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About 1kinko

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    Chu Jo Saku

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  • Location:
    Williamsburg VA
  • Interests
    tosogu, metallurgy, Japanese alloys, kinko techniques, patinas

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    Darrel Lauren
  1. Definitely uchidashi, with perhaps an exception for the sake jug and what appears to be a lotus leaf on the far right side. The workmanship on this piece is very fine so maybe a master could form these, but it sure would be easier to solder them in place. The difficulty is best seen from the back.
  2. 1kinko

    Peony and lion dog

    They're on AOI, not Yuhindo.
  3. 1kinko

    Tanto Tsuka

    Mea Culpa, I was referring to "I particularly like the shells holding the kashira on" and like Rodger, didn't see the abalone.
  4. 1kinko

    Tanto Tsuka

    Nope, it's a scallop, not abalone.
  5. 1kinko


    Looks like a cicada nymph to me.
  6. It's more tricky than I thought since the angles in the photographs are not the same. Numbers 1 and 2 are, to me, the most balanced and nuanced, but this is influenced by the pictures of #1 (and #3) being taken from slightly above the meridian. Nevertheless, #2 appears to me to be more sinuous, more tree-like. The presence of 3 branches on the right of the central trunk of #2 and the apparently larger hitsuannas also add to this sinuosity. Adding the ateganes in #4 ruins the composition and number 5 is just too flat and mechanical for me. Number 3 just doesn't cut it- Isn't it interesting how we read an image from left to right, like we read books? Since Japanese is read from top to bottom, right to left, does this mean we see images differently too? Great topic, thanks Ford.
  7. Peter- you can easily pull out the nagako piece and replace the pins with small screws.
  8. Absolutely beautiful, but it looks like the silver (if that's what it is) moon reflection needs some minor restoration. I'm definitely jealous.
  9. Just to shift the original question about AOI a little, has anyone here had experience with the auction, where it seems no one else was interested and then got outbid minutes before the auction closed? This has happened to me several times. It seems to me that there is a way to have your computer do the bidding at the last moment and avoid having to bid and outbid. How does one compete? Thanks in advance.
  10. For well organized, high quality, color images, of the various schools try the A.H Church Collection at the Asmolean Museum site at the Jameel Center (Oxford University). Church had a predilection for floral, geometric and animal forms but he had a good eye. The Asmolean staff are also very helpful if you want images of the ura side. jameelcentre.asmolean.org
  11. If you go to Japantown you will find Asakichi who sells antiques (not real old), new boxes and tea utensils and tea. I consider the Asian Art Museum to be the Chinese Art Museum, but you may find a book or 2 that may be useful and there could be a special exhibit, but the Japanese collection, including the De Young's netsuke collection seems to have disappeared.
  12. Nori, made by Yasutomo, is starch glue. Coming fromJapan I assume it is rice-based. Anyway, it works perfectly for saya construction and because it is a commercial product, it is uniform and produces reproducible results. Cheap too.
  13. 1kinko

    Kozuka - Goto School

    Is there such a thing as a cast kozuka? Casting such a thin hollow shape is much more difficult than soldering the 2 sides together. Embossed, possibly, but not cast I think. Anyway, this is easily resolved by looking for the solder lines along the sides and the join area on the koguichi.
  14. Acetone has no effect on patinas and will break down superglue and epoxy.
  15. Sebastien- For tsuba you can use chirimen silk from used silk kiminos or furoshiki. Both are available online and can be dyed easily. This is pretty thick stuff and will do a good job of protecting the metal patina. It is also easy to make into futons. I recommend against balsa because it bends rather than cutting precisely and will not give a crisp edge to make a tight fit for the tstuba. Try basswood as a closer approximation to paulownia. Use a thin layer of thick rice glue as it is sticky and will form a good bond between the material and the wood (I press them together for about 2 h. Use the cutouts from the basswood tsuba form to press the fabric into the sharp edges of the tsuba shape.) and will not bleed through to the surface. Liquid glues will bleed through and produce an undesirable sheen on the surface. For furoshiki chirimen you need about a 1 mm gap between the wood and the material. The chirimen grain is usually horizontal.
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