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Benzaiten


Natasha

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Hello Lonnie!

You have asked about some photos of my latest work, if You mean "Benzaiten" there are some photos.

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Saddly, but I haven't any photos during process of carving, the Ryusa or another piece look not fine during carving, a lot of lines with pencil, not understood veiw! :blink: I usually carve the surface of round piece, very rough, then I cut raw material (mammoth, box-wood or walrus tusk) between details with the graver-machine on the fron side and then I work with the back side. Inside of Ryusa to use a graver-machine is not very comfortable, as a rule, that's why I use some detist tools, they are curved and let me to get any place into Ryusa. This evening I'll ask my husband to do some photos of my curved tools, it's a pity but I cannot understand how a digital camera works, my photos are aways bad! :blink: I 'm not friendly with many device! Especially with our printer! :angry: If You have some more question I'll be glad to help! :D

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Hi Natasha

 

I have some questions too. I have been working on a Ryusa lately, but have used a wood called Red Lancewood. it's had but I think it will be brittle. So my question is how strong are the Ryusa you are making in ivory? I can see they are very fine and thin. Does the ivory give enough strength that this is no problem?

 

Also, you said you use some dentistry tools for the inside. How about the finishing and polishing inside?

 

And also :D:angry: at what time of year do you collect your wallnuts for colouring? are they green still? or ripe?

 

I like the latest pictures, and love looking at the details in your work. Thanks for posting them.

 

Simon

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Hi Simon!

I've never seen such wood as Red Lancewood! I use only box-wood, mammoth and walrus. :D The question is how strong are the Ryusa, I can answer, that this style of Manjy netsuke has been created for not to damage a lacquered Inro, when a netsuke dropes on the lacquered surface. The easy netsuke the safely Inro! :angry:

For polishing inside I use small pieces of different sand-papers glued on two ends of a toothstick, I think everyone has such sticks! #200-#2000, then I use Tsunoko for the final polishing.

I think we have different temperatures for every season, I usually collect walnuts when they are green and their shell is not formed and very soft, not hard. I put they in my refrigirator, -18-20 C and keep them for several years. I re-freeze them, press and wait when its juce becomes brown if You need very dark brown or almost black You can add a little bit Iron powder.

My best wishes!

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Simon, on "Benzaiten" I've used differents dyes, as Kuchinashi (for face) and Yashabushi (sea-grasses) sent by Bradford Blakely, walnut ink (hair and other dark brown details), Silver Nitrate (black and very dark red places), burning needle (tiny brown points). Peter Welsh has sent to my dried walnut ink, as kristals, I use his ink very successfully, it is the same if to use walnut juce from frozen walnuts!

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Hi Lonnie!

Thank You for your nice words about my work! I've spent on "Benzaiten" more than 180 hours. I forgot how many hours I spent on final polishing after staining and inlaid opals. :D

I think "Masatoshi" or LA collection would be better! But I use a lot of books bought on Amazon.com, You can see what books I've bought there. I also save a lot of images from the Internet! For inspiration I have a book with printed pictures by Japanese Artist! :angry:

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Hi Lonnie!

The book about Masatoshi's netsuke will give You more understanding with dyes and staining process! His netsuke were colored perfectly! If You have possibility better to buy two books recommended before. LA collection has the most wonderful masterpieces! You'll see so much netsuke! But You can see then on the site of LACMA museum! :D

My best wishes!

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  • 2 months later...

Hello Natasha,

 

Another beautiful work of art. I visited your site and wandered through wonderland. Each piece seems to outshine the next. You don't have to be a master carver to appreciate the delicacy of your pieces or the strength of your designs.

 

Thank you for sharing both the agony and ecstacy of your works.

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