16 replies to this topic

[Dick Bonham]

I just received the book “Japanese Patinas” by Eitoqu Sugimori which was recommended to me by Jim Kelso. Thank you Jim for making that suggestion. What a great book. I have been looking for information on Japanese metal working techniques and have found that there is very little published on the subject. This book fills a large gap. It not only covers patinas but also metal working techniques, alloys and Japanese aesthetics. If any one has an interest in Japanese metalworking, here is an excellent book for your studio.
Dick

[Rik Palm]

I really enjoyed the first 10 pages or so, I like the authors thoughts. I wonder if there is any books out there that describe, talk about the Japanese "artist" the same way as the author? very thought provoking for me, I'd like to read more.

Rik

[Jim Kelso]

I liked that part of the book also. The formulae and technical info is nice, but I found I wanted
more of everything.

[Doug Sanders]

Speaking of patinas, I was hoping those in the forum with knowledge of Japanese metalsmithing might shed some light on a term I came across yesterday:
In an auction catalog, an Edo period iron tsuba is mentioned as having SAHARI inlay. From the photo it looked as if it might be silver they're talking about.

Any help out there is appreciated.

[Jim Kelso]

Hi Doug. Sahari is what we might call a bronze, being mostly copper with tin and perhaps bits of lead and silver, yielding various colors depending on the alloy and patination. The auction catalogues aren't always accurate, but may be.

Perhaps Ford can add some info.

[DFogg]

Where is Ford?

[Doug Sanders]

Ford replied off-list (something about being knackered). I'll copy in his text:

"As to Sahari or sawari, it is an high tin content copper alloy, about 30% Sn. There may be other trace elements depending on the age of the piece.
It is applied in a similar fashion to chempleve` enamel. ie, a cavity is chiselled or etched into the ground, always iron or steel, into which the alloy is melted. Once cool the surface is polished flat. The invariable pitting etc that is visible is often erroniously described as rotting or corrosion, it is in fact simply the result of the initial charge of filler material being insufficient to fill the cavity fully. The Japanese eye appreciates these little "faults" and so they are not remedied. The patinae develops naturally.
Tsuba dispaying this form of decoration if signed tend to bear the "mei" Hazama or Kunitomo."

Thanks everyone on-list and off- I consider myself a graduate of Sahari 101 now.

[DFogg]

Ford, been dead around here without you, but I see from your new avatar that you were just being coy. Any stories from Japan?

[Jim Kelso]

He's been knackered from his adventures with Nippon kinko.

[Janel]

[DFogg]

I am not sure exactly what "knackered" means, but hope I don't get it.

Wow, the gallery of new work by Patrick is amazing. You lit a fire under him. Are you offering classes?

[Janel]

UUUUUuuuuuuuu!

What a great opportunity it must have been to work with Ford! Thank you for posting the link!

Janel

[Jim Kelso]

Patrick, you wore poor Ford out, but it looks like it paid off big-time. Lovely carving. Spot-on patinas. Great to see this.

[Patrick Hastings]

Jim Kelso, on Nov 13 2005, 09:02 AM, said:

Patrick, you wore poor Ford out, but it looks like it paid off big-time. Lovely carving. Spot-on patinas. Great to see this. 

<{POST_SNAPBACK}>

Hi Guys,
My Trip to Fords shop was a bit over budget, so I have been busy trying to revive my checkbook. I was waiting to post anything until I had the Shakudo piece lighting improved. Its a bugger to get shiny black metal to give up its color and detail to the camera.
The trip was totally worth it. Ford, Joe, and Joel are great people who put up with my redneck ways for three weeks. I am not always a picnic to be around ya know Each of the Tsuba was done under the gun so to speak. Not allot of practice with the new tools just dive right in the pressure is on... Well as stressful as that was, it turned out to be a good approach. If I had a choice I would do it the same way.
What to say about working with Ford? (The whip marks are healing nicely ) no really What can you say about a fellow that would invite a total stranger from another country to spend so much time in his home right along side his wife and child. He asked nothing from me save for a respect of the Art. What he shared with me blew me away. I had a huge list of incomplete concepts and questions without answers. There is nothing more satisfying than having them all answered appropriately as fast as you can ask. I made it clear that I was willing to set down the Baldwins patina, Gravermax, and accept the classical techniques as the self-contained art it is. After that was established 20 years of distilled experienced was freely shared. I have to say I was touched by the generosity of his and his family.
Ford is not quite as you may conclude from his online writing. In person he is funny, Light hearted, passionate, very concerned about others well being, and unfortunately (English) just kidding J. The passion combined with vast amounts of qualitative experience can be quite intense, but in person you can see how it’s really meant. Online I think it’s much too easy to draw the wrong conclusions as casual writing is so dry and devoid of the spirit you see in person.
I am going to digest what I have learned apply it and practice. Much work to do.
Cheers,
patrick

[Doug Sanders]

Patrick, I'm just an armchair metalwork enthusiast so I can't comment on technical ascpects, but those new tsuba are beautiful. I especially like the surface finish on the bamboo themed one, and the harmonious colors, composition and crispness of the leaf-themed haiku.
Great work all-around.