Oshigata work?

[Anthony]

So I have been watching the forums for a while now, and have a question that I don't believe I have seen posed before.

 

I was wondering how one goes about entering into the world of drawing oshigata.

 

I am a very well-founded charcoal, pen and pencil artist, and have even had works published in the past. I have 4 years of formal study, and it is hard to think of a better and more rewarding way to apply my talents than to draw oshigata.

 

I guess my main questions were:

 

1) Is it even possible to enter into this field? (Or is it a closed-off community, so to say?)

 

and...

 

2) With the advent of HD digital photography, do owners/collectors still have oshigata made for their blades?

 

I love a detailed photograph as much as the next person, but there is always something more... personal... about studying a hand-drawn reproduction.

 

I only have one final question to pose and that is:

 

If you were at a nihonto show/exhibition and someone was offering to do free "rough-sketch" oshigata to demonstrate their work, would you accept?

 

I am sorry if this question has been asked before, but I was unable to locate such a thread. Any advice or opinions would be greatly appreciated.

 

Anthony S.

[jason_mazzy]

I know alot of people would be interested in having one for sure. The problem I see is who is going to send you their blades?

[Anthony]

Thank you for the remarkably fast reply.

 

That is also a question I had asked myself and why I figured doing them in-person at shows would be the best bet. I just see it as a wonderful opportunity not only for me to share my talent with someone else, but also to be able to closely study various blades that I would never have the opportunity to see otherwise.

 

I have only been in Chicago for a little over 2 years now, and am still not quite sure what type of collecting scene we have here... but I am hopeful there might be one who wouldn't mind having me for lunch and a sketch session.

 

Thanks again,

 

Anthony.

[Lee Bray]

There is a small section on how to make oshigata in the back of John Slough's Modern Japanese Swordsmiths if you have access to that book.

 

"...was offering to do free "rough-sketch" oshigata" - I don't see many going for a 'rough sketch' as it couldn't be accurate and therefore what is the point? I think if you can produce an accurate oshigata for a reasonable fee, that would attract a better market.

[jason_mazzy]

I think he was reffering as a way to attract clientale, offering a less detailed piece to get you to think about getting a few real ones done.

[Anthony]

Thanks for the reply Lee.

 

Oh I didn't mean rough-sketch as in, "Here's an outline of your sword." More of a, "Here is what it would turn out to be." It would take me at least an hour for each side of the blade and that doesn't even include the extra backgrounds and calligraphy work. I don't know if many people would be willing to spend 4+ hours sitting with me while an exhibition is going on around them.

 

And as for working for a fee... given the circumstances, the chance to be in-person with various pieces would normally be payment enough. Maybe charge for a more ornamental work.

 

I will have to upload one I did for a friend to give an example...

 

Anthony

[Lee Bray]

There's an exhibition going on...they won't need to spend 4 hrs with you.

I just think that 'half' an oshigata won't attract the average NihonTo enthusiast who tend to want the best for their blade.

Complete, professional package for a small fee sounds better than a free, rough sketch.

[Anthony]

You really think someone would leave their blade unattended with me at a show?

 

I am assuming the owner would want to be present full-time.

 

I will post an example of past work in the next few days when I can make it to my friend's house in Gurnee.

 

Anthony

[Grey Doffin]

Sorry; I don't think this will work. The shows are too crowded, too much opportunity for an accident. Also, the lighting at the shows is terrible. To do a good job on oshigata you need directed light, not the general wash of florescent you get in hotel ballrooms. Doing a good job with oshigata takes many hours of concentration and diligence. Doing a half ass job takes less time but why bother.

Grey

[Toryu2020]

"There's an exhibition going on...they won't need to spend 4 hrs with you.

I just think that 'half' an oshigata won't attract the average NihonTo enthusiast who tend to want the best for their blade.

Complete, professional package for a small fee sounds better than a free, rough sketch."

 

 

Anthony -

If you are an honest individual people would leave their blades with you, this is afterall a gentlemens' hobby. You would need to establish yourself a bit; let people know you will be offering the service ahead of time, provide evidence you can safely handle any blade while working with it, show folks examples of your work and be seen at as many shows as possible. (This is what the handle wrappers do)

 

It is a very small niche so I would not expect much in the way of financial success and it could be slow going at first but if your skills are there people will eventually seek you out and you might find folks sending you swords between shows. Any excuse to spend a weekend at a sword show is a good one in the end you'll know more swords and sword-people if not become a fabulously wealthy artist. Go for it...

-t

[cabowen]

A few comments....

 

The best way to learn about a sword is to make an oshigata of it...That being said, it can take hours to do so properly. There are a few tricks and shortcuts that the pros use to save some time but even with those, it is still very time consuming.

 

You need to get the right kind of paper, which is very difficult these days, and an ink cake (called sumiboku if I remember correctly). Namikawa in Japan sells it, or used to....

 

The biggest obstacle in getting others to let you make an oshigata of their blade is going to be concerns about scratches. It is very easy to put scratches and scuffs in a polish and once there, it costs major money to repair. I you willing to assume that responsibility?

 

To get a start, you may find it useful to have several examples to show people. You may have to pay people at first to let you make oshigata in order to build a portfolio.

 

I would recommend looking at some of the full length oshigata in the NBTHK journals for some examples of what to aim for...

 

I would also recommend starting with tanto. They are much easier to work with. Once you get your technique up to speed, move on to longer blades.

 

With digital photography available today, traditional oshigata have almost become extinct. I wish you well in your endeavor....

[Clive Sinclaire]

Gentlemen

I am a great fan of oshigata drawing and have done many in the past. I was taught by a polisher named Kikuchi Masato, a student polisher, when I was staying with Sasaki Takushi in Saitama-ken back in the 1980's. Kikuchi-san was a genius oshigata drawer and is now a talented togishi. I believe that anyone can draw oshigata and all it takes is great patience and the willingness to spend the required time and effort.

I am fortunate in that some people lend me their swords for indefinite periods of time so that I can draw their swords, which usually end up on http://www.To-ken.com under UK Sword Register. From my own point of view this gives me the opportunity to study many different swords very closely. Indeed I often know the sword better than the owner in the end and this gives me great satisfaction.

As Chris says, sometimes the equipment is not easy to obtain, especailly the paper. The Sebokku, which is a wax made from pine charcoal, I believe, is reasonably easy to get at NBTHK's Token Hakubutsukan, Namikawa's and I have often see it at US sword shows.

I always draw oshigata whilst sitting on tatami as I find this gives me the best position and control. Fortunately, my tatami room at home is specifically designed for sword-viewing (lights etc) and provides an excellent atmosphere for oshigata drawing.

I don't think that you can hurry the drawing and if you are under time pressure it is better to stop and restart later. Often an oshigata might take me all day to do and I quite enjoy heavy metal music playing loudly in the background, such is the strange world inhabited by Clive Sinclaire!

Of course, there are many good books containg skillfully drawn oshigata but the best must be Meihin Katanaezu Shusei by Tanobe sensei. This was a limited edition book of oshigata published some years ago and is of rather large proportions (57.5 cm x 42.5 cm) and occasionally found at sword shows etc.

Finally, if you are still with me in this rather unstructured posting, I am looking forward to New Year's Day. Every January 1st, for the last 20 years or so, I devote to drawing an oshigata and I am already anticipating this event which is supposed to clear my mind from the previous month's excesses. However, this coming one is going to take all my attention as it is a very complicated hitasura blade and I have never drawn this most difficult of hamon.

Clive Sinclaire

[Anthony]

Thank you for the wonderful reply Clive.

 

You hit the nail on the head with your posting as to my motive also. Being in the financial position that I may never have the chance to personally own a fine blade, it would suit me well to not only please the owner with a fine oshigata, but also the chance to study various pieces that I would never otherwise have access to.

 

As per the photography, as I stated... I love viewing great pictures of blades. Yet there is something different about viewing a hand-drawn illustration. As you said, viewing anything is very dependent upon environmental factors such as light, and even more-so in photography. In a drawing, you know what the artist was trying to show.

 

A photograph may miss the vertical intricacies of the hamon, but the artist is sure to show it.

 

On parting... Clive, my time is crunched between family, work, and when I am not sleeping, hobbies. But I would love to take time to look at your various works. I am simply sorry if it takes some time to get that reply. :D I will also try to have pictures e-mailed to me of various pieces I have done and show them. While most are not true oshigata, you may find some enjoyment in my blade "portraits".

 

Anthony

[Clive Sinclaire]

Anthony

If I may bore you with a couple of other little and odd points of which you are probably already aware.

I was told that if a polisher / sensei does NOT regularly draw oshigata in the traditional manner, you should get a new polisher / teacher!

Another essential tool is a good supply of putty erasor,

I also use small magnets to hold the paper on the nakago when tracing the mei but these should not be used on the polished section of the blade as they may cause scratches. (some disagree with this as it may cause a blade to become magnetised).For the polished section I use photographic clips which have cloth in the jaws.

For me, the most difficult thing is to draw the shape of the blade correctly. Frequently I am surroumded by screwed up failed attempts until at last I have one that is OK. I probably then change the heavy-metal CD to something like Johnny Cash!

Lastly, draw the nakago/mei very lightly, going over the surface a number of times with a small piece of the sabboku. Study the emerging kanji and you will be able to see bad or nervous carving, that may indicate gimei!

I look forward to seeing your oshigata.

Gambate kudasai!!

Clive Sinclaire

[b.hennick]

Hello Clive et al:

I have found an excellent type of magnet for holding the paper during an oshigata. There is a child's toy that has dumbbell shaped plastic pieces with magnets in their ends and metal spheres. The child uses them to build shapes. Those dumbbell shaped things have their magnets recessed so no magnet touches the paper. The magnets are strong (neodynium). Let me know how you like them.

[Clive Sinclaire]

!

Clive

I have found an excellent type of magnet for holding the paper during an oshigata. There is a child's toy that has dumbbell shaped plastic pieces with magnets in their ends and metal spheres. The child uses them to build shapes. Those dumbbell shaped things have their magnets recessed so no magnet touches the paper. The magnets are strong (neodynium).

 

Barry

I am sure they are especially good for drawing Hizen Masahiro blades!

Clive

[Eric H]

As per the photography, as I stated... I love viewing great pictures of blades. Yet there is something different about viewing a hand-drawn illustration

I have always been fascinated by masterly executed oshigata. The details shown can hardly be seen in a photgraphy though scanner pics are quite good. When I look at my Tanto with hitatsura hamon I imagine how difficult it is to make an accurate drawing. All oshigata are performed by Kazushige Tsuruta.

BTW there is a oshigata on a Tanto by Etchu Norishige

 

Eric

[Surfson]

Anthony, I'm in Chicago, and would be happy to show you a few blades some time. Several are definitely of interest as the subject of an oshigata. Cheers, Bob Surfson@rcn.com

[Gunome]

Hello,

 

I had oshigata paper: one face rougher than the other that is more glossy.

Which face had to be apply on the blade ?

Can someone could confirm me we must draw on the glossy one ?

 

Thanks

 

Sébastien

[Gunome]

nobody know which face of the paper I should use ?

[Grey Doffin]

I would draw on the glossy side.

Grey

[Gunome]