Something Nice At Tampa

[Soshin]

Hello Everyone,

 

While some people proclaimed the death of US Japanese swords shows I disagree.  I really enjoyed myself buying and selling at the Tampa show the passed weekend.     Just wanted to share these nice Ko-Kinko menuki I picked up at the show.  The base metal is yamagane (unrefined copper) and the design of twin bulls something favored by the early Goto school.  I picked up just about every type of Japanese art at the show including a signed and dated sword in art polish that I need to do more research on before photographing for my website.  Feel free to respectfully comment and ask questions.          

[ROKUJURO]

I would have liked them probably more without the random gold paint. (I hope that was respectful enough?)

[TETSUGENDO]

David,

 

They are very nice...but miles away from Goto.

 

Cheers,

   -S-

[Ford Hallam]

Just curious, David, how do you know the base metal is an unrefined copper? 

[Soshin]

Just curious, David, how do you know the base metal is an unrefined copper? 

Hello Ford,

 

I check them under a bright LED light.  They are not black, blueish-black, or purplish-black, in color like I have seen in other shakudo sword fittings example with different gold content.  I readed a scientific paper about different types and grades of shakudo and there colors here is the citation. [“Japanese Shakudo Its History, Properties, and Production from Gold-Containing Alloys” by Hachiro Oguchi, Gold

Bull., 1983, 16.]  They have a very dark brownish tint to them that reminds me of a rim cover of this Ko-Katchushi tsuba (https://www.tsubaotaku.com/tsuba-gallery-6), it is the third tsuba on the webpage.  I am also comparing the color under a bright LED light to this NBTHK papered Ko-Kinko tsuba I have on my business website (https://www.raindragonfineartandantiques.com/product-page/warring-states-period-sword-handguard).  As a note the NBTHK paper says yamagane on it. I have, therefore was thinking the menuki was yamagane comparing it to the other two examples.  It might just be shakudo with a lower gold content as well.          

[Soshin]

I would have liked them probably more without the random gold paint. (I hope that was respectful enough?)

Jean C.,

 

Stating a subject opinion is just fine, but I don't know anything about the gold paint you are referring to.  Do you see 'gold paint' here: http://ginza.choshuya.co.jp/fs/sale/kodogu/3001_3050/3032/k3032.htm ?        

[Stephen]

For comparison

 

http://ginza.choshuya.co.jp/fs/sale/kodogu/3051_3100/3060/k3060.htm

[Soshin]

For comparison

 

http://ginza.choshuya.co.jp/fs/sale/kodogu/3051_3100/3060/k3060.htm

Dear Stephen,

 

Thank you for sharing for comparison.  That design was very popular but I think it started with Ko-Goto during the Muromachi Period.    

[Ford Hallam]

Hi David

 

thanks for your considered reply.

 

It's interesting that you cite Oguchi, I have issues with many of his conclusions and assertions but he does correctly identify nigurome as being the base alloy for making shakudo. He's wrong when he equates kuromido with nigurome and his suggestion that early shibuichi was made with nigurome is not supported by any evidence either literary or analytical. He also doesn't refer to any unrefined copper anywhere. This notion is simply wrong. And Yamagane, as bandied about in tosogu circles, wasn't ever a thing.

 

Oguchi states that shakudo means black gold, this is not correct. It means red copper. And thereon hangs a tale.

 

But I suppose what I'm saying is that seemingly scholarly papers like this are problematic as they are rarely subjected to critical assessment by anyone who might be qualified to do so. 

[TETSUGENDO]

David, here are some Ko-Goto examples, as you can see they are VERY different from yours.

-S-

[Guido]

While I don’t think that the gold highlighting is paint, it kind of leaves that impression because of the ragged edges and areas covered.

 

I put the Raindragon and Chōshūya examples side by side. While the edges on the latter are somewhat blurred (possibly due to being rubbed off), there’s a distinct pattern. On David’s menuki, it looks like the gold was applied randomly with a stiff brush. Furthermore, the partial gilding of the mane and a leg looks contrived. I’m under the impression that it’s a later “enhancement”, or a sloppy job to begin with.

 

Just to be clear: I’m not endorsing the Chōshūya menuki; they’re not what I aspire to in a collection. OTOH, they probably would look nice on a koshirae (which, btw, is exactly what they suggest in their description). But they are a small notch above the Raindragon ones IMO.

[TETSUGENDO]

The gilding on both examples looks like an obvious "refresh" to me, although Guido's choice is more subtle this manner of enhancement is becomming de rigueur with too many venders.

 

-S-

[ROKUJURO]

David,

it might be helpful to see the underside of your MENUKI.

[Pete Klein]

http://nihontocraft.com/Bulls_Kinko_Menuki.htm

[Soshin]

Thank Guido and Ford respectful insightful comments.  These menuki are example of the lower end sword fittings I will be offering for sale at Rain Dragon Fine Arts (http://www.raindragonfinearts.com) and eBay store.   I intended  them more for the beginner fittings collector on a budget or for someone with a low to medium end sword that needs a fair set of menuki to complete a koshirae.

 

Jean C.  I not going to bother with showing the underside of the menuki until I list in on my website for sale.  I have a NBTHK papered Tosho tsuba with some of its original back lacquer still left on its plate that I photographed yesterday that would be more to your taste in terms of collectable sword fittings .  Well it been fun now back to work.  Take care and have a good weekend.           

[Soshin]

You are not understanding my comment but anyway. Great example thanks for sharing.

20190307_192613(1).jpg 20190307_192434.jpgDavid, here are some Ko-Goto examples, as you can see they are VERY different from yours.

-S-