Are these actually Nara?

[Kevin Adams]

Hi everyone, I was wondering if I could pick people's brains for a bit...I've recently been given a wakizashi to do tsukamaki, and was looking over the fittings. I'm a big fan of katakiribori, so the fuchi struck me as particularly nice, as was the carving on the kashira. The gentleman I'm doing the work for suggests that the fuchi/kashira is of the Nara School, and while I somewhat agree (for the kashira, anyways) based on pictures I've found of examples from this school, I can't find any reference to what might be "typical" for this school. Of course, not being satisfied with half an answer, I decided to take some pictures and see what I could find out...

 

My questions, therefore, are:

 

1/ What are any thoughts that NMB forumites may have on this set of fittings, and

2/ What might be (if any) defining characteristics of fittings from the Nara School that could be used as a reference point for mumei fittings?

 

Thanks in advance, everyone

[Brian]

Kevin,

 

Without hitting the books (cold and time for bed) I find this quite a good intro to the school.

Maybe it will assist with the attribution:

http://tsuba.jyuluck-do.com/NaraSchool.html

 

Regards,

Brian

 

...Nara picked up a variety of motifs, and expressed them in groundbreaking carving methods (like Katakiribori or Shishiaibori..

...the Nara brought in novel motifs and carving methods....

 

Also found this:

Ko-Nara tsuba, also called old Nara or early Nara tsuba, were a style of decorated iron plate tsuba popular from the Momoyama period through the mid Edo period. This group produced tsuba with kinko (soft metal) Goto style inlay on iron plates, some of which may have been produced by other tsukako - possibly Saotome makers. The first Nara master, Toshiteru, is believed to have studied under the Goto school and applied the Goto kinko techniques to iron plate tsuba. The Ko-Nara group are those makers working before approximately 1700 who preceeded the fourth Nara Master, Toshinaga. While this type of tsuba is called Ko-Nara, they were made by a variety of different makers, some only distantly related to the Nara school. The later or new Nara school (Shin Nara) became one of the most prolific and influential schools of tsuba and kodogu makers producing works into the Meiji Period. It is the later Nara work that most collectors refer to as the Nara school. The Three Great Nara Masters (Nara Sansaku) were Toshinaga (aka Riju) (1667-1737), Sugiura Joi (1700-1761) and Tsuchiya Yasuchika (1669-1744). Works by the great Nara masters are often reproduced, copied or forged (gimei).

[docliss]

Dear Kevin

 

Brian has given you some excellent references to Nara work, but your questions about the fuchi-gashira that you posted have remained unanswered, and unanswered posts offend me!

 

Founded in the early C17, the early work of the school was of soft-metal incrustation on an iron ground. This KÅ-Nara work , since it was widely copied and generally unsigned, is generally recognised as a style of tsuba rather than as the product of a particular group of artists. But by the end of the century Yasuchika, after studying under Nara Tokimasa, had introduced a change in style that was the forerunner of Nara kinkÅ work. The use of both iron and any of the soft-metal alloys as a base, and a wide range of techniques and styles, makes it very difficult to define a ‘Nara style’. This difficulty is further compounded by the existence of Sugiura Joi, Nara Toshinaga and Hamano ShÅzui, who together with Tsuchiya Yasuchika, form the Nara Sansaku. Each of these artists founded his own school with its own distinctive styles.

 

In general, however, Nara kinkÅ work is characterised by the depiction of a wide-ranging variety of themes, variously interpreted and often featuring exquite iroye of the soft metals. While beautifully rendered, these never appear flashy or contrived, and give the impression of quiet, good taste.

 

Your own tsuba has none of these qualities. In that the kashira features shishiai-bori, and the fuchi katakiri-bori, it could be said to be in the ‘Joi style’ but, sadly, is a very poor attempt at this. I hope that this answers some of your queries?

 

Regards, John L.

[Kevin Adams]

John, thanks so much for the clarification! The link that Brian provided, and a few other tidbits that I managed to dig up, point to that exact conclusion. I had already surmised that the Nara "school" was mostly geographical, and mostly tsubas, but I also don't like dismissing an idea until I've double-checked from a few different sources. Just trying to learn as much as I can without asking too many redundant questions

 

Now I just need to figure out what these ARE, now that I have an idea of what they're NOT...

 

Thanks again!

[John A Stuart]

Hi John, Isn't the Yasuchika who studied under Tokimasa the same artist that started the Tsuchiya school? John

[docliss]

Thanks for that, John. Yes indeed, there was a typo there which I have corrected - I hope that it is OK now? John.

[Brian]

but your questions about the fuchi-gashira that you posted have remained unanswered, and unanswered posts offend me

John L,

 

With excellent posts like that, I think we had better offend you more often. :D

Thanks for that. I really do need to focus more on tosogu and get my own knowledge up, and hit the books I do own, and get the ones I don't.

 

Regards,

Brian