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Ronin 47

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Everything posted by Ronin 47

  1. Hi Ken, The sources from that period are rather scarce, so hard to say. But right now, I would say no, nihonto was probably not viewed as "art," in the Kamakura period or Heian, in the sense we now think of it. However, I think that nihonto probably had a religious connotation, as they were probably thought to be imbued with magical powers or vessels for shinto spirits. There was probably a connection with their aesthetics and the religious attitude toward them, but we don't know how they were polished back then, so once again, hard to say. I think the ability to cut through Armour and sever a man's limbs was probably reason enough to think for the average warrior that they were magical implements. See the Muromachi period Noh play called Kokaji (sword smith). Soon a fetish developed for them amongst the warrior elite, because of this belief in their magical properties, soon leading to commodification. Once your at commodification you need to start ranking them and judging them as to fix a price, hence the emergence of the Hon'ami. Once again, this is how I understand the story at the moment. New sources or info to the contrary could change that though Sincerely, Austin Ross
  2. Hi Peter, The correct title, or should I say working, title of my work is "From Weapon to Art." There will probably be a subtitle in there somewhere, when I think of a good one I am effectively trying to trace the changing aesthetic attitude swords the Japanese sword, which is turning out to be far more difficult than expected. I thought with the Haitōrei there would be an important rupture point as the sword lost both its status as weapon and its symbolism as the mark of the Samurai class. From my research so far, it would appear the shift from weapon to art probably started in some earnest in the Momoyama period when a highly systematized gift culture developed around exchanging swords for political favors, or to solidify alliances. Advances in polishing techniques in the Edo period further moved the sword closer into a category of art than just weapon, and finally, the Haitōrei exploded the status of the sword both as a weapon and symbol of power, by which point a Variety of traditional craftsmen, like the Hon’ami, sword enthusiast, and the Meiji government itself sought to further promote this aspect of the sword as an "art" object instead of weapon, so as to preserve the diverse traditions associated it with it in a modern context. Of course, after the Japanese Sino war of 1894 the sword once again started moving back to its traditional role as a weapon. Anyways, that is the story as I understand it so far. Any more more input would be greatly appreciated. Sincerely, Austin Ross
  3. Thanks so much for the feedback, and the sources so far. I hope the info and the criticisms keep rolling in But just to respond to a couple points that most of you brought up in your posts, I just want to emphasize that I am in no way insinuating that the Japanese sword magically became an "art" object overnight after the Haitōrei, nor was its practicality as a weapon totally disregard. Its plainly obvious that the Japanese sword has been appreciated from an aesthetic point, as well as a practical point, from at least the Heian onwards. But what constituted "aesthetics" in regards to swords and kodogu seems to have undergone a profound change more inline with western notions after the Haitōrei. If I may draw a parallel, the same thing happened with Japanese painting, as Ernest Fenollosa, along with Okakura Tenshin, effectively created this notion of what constituted Japanese "art," that centered on their deep appreciation of the Kanō school of painting, much at the expense of other traditions of painting. It would seem a similar happened with the Japanese sword and kodogu, yes probably staring earlier than the Haitōrei, but definitely seeming to come to a full fruition around this time with the advent of more modern polishing techniques by Hon'ami Narishige, which allowed finer details of the hada and hamon to be seen like never before, the categorization of schools into the easy remembered Gokuden by Honami Koson, and some of the first empirical observations and categorizing of kodogu, especially Iron Tsuba, by Akiyama Kyusaku. Obviously, a Masamune, an Ichimonji, or an Awataguchi have always been highly regarded, but have they been highly regarded for the same reasons, aesthetic or otherwise, as they are now? I some how doubt it, as the context in which they have been viewed has changed so drastically. Another consideration, the Department of antiquities and Conservation was established in 1871, but it wasn’t until 1897 that swords, and their related implements, started to be designated as National treasures (KOKUHO). What happened in that twenty-six year interval that lead to the Meiji government to finally recognizing the sword as worthy of KOKUHO status? Because there were plenty of individuals in the Meiji government who saw the sword as a symbol of feudal oppression, and an obstacle to modernity, like Mori Arinori, who was largely responsible for the Haitōrei. Any further thoughts, objections, criticisms, or sources will be warmly welcomed Sincerely, Austin Ross
  4. Hello all, Apologizes in advance if this is not in the right forum. So to jump into the nitty-gritty, I am currently a graduate student at Leiden University, here in the Netherlands, and I am currently writing a paper about the state of Nihonto and Kodogu in Japan immediately following the Haitōrei edict of 1876. My main research question is how did certain players, like the Hon'ami Family, especially Koson, Akiyama Kyusaku, and the Meiji government shift the emphasis of the notion of the Japanese sword away from that of a "weapon," and closer to that of an "art" object in the western sense of the term immediately following the Haitōrei. I am also interested in how certain westerns might have played a role in this, like Bashford Dean and Ernest Fenollosa? As one can image getting primary sources for the above research project is proving pretty difficult, and hence I have come to omniscient members of the Nihonto message board in the hopes that they might have some good source material on hand, primary or secondary that they would be so kind as to let me use in my paper? Just a note, this is in no way for commercial purposes, just a grade in a class, and if it turns out to be good one, then I will happily upload the finished paper here for future posterity Unfortunately, my Japanese is not great, so would prefer translations in English if possible. But even if in Japanese, with no translation available, I will happily take them as well. Just to reiterate,my main research questions are as follows: · How was the Japanese sword viewed immediately after the sword abolishment edict (廃刀令 Haitōrei) of 1876 in Japan? · Which groups and individuals where responsible for shifting emphasis away from the Japanese swords role as a weapon, and enhancing its role as an art object in Japanese society? · Was this shifting emphasis, from weapon to “art,” an ahistorical event or a natural progression from how the Japanese sword was viewed in pre-modern Japan? · How did western influences potentially affect this shifting emphasis? · Finally, how did this revaluation of the Japanese swords place in society, at the end of the 19th century and beginning of the 20th century, affect the modern context in which it is viewed both in museums and in collections today? どもありがとうございます。 Sincerely、 Austin Ross
  5. Hey Pete--it is iron, and as far as I can tell all one piece. Austin
  6. Well, the I meant to say the bored on the board.Dyslexia aside, what do you guys think about the nanako? It gave me the impression that the piece might have some age to it. Austin
  7. Hi, I was wondering if I could get the opinion of the bored as to what school this Tsuba might belong to? Thanks in advance for any and all comments. Sincerely, Austin Ross
  8. Ronin 47

    Mystery Kozuka

    Hi all, I just picked up this very interesting kozuka and was wondering if any of the board members had a thought to possible school and age? The kozuka itself has a hirata feel to it but I don't think it has anything to do with hirata as it is made entirely out of Iro-urushi or color lacquer rather than Cloisonné or colored glass. The lacquer itself has been applied over a metal core. The design is also very interesting as it is outlined in gold and what looks like silver wire, also the design itself imparts a feeing of art nouveau but in some ways is also reminiscent of the designs found on European fabric that was being imported by the Dutch and Portuguese around the Momoyama and early Edo. Anyway it has me completely stumped and I would be most grateful for any and all thoughts and comments. Sincerely, Austin Ross
  9. Hi, I have come across this pair of earrings that I believe were made out of a kozuka, and I was just wondering since the original signature has now been irrevocably lost if any of the board members could give their opinion as to what possible school they were made in? My own research has led me to believe that they are possibly of an early Yokoya origin, but as I have not been able to find many examples dealing with the below subject matter in that school, my appraisal might simply be based on my initial reaction to seeing a piece done in Katakiri bori. Thanks in advance for any help. Sincerely, Austin Ross
  10. Hi Paul, Is this the blade you were talking about? http://www.bonhams.com/eur/auction/17858/lot/7/
  11. Mr.Morita, Thank you very much for the translation it has been very helpful.
  12. Thanks guys for all the oshigata they have been very helpful. I was also wondering if anyone had any oshigata of any Aoe smiths that were working in the late Nanbokucho early Oei. Paul do you happen to have a picture or a link to that ubu Ietsugu that was for sale?
  13. Hi Mr.Morita, it appears to be an old sword from early Oei.
  14. I have found two conflicting references, one that indicates that there was a Sadatsugu that worked from about Enbun-Joji to the very beginning of Oei, and another that says that there was a fourth generation that was named Emontaro Sadatsugu that started working at the beginning of Oei. Anyway if anybody has any Oshigata of the Enbun-Joji guy I would be most interested in taking a look at that as well as any signed works from any Aoe Sadatsugu working in Oei. Thanks again for any help. Sincerely, Austin R.
  15. Hi I was wondering if anyone could help me translate the rest of this Tsuka, so far I have translated what looks like the number 58, but I can't seem to make out the rest. Thanks in advance for any help. http://imageshack.us/content_round.php? ... ad&newlp=1 Sincerely, Austin R.
  16. Hi does anyone have any Oshigata of the Aoe swordsmith Bitchu Sadatsugu who was working in the Oei period. Thanks in advance for any help. Sincerely, Austin R.
  17. There are also these two Go for sale. http://www.bonhams.com/cgi-bin/public.s ... ectionNo=1 and http://www.nona.dti.ne.jp/~sword/katana/go.html Austin Ross
  18. Thanks guys that answers my question. Austin Ross
  19. Hi I was wondering if anyone might be able to shed some light on the controversy concerning Yokoya Somin I producing tsuba, I have read two theory's regarding this, one that he did not make tsuba at all, and that all tsuba signed by Yokoya Somin are by later generations, and another that he did produce tsuba but in very limited numbers. I know that there are two Tsuba in the Alexander Mosle catalog supposedly by Yokoya Somin I and one of those( the one with the horse I think) has been published in some Japanese references as made by Yokoya Somin I, and I vaguely remember another tsuba I think depicting Shoki in another Japanese reference also stating that it was by Yokoya Somin I. So I guess my question is what is the general consensus in Japan (if any at all) concerning this, and what is the consensus concerning the legitimacy of the above mentioned Tsuba supposedly by Yokoya Somin I. Thanks in advance for any input Austin Ross
  20. Ah I see know, Thank you very much for your help Mr.Moriyama. Austin Ross
  21. Hi I was wondering if someone might be able to help me with this sayagaki, I have no clue as to the first kanji, but I think the last three are tsugu-nobu-tsukuru, but I could be totally wrong. Any help would be greatly appreciated. Austin Ross
  22. It could have been lost at Osaka Castle, but Albert Yamanaka said in the nihonto newsletter he talked to some people who said that they saw it before the war, could it have been that they where shown another Kanemitsu and just told that it was the Takemata Kanemitsu?
  23. Sorry Carlo and Jacques, I was going off memory and I meant the Takemata Kanemitsu not the Teppo-kiri Kanemitsu, I guess the confusion came from the legend that the Takemata Kanemitsu cut through a Teppo too. Anyway it was supposedly sold in 1933 by the Shimazu and lost during the occupation. Its listed in Albert Yamanaka's nihonto newsletter volume 3. It's listed as being 2 shaku 8 sun and signed Bishu Osafune Kanemitsu and dated Embun 5 nen 6 Gatsu hi. By the way Carlo thanks for all that info anyway it was a good read. Austin
  24. Well I maybe wrong but in the first picture to the left of the so called shin-tetsu, I think I can see a profuse amount of ji-nie, and in my experience nie looks white and shiny in direct light and like black diamonds in indirect light so that's why I thought it could be Tobiyaki or Yubashiri (Yubashiri is a rare occurrence to say the least so in that regard I probably misspoke and should have just stated Tobiyaki). Also I know nie can be seen with the naked eye but it might be hard for a beginner to see the individual crystals and that's why I recommended the magnifying glass. Also in the other two pictures the so called shin-tetsu has a very white and shiny look to it like nie, which led me to that conclusion.Once again I could be wrong but I would like better pictures before jumping to any final conclusion either way. Austin
  25. I don't think that's shin-tetsu but rather Tobiyaki or Yubashiri. I would get a magnifying glass and see if its made up of nie. Austin
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