The Myoan Collection

Thank you both of you for the compliments and encouragement. Much appreciated

Dear members, I have recently launched a small website for my private collection and research project, The Myōan Collection, based in Cape Town, South Africa. The collection focuses mainly on Japanese painting, Zen painting, calligraphy, Buddhist imagery, and Edo-period scrolls. Although my own area is not primarily nihontō, I know this forum includes many people with a deep understanding of Japanese art, inscriptions, seals, provenance, samurai culture, and material history, so I thought some members might find the site of interest. Several works in the collection also relate to the visual world of samurai households, including paintings with birds of prey, auspicious subjects, and imagery associated with authority, cultivation, and elite domestic display. These works sit slightly to the side of sword culture, but I think they belong to the same broader atmosphere of Edo-period taste, patronage, and connoisseurship. The website includes catalogue entries, research notes, and a few available works. It is very much a work in progress, shaped by close looking, study, and comparison. https://www.myoancollection.com I hope it may be of quiet interest to some members here who enjoy Japanese history, Edo-period culture, and traditional Japanese art more broadly. Best wishes from Cape Town, Mario Todeschini The Myōan Collection

This is the very chap. Well spotted. Definitely looking much happier now after it’s bath and some quite lengthy attention with a porcupine quill and Egyptian cotton.

For your appreciation today is a piece which I have recently restored. It had a fair amount of rust particularly in the recess. Now looking much more healthy. Interesting that this example is not cut all the way through like most of the examples of this style I can find online. I wonder why? it strikes me as very logical that this symbol was a demonstration of serene and skilful craftsmanship. I suppose the wearer was demonstrating to his audience a similar aspiration of equanimity. Your comments And observations would be most welcome. The extent of my notes concerning its description….. Iron, oval-shaped tsuba with openwork in “sayagata” pattern (interlocking buddhist “manji” symbols). Bushū Itō school. ? Sayagata is a pattern of interlocking manji. The Manji symbol is a testament to the Buddhist ideal of interconnectedness. It signifies the interdependence of all phenomena, emphasizing that each individual being is intricately linked to the vast web of existence. This interconnectedness fosters compassion, empathy, and a sense of responsibility towards all beings. The Manji serves as a reminder of our shared humanity and the interconnectedness of our actions, highlighting the importance of cultivating kindness and mindfulness in our interactions with others. I can’t think of better words at the moment to encourage us to all reflect on ways of living in these difficult times…..

A male and a female! What great symbolism. Thanks for the education guys🙏

For today I present you this piece. Two dragons chase each other through the sea. One has already lost its tail to the aggressions of the other. There are traces of gold inlay here and there including some quite charming gold tenzogan. As with my other dragon piece I have no illusions that this is a masterpiece but it was the second tsuba to come into my possession so it forms part of a growing awareness of the form and the mark making of the craft. Does anyone have any particular insights as to the narrative of the two dragons or any other observations with regard to place or date for this. Thanks guys.

Thank you so much Ford and others for your insights. I'm glad to say I didn't pay very much for this piece, $250, The most I have ever paid for a Tsuba, and I'm not in any way disappointed by Ford's assessment. As a novice collector it's extremely interesting to begin to educate myself as to the depth of this art form. I had no illusions that this was a masterpiece. It's amazing the way more and more examples keep coming out. The previous owner of this piece would have been fascinated by this discussion. This piece and most of the others in my collection come from a single previous collection that was assembled here in Cape Town in the 1950s. The previous collector would have been in his early 30s at the time and a novice in the subject. Lovely to now assemble this research and pair it with the pieces so that the next custodian will be able to further the research and not have to repeat it. Thank you everyone for your engagement and interest. I will slowly over the coming days and months share the rest of my collection for your enjoyment and scrutiny.

Excellent. Very useful advice. Thank you so much David 🙏

Aaaaaah, very interesting. Thank you so much Brian🙏🙏

Hello Brian and others Am I interpreting things correctly that this is the Smith?

Thank you Dale and Malcolm. I'm pretty blown away by the quantity and quality of information here. Definitely very satisfied to know soooo much more about my piece. So we will go early Edo right?

Is this the Man ? Yoshinobu Submitted by kazarena on Mon, 2007-05-14 20:13 吉信 初代 [Help] △ 寛永︱ 山城 Yoshinobu (1st gen) ID YOS656 Province Yamashiro Era Kanei (1624-1644) Active Period 1624-1644 Teacher Myoju Lineage Image / Interactive Source Rating Reference/Page Hawley 90 YOS656 Toko Taikan ¥4.5M 739 Signatures: 山城國住埋忠吉信 yamashiro kuni ju umetada yoshinobu 山城國西陣住埋忠吉信 yamashiro kuni nishijin ju umetada yoshinobu Biography and lineage Held Yamato Daijō and Yamato no Kami titles. Workmanship and style Fine horimono. https://nihontoclub.com/smiths/YOS656

I see dates in your text. Let me read that first.

Thank you Mal. The Kinai document is absolutely fantastic. So great to have a positive identification. I even found another piece by the same two men. Would you have an idea of a date for my piece?

Thank you very much for your reply Jean. Here are some better photographs. Thank you for your interpretation.