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Takahori Mei


Kurikata

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Hi Bruno

 

the mei isn't inlaid (takabori zogan) but rather the background has been etched away with an acid.

 

So the mei was painted with some type of resist and then the piece placed in the acid to attack the metal that wasn't protected.

The apparently random, slightly raised, 'brush marks' were evidently created the same way.

This is why you can also see the dendritic structure of the brass where the metal has been etched.

 

I can't remember ever having seen this approach to creating a mei on tosogu and I have to say I'm a bit suspicious. Under the seppa that mei would recieve a bit of wear, which this example doesn't appear to have suffered.

Does it look like it was ever mounted?

 

Hope some of that helps.

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Bruno/Ford,

 

I have seen many Japanese metalworks using this technique- trays, vases, box's, okimono, ojime, netsuke, and Tosogu, etc.  Most, but not all, items were Meiji and later in date of manufacture.  Generally quality of workmanship ranges from fair to middling.  BTW, the raised mei on the seppadai does seem a poor choice indeed, perhaps it wasn't intended to be mounted.

 

Cheers, StevenK

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Bruno,

.

Avoid assumption as it leads to error.  I do not see where anyone has dated your tsuba.  Also, I did state that I have observed this technique in works earlier than Meiji and later as well.  Are you certain you have correctly identified the maker of your tsuba?

 

-StevenK

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Steven,

 

For sure I have some doubt in the Tsubako identification. He is either Haynes 00826.0 (Hirata Harumitsu) or 00827.0 (Nara Harumitsu) who had an Hamano influence. But any information from the NMB community would be more than welcome.

 

Thank you

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