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Posted

A recent acquisition. I thought the gold hirazogan inlay was rather nice and reminded me of some of the work of Umetada Myoju (rightly or wrongly) and the Umetada school in general (but perhaps a bit “stiffer”?)

The inlay is done with remarkable precision and has a bit of a katakiribori painterly style about it. It seems  exceptionally heavy in hand for its size suggesting a good quality shakudo plate. Out of interest, if the gold content in the shakudo was just 5% that alone would be nearly  £700 at todays values!
The maker, Tohdo (Ozaki Tohdo) is an Edo period artist around 1775-1800 per Haynes and he had some obvious talent. Hirazogan is generally regarded as a more demanding technique than Takazogan. There is no room for even minor errors as they become clearly evident when the smooth flush surface receives its final polishing.

Anyone else see Umetada influences?….or am I barking up the proverbial tree?

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  • Like 4
Posted

Thanks Uwe,

Some Umetada work  have an unusual feature (see above) where the Hirazogan is allowed to casually drift into the seppadai….as it does on mine. I haven’t seen that feature on Kaga tsuba (yet🙂) I’m certainly not saying mine is an Umetada piece but maybe a gentle nod in that direction? Just musing….
 

Posted

I agree Uwe……that one you show above is much closer. Where did you find it? I’m looking in the wrong place! (And I’m no tsuba expert)

Posted

Dear Colin.

 

I can quite see where you are going with the Umetada idea; brush stroke shapes to flat inlay.  Equally Kaga zogan with the flat inlay in a soft metal base, however the design elements do not suggest Kaga to me. Rather they recall the sort of work one might see in Yokoya school designs  in katakiri bori which would fit with the dates of your maker. 

 

All the best.

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