Age Determination of Kozuka...

[Soshin]

Hi Everyone,

 

What is the best approach to determining the age of a shakudo kozuka? I just purchase one that pervious owner was thinking was an early example. He dated it from the Momoyama Period to the very early Edo Period. Nanako reminds me of a Ko-Kinko tsuba I have that might date from around the same time period. Both pieces the tsuba and kozuka are mumei as all Ko-Kinko works.

 

I will post a photo tomorrow of the kozuka in question along with tsuba for comparison. I am researching this as I would like to expand my understanding beyond old iron tsuba.

[Pete Klein]

You mean this one: viewtopic.php?f=4&t=18409 ?

[Soshin]

Hi Pete K.,

 

Yes, I wanted to try and get better photos over the weekend. And post then on this topic. :D

[Soshin]

Hi Everyone,

 

There is the kozuka and a first to my tosogu collection. Enjoy. Is there anyway to determine the the age of this kozuka? I have heard that the cross sectional shape is important but I not really sure what to look for. The ware on the ura is something consistent with antique tosogu but other that I don't know. Thanks for the help.

 

[Pete Klein]

List everything you observe and we will continue.

[Soshin]

Hi Pete,

 

Thank you. Here is my list of observations about my new kozuka.

 

1. Made of Shakudo (赤銅). The color of the shakudo is a dark black.

2. The fine nanako pattern of the base is done in a horizontal direction. It also shows signs of having been worn down in places.

3. The high relief carving (takabori 高彫) design of tea ceremony items is much higher than the nanako base and gives it a almost three dimensional shape.

4. The reverse side (ura 裏) has been polished smooth and has a few minor scuffs and scrapes.

5. The base of the nanako is set lower than the smooth border.

6. The design has gold inlay (kin-zogan 金象嵌).

7. The gold inlay has been worn away from high edges of the high relief design to expose the shakudo underneath. To me the gold inlay looks like purposeful abraded.

[Pete Klein]

Good -- now, tell me everything you know about this theme.

[Soshin]

Hi Pete,

 

The design is of tea ceremony tools called chadōgu (茶道具). All of what I know is taken from this Wikipedia article: http://en.wikipedia.org/wiki/List_of_Japanese_tea_ceremony_equipment. Attached is a photo of the tools from this article for reference.

 

[Pete Klein]

OK -- so what time frame are we thinking here? (hint - Sen no Rikyu)

 

PS: re-inspect the gold.

[Soshin]

Hi Pete,

 

The gold inlay method I think is called (uttori うっとり) an early method if I am correct which predates the Edo Period and the more common numome-zogan with it characteristic crosshatch surface patterns. Based upon the time period of Sen no Rikyu I am thinking the Kozuka dates to the Azuchi-Momoyama Period.

[Pete Klein]

OK -- close -- uttori is applied differently. Look it up and look at your example most closely. Take into account your call on suri higashi ('purposefully rubbed off' gold) and think it through.

[Soshin]

Hi Pete,

 

Ok examined the gold some more under hand glass magnification and I retract my (uttori うっとり) answer. I think the method used in the gold inlay is (kanagaki かながき) this method is done with gold dust mixed with lacquer. It is also a early inlay method for both gold and silver and can produce this (suri hegashi) effect. The kozuka maker likely inlaid the whole design and then rubbed off the gold and lacquer from the high points of the design to create a worn effect reflective of the wabi-sabi aesthetics of the tea ceremony of Sen no Rikyu.

[Baka Gaijin]

Good morning David,

 

I'm not entirely sure but I think the 3 utensils depicted are:

 

Chasen (Whisk)

 

Chashaku (Tea scoop)

 

Habōki (Feather brush)

 

The selection may be a reference to one of the "Hundred Poems of Chanoyu".

 

 

 

Cheers

[ROKUJURO]

David,

 

the gold is not inlay and it is very probably not gold lacquer either, which is found mostly on non-metallic surfaces. Did you think of simple 'fire-gilding' with mercury?

 

Looking at the pictures, I do not see hints for an especially old or artistically important KOZUKA, but I am no expert and would be happy to learn.

[Soshin]

Looking at the pictures, I do not see hints for an especially old or artistically important KOZUKA, but I am no expert and would be happy to learn.

 

 

Hi Jean C.,

 

So why comment in such a manner. I haven't made any claims of its importance other than the previous owner was thinking it dated from early Edo Period or before. Not that old in the great scheme of things and does not in anyway indicate historical importance . So far this kozuka has been a great learning experience thanks to Pete and Malcolm and it only cost me $125.00 USD.

 

P.S. You are correct the term inlay may not be correct in this context. A better term I think is coloring (iroe 色絵).

 

 

Hi Malcolm,

 

Thank you. I will do some more research about the theme.

[Pete Klein]

The classification is 'iroe' with the technique most likely 'mekki/mekkin', the use of a gold + mercury amalgam => heat vaporization technique for the surface coating of the design with gold.

 

David -- who would wear such a kozuka and why? What can you tell us about the fabrication technique of the jita? How does the nanako relate to this?

[Soshin]

The classification is 'iroe' with the technique most likely 'mekki/mekkin', the use of a gold + mercury amalgam => heat vaporization technique for the surface coating of the design with gold.

 

David -- who would wear such a kozuka and why? What can you tell us about the fabrication technique of the jita? How does the nanako relate to this?

 

Hi Pete,

 

I have been using Markus Sesko's Handbook of Sword Fittings Related Terms. I have also been using Kodogu no Sekai blog to help me with terms along with the provided visual examples. The term used on Richard Turner's blog site is (kin iroe 金色絵) which means "gold coloring". The use of heat and mercury is a common thermal application method on tosogu.

 

In answer to your second question. The kosuka would have likely been worn by a cultured samurai that enjoy the Tea Ceremony and/or enjoyed reading the Hundred Poems of Chanoyu. The jita is shakudo nanako-ji (赤銅魚子地) that is very fine and was applied linearly along the horizontal plan of the kozuka. In a few places the nanako looks like they are worn down a bit which may or may not indicate age.

[Pete Klein]

Now then, if you go deep into researching the elements I have mentioned you will be able to answer your original question.

[Soshin]

Hi Pete,

 

Going back to the coloring method used on the design. Markus Seseko's handbook lists the following bit of information about these gold + mercury amalgam => heat vaporization techniques to color in the case of my kozuka shakudo.

...an amalgam of quicksilver (mercury) and gold powder is applied to the piece. When heated, the quicksilver evaporates, leaving gold or silver on the ground plate.

They are two separate techniques one that uses gold or silver powder and the other that uses thin sheets of gold or silver.

Both techniques were used since the earliest times and are mostly seen on copper bowls or brass vases, but first and foremost on Buddha statues because the dull appearance of gold applied this way looks very elegant. Often the thin gold layer is consciously abraded, exposing the copper or brass and creating a special aesthetical sense of age.

In conclusion I think my kozuka is relatively old circa the Azuchi-Momoyama Period. The question of where and who made it I will leave to another topic unless it is directly related to determining the age of my kozuka.

[Pete Klein]

Now then, if you go deep into researching the elements I have mentioned you will be able to answer your original question.

 

There is no 'in conclusion'.

[TosoguCz]

From my amateur point of view, there isn't nothing too significant to determine it as the Azuchi-Momoyama Period piece. Neither motif nor used techniques.

What I see is a motif which was popular through centuries.

Fire gilding is known and used for 2000 years already.

Execution of the main motif is simple and standard quality. Nothing spectacular.

Nanako isn't well marked. Is shallow and lines aren't straight enough and there is obvious bumpiness.This type of workmnanship you can see on hundreds or thousands cheap edo fittings.

For me it looks like a quick production piece from edo period. But I am not a connoisseur and can be wrong.

[Soshin]

Hi Pete,

 

Still thinking... Any help would be great. Here are some additional photos taken today. The first is the kozuka next to my shakudo Ko-Kinko tsuba. Something I noticed that isn't completely clear in the photo is that the shakudo color of the kozuka is deeper than that of the tsuba. The second photo is of Kozuka showing the height of the main design (mon 紋) above the nanako-ji (魚子地).

[Brian]

I'm following this eagerly, as I know Pete knows his stuff, and this is a great way of teaching, and the end result will be enlightening I am sure.

 

Brian

[Pete Klein]

Well, thank you Brian. I do try to do my best. What I am attempting to get across here is a 'methodology required' to investigate these items. I am not telling anyone 'specifically' what anything is, when it was made or by whom, as to be quite honest, no one can actually do this in this circumstance. What I can tell you is that this little kozuka could be placed on an appropriate stand, in a tokonoma in a Koma (http://www.omotesenke.jp/english/list4/ ... ist4-1-11/) and it would be admired. It's actually quite an interesting piece. It shows age, use and longevity. The nanako borders upon naïve and the theme is direct, yet understated, having a three dimensionality which is intriguing (yet not often seen). IOW's, in my opinion it's a nice piece to be appreciated for what it is, not a masterpiece, yet of relevance by it's own 'étant'.

 

PS: this piece was once in my possession.

[Soshin]

Hi Everyone,

 

The color and darkness of the shakudo reminds me of Ko-Goto works but I don't know. In conclusion the piece has a good provenance.

 

 

P.S. I am planning to keep this kozuka a while. If anyone has a good quality kozuka box they are not using please let me know.

[Pete Klein]

David, thank you, but I believe it has two. Steven has a magnificent eye for detail and historic relevance. He should, in IMHO never be underestimated in his abilities. We all acquire, and release as part of our learning curves. As one learns, one passes on, and so forth.

[nagamaki - Franco]

Something I noticed that isn't completely clear in the photo is that the shakudo color of the kozuka is deeper than that of the tsuba

 

Hello, strongly suspect that the finish on this kozuka has been chemically repatinated, the original patina is gone for whatever reason. The problem with shakudo is that unless it is of high grade it becomes very difficult to restore. The finish here doesn't look very natural at all on the front plate, at least to this pair of eyes.

[Marius]

David,

 

thank you for asking about this kozuka

 

Pete,

 

Thanks for your socratic questioning. I wish we could discuss every object like that.

[Soshin]

Hello, strongly suspect that the finish on this kozuka has been chemically repatinated, the original patina is gone for whatever reason. The problem with shakudo is that unless it is of high grade it becomes very difficult to restore. The finish here doesn't look very natural at all on the front plate, at least to this pair of eyes.

 

Hi Franco,

 

Thanks for the obervation. I really can't tell if the shakudo was repatinated or not. Whould like other opinions about this. The nanako-jita has a fair number of scuffs, scratches, and is worn down in places. The deep color is also consistent from the omote to the ura with its polished finish.

[TosoguCz]

Hello, strongly suspect that the finish on this kozuka has been chemically repatinated, the original patina is gone for whatever reason. The problem with shakudo is that unless it is of high grade it becomes very difficult to restore. The finish here doesn't look very natural at all on the front plate, at least to this pair of eyes.

 

Hi Franco,

 

Thanks for the obervation. I really can't tell if the shakudo was repatinated or not. Whould like over opinions about this. The nanako-jita has a fair number of scuffs, scratches, and is worn down in places. The deep color is also consistent from the omote to the ura with its polished finish.

 

It's ok.

Looks naturally. The most exposed place is everytime the most projected above surface. You can see marks of worn off patina mainly on the relief, and on the ura side.

Photos aren't quality enough to examine the nanako bacground in detail. But you can't patinate only one part of kozuka and other not. Panel could be waxed or lacquered, or not. Is hard to say without crisp close up-photos. There is some dirt and oxides maybe in nanako. The background isn't good quality but it looks natural to me.

Original patination was made by chemicals of course..

The most important than shakudo quality is surface treatment before patination.