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books on the production of tosogu?


Reinier

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Hi Reinier,

 

as Rich says, there is very little available in print. What is, is in Japanese, and, frankly, probably not all that clear in terms of illustrations.

 

You may find some material that might be of help on The Carving Path. Check out the metalwork section, here's a link; http://www.thecarvingpath.net/forum/ind ... owforum=16,

We've been building up a resource of Japanese metalwork technique and materials. It's new, and a work in progress but we'll slowly be adding a complete range of tutorials.

 

Regards, Ford

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Hi Reinier

This websight has a long article on Japan, it covers people, language, literature, art etc...

 

http://www.1911encyclopedia.org/Japan

 

There is an interesting section on the Japanese view of art vs the western view.

There are cross references to sword furniture and the Japanese aesthetic.

As well as some examples of manufacturing techniques, inlaying of metals etc..

 

 

Here is a small section ;

 

"There is a radical difference between the points of view of the Japanese and the Western connoisseur in estimating the Japanese merits of sculpture in metal. The quality of the Point of chiselling is the first feature to which the Japanese viewer directs his attention; the decorative design is the prime object of the Occidentals attention. With very rare exceptions, the decorative motives of Japanese sword furniture were always supplied by painters. Hence it is that the Japanese connoisseur draws a clear distinction between the decorative design and its technical execution, crediting the former to the pictorial artist and the latter to the sculptor. He detects in the stroke of a chisel and the lines of an engraving tool, subjective beauties which appear to be hidden from the great majority of Western dilettanti. He estimates the rank of a specimen by the quality of the chisel-work. The Japanese kinzoku-shi (metal sculptor) uses thirty-six principal classes of chisel, each with its distinctive name, and as most of these classes comprise from five to ten sub-varieties, his cutting and engraving tools aggregate about two hundred and fifty."

 

Stephen

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" With very rare exceptions, the decorative motives of Japanese sword furniture were always supplied by painters. Hence it is that the Japanese connoisseur draws a clear distinction between the decorative design and its technical execution, crediting the former to the pictorial artist and the latter to the sculptor "

 

http://www.esnips.com/web/kozuka

 

an example..........

 

 

milt the ronin

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"With very rare exceptions, the decorative motives of Japanese sword furniture were always supplied by painters. Hence it is that the Japanese connoisseur draws a clear distinction between the decorative design and its technical execution, crediting the former to the pictorial artist and the latter to the sculptor "

 

This is interesting ?. When I look at some of the works of Kinko like Hamano Shozui (Masayuki) Ishiguro, Omori, Somin, Soyo etc, I can visibly see the connection between painter and kinko. Sumei-e and ukiyo-e styles and design can be quite strong in tosogu.

 

When however I look at the tosogu of the mid to late Muromachi period, Ko goto, Ko mino, Ko kinko etc, I see a whole different look and feel in design. Now I am by no means an expert in Japanese art, but I cannot say I have seen prints of florals or dragons any like the fantastic works of Ko mino or Ko goto, and even Ko kinko. This is of course not to say that painters and printers did not design the early kinko works, but I wonder, would we not see something like this the art of the time ?

 

questions questions questions

 

Cheers

 

Rich

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How about Kamakurabori tsuba? Based on the wood carving school.

 

Thinking back I have to wonder if much of the early 'Ko Kinko' work was based on either naturalistic &/or Chinese themes (think Goto Shirobei school works) whilst the later, let's say Momoyama on, shifted toward the artists such as the Kano school et .al. [note] As early on these works were commissioned by the court and those privy to it one could expect an emphasis on themes based in classical education which was based in Chinese philosophy and art. Later with the Machibori (street carving) schools the emphasis would seem to shift to more popular themes as the merchant class became an economic force.

Iron based schools seem to have evolved more from the 'Mon' themes of the Tosho and therefore the other side in the Wabi-Sabi' esthetic.

Just some speculation.

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Hi Pete, so the information I have is that Kamakura tsuba are named after a style of wood and lacquer carving in Kamakura city, or are you saying that some Kamakurabori are done in the style of carved wood ?, I am a bit unclear on your meaning there.

 

I completely agree on the Chinese influence in regards to many early tosogu designs and particularly from the point of view of the Bushi. You are of course correct in regards the samurai's teachings and philosophical view points, being heavily based in Chinese and Buddhist teachings. This warrior taste carries over in these tosogu designs with family crests, religious symbols such as the Buddhist wheel of law" Rinbo", tools of trade, and certain insects like mantis and dragonflies. I think also that nature would have played a large part in the designs, as is especially evident in the Ko Mino works.

 

kokinko-kachimushi.jpg

Muromachi period Ko Kinko.

 

Other items that are commonly seen on Ko Goto/Mino/Kinko tosogu as well as old iron tsuba such as rulers and grapes have a strong relationship with Buddhism. I think that these teachings the bushi received, along with the samurai's strong beliefs in courage and obedience would have played a large part in the look of the fittings on their swords.

 

A good discussion.

 

Richard

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