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Outline
Those fittings which sources are
not clear, doesn't seems to be followed by any specific style,
but no doubt that were made earlier than Momoyama period, are
classified into "Kokinko". However what you call "Kokinko"
has such a broad meaning that it includes works look like mino-bori,
or pieces that can be regarded as Goto school and some are made
to fit Tachi. Group of "Kokinko" in nowdays might became
beyond one's grasp.
With one exception(*1),
it is impossible to identify particular maker of each works or
to classify each of them as one's individuality. After all, the
way we put fittings into specific groups depends on the analogy
of expression come through its carving(hori). (*1)Goto's
works usually has sign on it and also shows typical character
individualy.
Therefore, there might exist "Mino"ful
works made by somebody from Goto and there's a possibility of
same person made pieces that are classified into "Kokinko"
now. Or people who made speciality of Mino-bori could have conceivably
made "Kokinko" aswell. But who knows. This state, hardly
imagine a definite image of makers, capable of lower the status
of "Kokinko"'s works compared to "Mino"s'
and "Goto"s'.
Numbers of "Kokinko" works have been failed to properly
evalutate the real quality of them. And more, a large quantity
of works that are found out valuable as historical material.
Pieces made in the Age of Civil rouse a great interest as practical
use. They seems to belong completely different category with artistic
works of Edo period's. But when you come in contact with high
quality piece of "Kokinko", you can't just judge it
as functional equipment, they shows a first stirring of artistic
sense though the surroundings were filled with barbarousness in
Muromachi period.
The Goto is considered as the origin of an artistic quality among
the world of sword fittings. The aim is not to raise their skill
of making things showy and decorative but to pursue one's thoughts
and philosophy and condense and shape them into works. That is
what we call Art thing.
 
3
Double Bellflower, Arabesque tsuba
Muromachi period
shakudo nanako-hi takabori kin,gin uttori iroe
height:77.7mm width:76mm thickness:4.2mm
500,000yen
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3
This shakudo base tsuba, its
nanako-ji seems quite old has similarity in a way of curving
arabesque. Japanese bellflower covered with silver and gold
layer are arranged in the striking point that gives elegance
and depths to the work. Ear has made a little higher that
tightens up the impression as a whole. silver and gold leaves
sketched in lively way with few tsuyu-zogan spreaded is
worthy of praise. Scratching mark in mimi part proves that
have lived through an era of violent change and creation
of dignified art tells that the owner was probably a person
in high places. This work captures a imagination about historical
background and shows that the Goto was not the only craftsmen
who worked for high rank samurai.
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5
baiju,
bird menuki
Momoyama period
shakudo katachibori kin iroe
length:44mm
certificate NBTHK
180,000yen
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5 You
can find exaggeratedly and mentally expressed works of craftsmen
lived Momoyama times. This remind us of Kamakura tsuba,
iron based ita-tsuba with landscape design made into a pattern.
This menuki is a representative one of this. Ume(Japanese
plum) is described dynamically that the ratio to a bird
seems to be neglected. Generally the bird comes with ume
is a uguisu(bush warbler) but this bird is not possible
to identify its kind but seems to be a mental image of one's
who made. Elements of the design includes calmness and massively
worked in repousse.
It is considered late Muromachi to early Edo period's work.
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7
Jizaikagi menuki
Momoyama period
shakudo nanako-ji katachibori
length:39mm
200,000yen
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7
This menuki also a unique
one. The state of jizaikagi put meaningless has been drawn
with realistically. It has carved with depth makes it look
quite solid like Mino style. Actually, it has signed "Mino"
on the box by Sato Kanzan. Made relatively thin is likely
old Mino work, but embossed massively and the center part
has stuck out. At the back side, cut ends and border part
are quite sharp, kibata has made low that is differnt to Mino's
high placed kibata. A root of ashi is simple and thin. Base
metal is shakudo in deep black but glossy.
All the munuki that has no taste of Ko-Goto or typical character
of Ko-mino are classyfied into Kokinko. But this menuki is
one of the works that is hard to distinguish Kokinko to Mino.
Although there is no need to take too much account of classification,
through away the conventional idea and just look at the work
itself, you realize its high quality. |
8
Herd of Monkey
kozuka
Momoyama period
Shakudo nanako-ji takabori iroe
length:97mm width:14.5mm
140,000yen
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8
As it exist various terms including the letter which stands
for monkey since old days, relathionship between monkey
and mankind trace back to the far past.
In this kozuka, barely the one in the center looks like
dancing with bamboo on its shoulder might be symbolizing
something but there seems to have no specific theme but
drew a situation of monkeys in a herd based on observation
of monkeys that lived next to human and catching a glimps
of their behaviour as if they were men as a scene of nature.
Besides, consciousness of drawing monkey as one pattern
is probably lying at the bottom. Expression of pattern is
a classical subject for "Kokinko" craftsmen.
Shakudo base with old-fashioned nanako, monkeys carved in
takabori plated with gold and blond. It should have been
more brighter but the time have worn away the plates in
some places that the ground metal came out.
Incidentally, later in Edo period, method to reproduce this
natural phenomenon purposely established a technique called
"Surihegashi".
The subject doesn't seems to have much importance but dexterous
formation as a whole makes this kozuka profoundly tasteful.
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Now we reviewed several works judged
"Kokinko" and notice there is a big flow as time goes
by. They were basically made for decorative purpose fitting the
arms for practical use those to meet the demand of the times.
At the same time, they changed with the times and became more
polished. But this transition toward elegance is not everything,
there are works in pursuit of archaic beauty that their simplicity
facinates us impressively.
We have to understand, the point of "Kokinko" is that
reflecting and answering the time very well in several means.
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