm very happy with my piece as well see all other you posted. Thanks again!
  12. Dear colleagues, today I want to show you one of the latest pieces that I have added to my collection, with a curious story. It is the work "tsuba no naka no tsuba" performed by the tsubakō Ōkawa Chikō, 18th generation of the Būshū Edo Itō school under the name of Itō Masanori, and which also has the gō of Masami Tōhōsai. In November 2019, we invited Mr. Ōkawa to Spain for tsuba exhibitions, lectures and gin zōgan and nanako tagane demonstration workshops, in one of the few such visits to Europe and the first time in Spain. During this trip, I took Mr. Ōkawa to the Prado Museum, and there, looking at the painting "Las Hilanderas" by Velázquez, we talked about the concept of the work within the work (as Velázquez depicted in this painting the paint "Europe's kidnapped" by Rubens) In this sense, I told Mr. Ōkawa that I had seen tsuba with many decorations, including nakago decorating, and nihontō-shaped menuki, as well nihontō in suemon zōgan in tsuba and fuchi-kashira, but I had never seen a tsuba inside a tsuba, and I told him that it would be a piece very interesting for me as an art historian. So, he accepted the commission, and after the years of the pandemic, I have been able to travel to Japan and collect this wonder in his own atelier. It is a tetsu tsuba where he has applied sukashi to recreate not one, but two tsuba within the same tsuba. The recreated tsubas add up to four because they represent the omote and ura sides. The tsuba chosen to represent belong to the first generations of the Akasaka school, the other being from the Owari tradition, although with a design also seen in Kyō-sukashi. I hope you like this piece as much as I do, and, of course, if you know of another tsuba that has a tsuba inside it, it would be very interesting to see it. Best regards, Marcos.
  13. Inside the nanban group or Asian export tsuba, this kind of examples I saw listed as Kanton/kagonami tsuba, often with gin zōgan but sometimes with gold.
  14. Thinking again thanks to Mauro suggest, I think could be not a XVIII century but a middle XIX century of Aizu Shoami tsuba after they received the visit of Kono Shunmei.
  15. Dear colleagues, I'm studying a Spanish collection and I can't find any ideas about artist or school. I found other similar examples but all mumei from the XVIII century. It's clear that it's a good zōgan work, with some links with Mito works. Do you have any thoughts or guess about this tsuba?
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