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Horimono examples on blade

Bugyotsuji
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Bugyotsuji Grand Master

Bugyotsuji

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Unable to find a dedicated thread to Horimono, the search machine coming up blank, I decided to start a new one. If this is a repost Mods, please move/delete as necessary. 8)

 

Horimono can have a multitude of functions. Ideally they should improve the value and look of the blade, though purists might object to any carving within the blade itself. Some people love them, others hate them. Horimono have been used to cover a multitude of sins, too, I understand. Horimono can be old or new, carving talent not being limited to any century.

 

Would people be interested in posting shots of their Horimono? (They may be difficult to shoot.) It would be a learning experience for me, especially if you can accompany the photograph with comments/readings/thoughts as to why it might interest the hono(u)rable members here. Thank you. :clap:

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Bugyotsuji Grand Master

Bugyotsuji

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Thanks for that, Mark. A beautiful work. The Ken is stunning. Three words by the senior Mr Yoshikawa, traditional, minute and skillful. So guessing the original Japanese they are carved to a (伝統的な)traditional formula, they are carved in (細かい) minute detail, and they are (熟練した、上手に) skillfully done. And he reckons it has improved the blade.

 

I have seen artisans working on genuine old blades and marvel at their confidence. I once saw an NHK documentary about a famous carver who was trying to teach his son to follow his footsteps. When the dragon was complete, it was time to do the eyes, the most important part. The son was baulking/balking and sulking, completely unable to do it. All he could do was smoke cigarettes, refusing to take the next step. His father finally invited him to take a walk in the park and stopped by some Sakura trees in full blossom. "Look at this", he said. "The secret to the eyes is hidden in this flower." His son stared at the flower and slowly recognition dawned. He felt able to go back to the workshop and start work on the dragons' eyes. His father was even pleased with the result. :clap:

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takeda81 Apprentice

takeda81

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Who in their right mind would use it?

 

Well, it is / was / a weapons , so , with or without horimono should be still able to perform its main purpose as a weapon.

 

 

In my very limited experience in nihonto , I beleive old swords with original horimono were solid enough and horimono was just outside and deep enough to affect blade integrity. It is that horimono which fades away with the more polishing of that blade in time and cannot be restored....

The same old blades but more tired / polished/thinned, with a newer horimono may be a problem of ressistance , when used let's say in Edo , late Edo... I also read that this new horimono was supposed sometimes to cover blades defects..

Please correct me if I am wrong , I am always ready to learn more and deepen my knowledges...

Thanks

 

Stefan Cristian

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cabowen Grand Master

cabowen

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While there is no doubt that sukashi horimono will lower the structural strength to some degree, it is doubtful that it would be a matter of concern in any of the blades I have seen. Again, most of these were not meant for daily use but were rather made to be appreciated as masterworks of craftsmanship. I am sure one with would cut you the same as one without...

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kusunokimasahige Grand Master

kusunokimasahige

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That is of course a fact, but the open Horimono I commented on would highly likely shatter the blade when it would be parried with another blade when in use. Then again, most Horimono are works of art in itself and some indeed are used to cover flaws, but definetely not all. It has to do with the way you see the Japanese sword imho. I first and foremost see it for the weapon that it is, and I secondly I see the art. To me a painting or statue can be regarded art, but they are a little cumbersome to wield on the field of battle.... ;)

 

I do not think that Horimono detract from the beauty of the sword itself though, like is said by some collectors.

 

KM

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cabowen Grand Master

cabowen

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That is of course a fact, but the open Horimono I commented on would highly likely shatter the blade when it would be parried with another blade when in use.

 

KM

 

Nah, it won't shatter. It is steel, not glass......and the horimono is not in the hardened part of the blade. It is soft in comparison to the edge....

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Bugyotsuji Grand Master

Bugyotsuji

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Lovely. There must be something really satisfying about carving beautiful figures in steel, especially when you are confident. :clap:

 

One of my friends has just become independent after training for several years. He has taken several top prizes. I believe he charges something like 1 million JPY for a comprehensive horimono into a long blade, but it might take him several months to do it. Even then it would hardly be enough to keep him alive. :bowdown:

 

(Henk-Jan, your comment above suggests you knew about Yanagimura Sensei before.)(?)

 

PS Surely a good sukashi horimono would lighten the blade, but also take into account the stresses incurred in actual use. That is, a hori that ignores inner directional forces could well be considered a bad carving. (Just throwing out ideas here.)

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Bugyotsuji Grand Master

Bugyotsuji

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Mark, Brian, Jacques, Eric, Ian, Henk-Jan, Franco, many thanks for the beautiful examples. The more you stare at them , the more they seem to be frozen in some ghostly ethereal three-dimensional world. If I miss a name or fail to comment on someone's offerings, please know that many people are looking at and enjoying this thread. (Well, looking anyway! :lol: ) :bowdown: :beer:

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runagmc Mentor

runagmc

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see this, http://www.samuraisword.com/nihontodisp ... /index.htm

 

"HONJO YOSHITANE" MASTER HORIMONO ENGRAVER!

 

YOSHITANE WAS BORN IN "DEWA" PROVINCE. HE WAS GIVEN THE NAME "KAMI-NO-SUKE", AT BIRTH. HE FIRST APPROACHED THE MON (SCHOOL) OF "TAIKEI NAOTANE" TO STUDY THE ART OF KATANA KAJI (SWORD MAKING), AND RESIDED AT THE RESIDENCE OF NAOTANE, IN THE "TEN-PO" (1830 ~ 1843). ALTHOUGH HE BECAME AN ACCOMPLISHED SWORD MAKER (HIS EXISTING WORKS ARE FEW), HIS TRUE EXPERTISE WAS AS A HORIMONO ARTIST! HE SERVED AS HORIMONO SENSEI (INSTRUCTOR) TO "SUISHINSEI MASAHIDE I", "SECOND GENERATION MASAHIDE", "TAIKEI NAOTANE", "SUISHINSEI MASATSUGU", "NOBUHIDE", AND MANY MORE! HE IS RESPONSIBLE FOR THE MAJORITY OF THE HORIMONO THAT IS SEEN ON THERE BLADES. ON OCCASION THE SIGNED HIS WORK ON THE NAKAGO'S OF THE BLADES. OUR BLADE IS ONE OF THESE SELDOM SEEN PIECES!

 

"YOSHITANE" WAS ONE OF THE FOREMOST HORIMONO CARVERS THAT EVER LIVED. THERE IS ONE REFERENCE THAT LIST'S THE "TOP 12" ARTISTES, HE IS RATED SECOND ONLY TO "UMETADA MYOJU"! YOSHITANE ALSO ACHIEVED FAME AS A KODOGU (SWORD FURNITURE), AND "TSUBA" MAKER. I HAVE INCLUDED AN PHOTOGRAPHIC EXAMPLE OF A FINE TSUBA BY HIM, AND SOME OF HIS MOST POPULAR HORIMONO'S. THE DETAIL, AND COLOR OF THE TSUBAS PATINA ARE MARVELOUS. HE IS RATED "JO - JO" SAKU (UPPER - UPPER) CLASS FOR HIS TSUBA, AND KODUGU WORK. HE WAS SUCCEEDED BY HIS SON, WHO'S WORK IS ALSO SUPERB. IT SHOULD BE CONSIDER IT A GREAT PRIVILEGE TO OWN A BLADE WITH HIS HORIMONO.

 

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