Shogun8

Stay tuned.

It's a real shame when one individual does his utmost to destroy the efforts of others who are actually trying - and succeeding - in building an under-served community. Perhaps I should post the very racist and despicable message that this individual sent to me for all to see his true nature and motives.

Hi Greg, Thanks for that. The famous dragon from 1713 in the TNM (which seems to be what is being referred to in the link and quote you provided) is signed Myochin Muneaki according to every reference I have. This is the first that I have seen the name Kisōzai...I wonder if this is one of those cases where there's more than one reading of a name (kind of like Unkai Mitsunao vs. Unkai Mitsuhisa)? BTW - this dragon is by far the greatest example of jizai okimono extant. I read a reference where the curator of the TNM valued it at over $1M - and this was several years ago.

Hi Greg, I have never heard of Myochin Kisozai either and I don't see his name listed in the Shin Katchushi Meikan or in any of my reference books on the subject. The closest I see/know of is Myochin Kiyoharu. Can you provide any more information on where you encountered this name?

A dragon just sold on Yahoo last week - russet iron, large, damaged (the head was detached and one of the horns broken if I remember correctly) and decent but not great quality. Winning bid was JPY 4,500,000.

To add to what Frank has written, there is also a huge price difference - driven foremost by quality of course - between pieces made in various metals (copper, bronze, silver, etc.) versus pieces in russet iron. Edo period pieces were made in iron, are incredibly rare and extremely expensive (like the dragon in the link provided above). It's only the Bakumatsu and Meiji periods that saw pieces in other metals being made by Muneyoshi and the the workshop of Takase Kozan. Greg - I've never heard of Myochin Kisoki - do you have pictures of the piece you're considering? Pieces by Takase Kozan are high quality, desireable and very expensive.

Also, make sure that you include the UK's applicable Tariff Code for antiques because you don't want to get hit with VAT and duties. Ideally, if you can prove that you already owned them (and ostensibly, that they had already resided in the UK) and were sent abroad for study/research/educational purposes and are now simply being returned to you, then perhaps you can also avoid the VAT as well.

Thanks Luc, I know this armour - just didn't know the name or background!

I had the opportunity to meet the artist and see his amazing bird skeleton (along with several other pieces) in a sublime exhibition at Yoyogikamizonocho (Tea House in Yoyogi Park) last year.

Luc, Do you have a picture of this armour?

Hi Sabius, The definitive book on the genre of jizai okimono is this one: https://www.ebay.com/itm/ROKUSHO-Articulated-iron-figures-Okimono-Japan/302721834672?rt=nc&_trkparms=aid%3D222007%26algo%3DSIM.MBE%26ao%3D2%26asc%3D52935%26meid%3D72a842eb153b422d841cde273de20696%26pid%3D100005%26rk%3D1%26rkt%3D10%26sd%3D372304811813%26itm%3D302721834672&_trksid=p2047675.c100005.m1851 It has some pictures and speaks a little about the construction techniques used, but I don't know of a technical article on the subject. This may also be of interest: https://artsandculture.google.com/exhibit/9QKSX9qsa8CjJQ John

Very interesting video, Ken - thanks for sharing!

Hi redinight, Did you take any pics of the items on display? John

This is one large and notable difference between Japan and the West - in Japan there is no difference or distinction made between arts and crafts, whereas in the West, critics, scholars and academics are always trying to differentiate between "high" and "low" art and art vs. craft.

I remember seeing this too, Ken and it was proven to be quite effective.

Simon, Do you have any pics of the actual kabuto? John

From the lead-up to the event, images I've seen and feedback I've heard, the event certainly seemed to have been well-planned and run and professionally executed. Having planned the Japanese Armor Society's own symposium in the Netherlands just a few months ago and being a professional in the field, I know first-hand what it takes to put together events such as these, and it sure ain't easy, requiring much more work, time and money than anyone realizes. These events that are targeted to our specific audiences - be it nihonto or katchu - deserve to be supported by interested parties such as the members of this forum and the various clubs that exist throughout the vicinity in which the event(s) is being held. It's discouraging for the stakeholders - sponsors, exhibitors, and attendees alike - when the attendance does not meet expectations and it certainly makes it harder to promote and sell the event for future renditions. I myself have attended 2 symposiums in Florence, one in Leeds and the recent one which took us to the Netherlands; Berlin; Belgium and Paris, despite the high cost of coming from Canada. If we are to see other events like this continue to take place, we have to make the commitment in time and resources as they allow.

I know how much goes into the planning of these events, so it's too bad that the attendance wasn't as expected or hoped for. One would have thought that with the centrality of the location and the existence of such an efficient intra-European rail system and cheap flights, that there would have been more of an effort made by nihonto and katchu-philes to attend.

Kudos to all those involved!

Woulda, shoulda, coulda...Although I knew there were some quality dealers in attendance, I decided not to go because there was absolutely nothing on armour scheduled for the formal curriculum. I know that Luc attended, so perhaps there might be an opportunity for collaboration with the Japanese Armor Society for future editions. Actually, the timing was bad. I'm in Europe at the end of the month and will extend that trip to catch our first JAS study meeting to take place in Brussels, with a focus on koboshi kabuto.

There's presently a copy for sale on Yahoo at JPY55,000.

Damn, there's more armour than was publicized...

The idea of generations of the same maker (or perhaps makers of the same name is a better phrase) - especially as it pertains to Ietada - is indeed very confusing. Giuseppe Piva has written a very good article on the concept of "Ie": http://www.giuseppepiva.com/en/news/ie-system-different-approach-signatures-Japanese-art

Uwe, I'm reading Takemura-san's article on Yukinoshita dou, and I see that Date Masamune twice gave a gift of armour to an Asai Bitchû no Kami who is listed as a messenger of the Kasai family...

Nice kabuto, Nick! I've been trying to access your website but can't - under renovation?