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Favorite Finds of 2017

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AFNetsuke
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Re: Favorite Finds of 2017

Postby AFNetsuke » Thu Dec 14, 2017 10:00 pm

I'm not very familiar with horse bits but I can't see one being used as the himotoshi on these Koku kiseruzutsu. It looks more to me like the fitting at the top of an abumi (stirrup). I will need to get a quick pic on my phone and post from there what I refer to. This one will be a solid attachment but there could just as well be a leather piece between the ring and the rest of the stirrup.
Did the Japanese have horse races and if so I suspect wagering was a big part of it. The same wealthy patrons of the races may likely have been coin collectors as well. Moss doesn't seem to relate the horse trappings to the coins in his discussion.
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AFNetsuke
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Re: Favorite Finds of 2017

Postby AFNetsuke » Thu Dec 14, 2017 10:03 pm

Here's the attachment part of an abumi to the saddle via leather straps I referred to in the prior post.
Screenshot_20171214-135330.jpg
Last edited by AFNetsuke on Thu Dec 14, 2017 10:06 pm, edited 1 time in total.
Alan

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chonchon
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Re: Favorite Finds of 2017

Postby chonchon » Fri Dec 15, 2017 8:21 am

First may I say what a clever idea of the buckle on an abumi, Alan. The more I look at it, the more I 'see' it, and the concept of tying something to the carved-in-relief buckle tang really appeals.

Also, Martyn, I think your Kokusai examples are right on target. Interestingly, he often plays with the valley Kanji Tani/koku of his name and twists or blends it into the background design. For example he sometimes pulls up the top, the roof ridge part of it and making a vertical line, draws it into the kanji 火 fire/Tuesday, and for the mouth 口 underneath he can allow the central square hole on the coin to stand in.
Last edited by chonchon on Fri Dec 15, 2017 8:22 am, edited 1 time in total.
Piers

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souldeep
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Re: Favorite Finds of 2017

Postby souldeep » Fri Dec 15, 2017 9:50 am

AFNetsuke wrote:Did the Japanese have horse races and if so I suspect wagering was a big part of it. The same wealthy patrons of the races may likely have been coin collectors as well. Moss doesn't seem to relate the horse trappings to the coins in his discussion.

PDF with brief write up regarding your question;
An image, C.A. 1860's, of Samurai racing at Yokohama.
Kobe-keiba6380.JPG
Piglet: "Pooh?" Pooh: "Yes, Piglet?" Piglet: "I've been thinking..." Pooh: "That's a very good habit to get into to, Piglet." - A.A. Milne.

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souldeep
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Re: Favorite Finds of 2017

Postby souldeep » Fri Dec 15, 2017 9:55 am

chonchon wrote:Also, Martyn, I think your Kokusai examples are right on target. Interestingly, he often plays with the valley Kanji Tani/koku of his name and twists or blends it into the background design. For example he sometimes pulls up the top, the roof ridge part of it and making a vertical line, draws it into the kanji 火 fire/Tuesday, and for the mouth 口 underneath he can allow the central square hole on the coin to stand in.

Thanks Piers :)

Referring back to Milton's example - the question becomes - can we find further hidden clues in the seal script, or the coin examples, related to your point :?:

Milton - I'd be very interested to get a rotated view of the following area on your kiseru-zutsu. I would like to see what seal script has been carved on the cap.
milt1.jpg
Piglet: "Pooh?" Pooh: "Yes, Piglet?" Piglet: "I've been thinking..." Pooh: "That's a very good habit to get into to, Piglet." - A.A. Milne.

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souldeep
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Re: Favorite Finds of 2017

Postby souldeep » Fri Dec 15, 2017 10:57 am

Piers - back to the seal on the case - do you see a stylised Komin spelt a slightly unique way (胡民) in this seal?

milt2.jpg

There was a Nakayama Komin (lacquer artist) that spelt Komin with this kanji, but having a look around my library, I cannot find any seals from that hand that match this seal. They differ in stylisation.
Piglet: "Pooh?" Pooh: "Yes, Piglet?" Piglet: "I've been thinking..." Pooh: "That's a very good habit to get into to, Piglet." - A.A. Milne.

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chonchon
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Re: Favorite Finds of 2017

Postby chonchon » Fri Dec 15, 2017 11:11 am

Martyn, yes, I can see what you are driving at. It could well be read Komin.
Piers

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chonchon
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Re: Favorite Finds of 2017

Postby chonchon » Fri Dec 15, 2017 11:24 am

In the meantime I have been unable to offer anything on the same superb level as the honourable members out of my 2017 finds. It would be a toss up I suppose between this, that and the other odd thing, so please forgive.
Anyway, in the spirit of education, here is a little carved lacquer Netsuke. Tsuishu 堆朱 is the generic name for this technique which came from China some eight hundred years ago (?) but as you can see, Shu 朱 means a particular kind of red used for seals. This is black, although a little red is peeking through, so it should be more properly called Tsuikoku 椎黒 work. Deeply carved and polished.
The metal would appear to be Shibuichi, a strong traditional silver alloy.
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64299A35-3A17-4422-8605-47095A763778.jpeg
37F1DFDF-5AD7-4BEC-BEA3-2F7661BB9C45.jpeg
Last edited by chonchon on Fri Dec 15, 2017 1:01 pm, edited 1 time in total.
Piers

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Re: Favorite Finds of 2017

Postby ModTeam » Fri Dec 15, 2017 1:01 pm

The discussion of Milton's pipe case was copied to The Study in the INS Members Area, for separate discussion: viewtopic.php?f=494796&t=8079932
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souldeep
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Re: Favorite Finds of 2017

Postby souldeep » Fri Dec 15, 2017 1:18 pm

Piers - please don't undervalue your contributions, or the pieces you generously share. Diversity enriches us both culturally and educationally. Thank god we don't all want exactly the same items. That being said - your piece is VERY appealing.

I have taken much more of an interest in lacquer. In part more recently inspired by Reinhard and Milton's discussions, and over the past two years, by viewing different examples in other areas of Japanese art. It's a learning curve of connoisseurship, only perhaps rivalled by that of netsuke. I have yet to jump in and purchase!

I recently had the opportunity to handle a number of examples like the one you've shared. I find it amazing that an artist would spend the time to build up so many layers of lacquer, and then carve back through the layers. It would seem this is potentially a very time consuming process.

I wonder - did artists create "blocks" of layered lacquer. Then divide the blocks and carve different items, or did they work on each piece individually? If the latter, this process is to be revered even more so. Do you have an opinion on how your ashtray may have been made?
Piglet: "Pooh?" Pooh: "Yes, Piglet?" Piglet: "I've been thinking..." Pooh: "That's a very good habit to get into to, Piglet." - A.A. Milne.


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