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UNIVERSITY CH- ILLI NOIS LIBRARY AT URBANA-CHAMPAIGN "GKSTACKS CENTRAL CIRCULATION BOOKSTACKS material is re- The person charging this for its renewal or its return to sponsible borrowed the library from which it was on or before the Latest Date stamped below. You may be charged a minimum fee of $75.00 for each lost book. of books are reason* Theft, mutilation, ond underlining result In dismissal from for disciplinary action and may the University. TO RENEW CALL TELEPHONE CENTER, 333- 8400 URIANA-CHAMfAION UNIVERSITY OF ILLINOIS UBRAEY AT JUN 2 1 1998 APR 1 3 1998 below When renewing by phone, write new due date L162 previous due date. Publications OF FIELD MUSEUM OF NATURAL HISTORY ANTHROPOLOGICAL SERIES Volume XVI CHICAGO 1923 537310 Field Museum of Natural History Publication 216 Anthropological Series Volume XVI JAPANESE SWORD-MOUNTS IN THE COLLECTIONS OF FIELD MUSEUM BY Helen C. Gunsaulus Assistant Curator of Japanese Ethnology 61 Plates Berthold Laufer Curator of Anthropology ,9 1 %24 wwwm Field Museum of Natural History Publication 216 Anthropological Series Volume XVI JAPANESE SWORD-MOUNTS IN THE COLLECTIONS OF FIELD MUSEUM BY Helen C. Gunsaulus Assistant Curator of Japanese Ethnolog-y 61 Plates Berthold Laufer Curator of Anthropology 1923 ILU1 57Z.05 FA ~* CONTENTS Preface 5 List of Plates 7 Introduction 9 I. Early Types of Swords, Ken and Tachi. The Court —s. Sword and Its Fittings i\—~S II. The Dai-sho: Katana and Wakizashi. Small Swords and Daggers. Nomenclature of the Fittings and tv Alloys Used for Mounts on the Dai-sho 31 \ III. Tsuba of Swordsmiths and Armorers, Kanayama and Shingen Tsuba 37 IV. Kaneiye and Myochin Nobuiye and His Followers. 46 V. Early Inlays: Onin, Fushimi, Yoshiro, Tempo, Heianjo, Kaga, Gomoku-Zogan, Shoami, and Awa 53 VI. The Sixteen Masters of the Goto School and Their Followers 60 VII. The Umetada Family. The I to School 67 VIII. Foreign Influence Illustrated in the Hirado, Namban, and Hizen Tsuba. Jakushi and Soten of Hikone 73 IX. Higo, Akasaka, Sunagawa, Akao, and Satsuma Tsuba. Kinai of Echizen 79 X. The Nara and Hamano Schools. Iwama Masayoshi and His Followers 86 XI. The Schools of Bushu and Choshu. Tetsugendo Artists 99 XII. The Yokoya School and Its Subsidiary Branches: the Iwamoto, Yanagawa, Sano, and Inagawa Families 105 XIII. The Omori and Ishiguro Schools 113 XIV. The Ichinomiya School and Hosono Masamori of Kyo- to. Sumizogan, Guribori, Murakami, and Enamels 122 XV. The Schools of Mito. The Tamagawa Family 130 XCI. The Uchikoshi and Tanaka Schools. The Sonobe Family 137 XVII. The Otsuki School. Haruaki Hogen 146 XVIII. Goto Ichijo and His Pupils 154 Appendix. Observations on the Restoration of Patina by Henry W. Nichols 163 List of Signatures on Sword Mounts 167 General Index 189 3 PREFACE In June, 1916, Dr. Frank W. Gunsaulus presented to Field Museum of Natural History a collection of 919 Japanese sword-mounts, among these 746 sword-guards and 173 examples of sword-furniture. The nucleus of this collection had been formed by Edward Greey, who first visited Japan in 1854, completing his collection in 1886. In course of time, other specimens were added by Dr. Gunsaulus from such notable collections as that of Alfred Beit of London and Justus Brinkmann of Hamburg. Dr. Gunsaulus' valuable gift to the Museum was accompa- nied by 1,793 negatives of sword-guards (the obverse and reverse of each having been taken), a catalogue in manuscript prepared by his daughter, Miss Helen C. Gunsaulus, after many years of earnest study of the subject, as well as by a fine series of books pertaining to Japanese art. In 1917 the entire collection of sword-fittings was placed on exhi- bition in the old museum building, arranged in two cases on narrow shelves in such a manner that each object could be plainly viewed and studied from both sides. This is essential, as the majority of sword- guards are decorated or inscribed on both the obverse and reverse. In 1919, Miss Helen C. Gunsaulus was appointed assistant curator of Japanese ethnology in this Museum, and revised completely the cata- logue of the sword-fittings. She devoted more than two years to a thorough study of the entire subject, the results of which are embodied in this publication. The collection is now re-installed in Frank W. Gunsaulus Hall, which was opened on the 5th of August, 1922. A selective method has been adopted, only 228 guards and 118 smaller mounts having been chosen for exhibition. The remainder of the collection has been classified and deposited in a cabinet in office 51 on the third floor, where it is available for students. Despite the important contributions which have been made to this subject by such able students as the late Marquis de Tressan and Henri Joly, it is hoped that this volume, by its compact and critical presenta- tion of the material at hand and the addition of novel information in respect to the metal craftsmen, will prove of interest and make an appeal to the students of Japan, as well as the ethnologists and folklorists in general. The signatures appearing on the sword-mounts, names of artists, families, and localities, have been arranged in an alphabetical index with 6 Preface Chinese characters It is hoped that this index will be a useful and convenient instrumentality to the reader and to those who may be endeavoring to catalogue or arrange for exhibition purposes examples of this craft. The illustrations are all selected from specimens in the Gunsaulus collection, with the exception of those reproduced in Plates I and II, for which credit is due to the Brooklyn Institute Museum, Brooklyn, and the Metropolitan Museum of Art, New York. It is a matter of profound regret that Dr. Frank W. Gunsaulus, who made this collection and followed with keen interest every step made in the progress of its study, has not been, allowed to live to see this work completed. B. Laufer. LIST OF PLATES I. Pommels and Tsuba Found in Dolmen Brooklyn Institute Museum II. Pommel and Tsuba Found in Dolmens. Metropolitan Museum of Art, New York III. Shitogi Tsuba. Types of Early Decoration. Cat. Nos. 130754. 130861, 130881 IV. Tsuba with Decoration in Honzogan and Nunome-zogan. Cat. Nos. 130878, 130879 V. Iron Tsuba of Early Period. Cat. Nos. 131 167, 131057 VI. Iron Tsuba with Decoration Chiselled in Silhouette. Cat. Nos. 130880, 130804, 130844, 130890 VII. Two Types of Shingen Tsuba. Cat. Nos. 130764, 131052 VIII. Iron Tsuba of Kaneiye School. Cat. Nos. 130783, 130815, 131085 IX. Iron Tsuba by Late Myochin Artists. Cat. Nos. 130778, 131258 X. Tsuba of Fushimi-Yoshiro Type. Cat. Nos. 130929, 131020, 130866, 131 164 XI. Tempo, Heianjo, and Kaga Tsuba. Cat. Nos. 130864, 130872, 131225, I3I44I XII. Gomoku-zogan, Shoami, and Awa Inlay. Cat. Nos. 130932, 131266, 130855, I3I445 XIII. Mounts by Goto Artists of the Eighteenth Century. Cat. Nos. I3II55. 130723, 131316, 131381 XIV. Tsuba of Goto School. Kozuka by Nomura Masayoshi. Cat. Nos. 130601, 130609, 131363 XV. Tsuba Attributed to Umetada Myoju. Cat. No. 131029 XVI. Mounts by Artists of Umetada Family. Cat. Nos. 131486, 131369, 131508, 131177 XVII. Tsuba of the Ito School. Cat. Nos. 131275, 131 159. Tsuba in Fig. 3 in Museum of Art, Toledo, Ohio. XVIII. Tsuba of the ltd School. Namban Tsuba. Cat. Nos. 130940, 131514, 131 137 XIX. Tsuba of Hizen and School of Jakushi. Cat. Nos. 131 138, 130742 XX. Tsuba by Soten of Hikone in Goshii. Cat. Nos. 130841, 130801 XXI. Tsuba of Higo Province. Cat. Nos. 130981, 130984, 130817 XXII. Tsuba of Higo Province. Cat. Nos. 131001, 131032, 131037 XXIII. Tsuba of Akao and Satsuma. Tsuba by Kinai. Cat. Nos. 131018, 131098, 131220 XXIV. Tsuba by Kinai of Echizen. Cat. Nos. 130777, 130776 XXV. Tsuba by Early Nara Masters. Cat. Nos. 130705, 130730, 130607 XXVI. Tsuba by Tsuneshige. Fuchikashira by Yasuchika. Cat. Nos. 130660, 131328 XXVII. Tsuba of Nara and Hamano Schools. Cat. Nos. 130638, 130641, 130657 XXVIII. Mounts by Hamano Artists. Cat. Nos. 130704, 13 1338, 1 30621 XXIX. Mounts by Hamano Artists. Cat. Nos. 130598, 131334, 130677, I3I339- XXX. Tsuba by Masaharu. Mounts by Hata Nobuyoshi. Cat. Nos. 130647, 130719, 131365 XXXI. Tsuba by Bushu Artists. Cat. Nos. 130820, 130822 XXXII. Bushu and Choshu Tsuba. Cat. Nos. 131 193, 130798, 130781 XXXIII. Choshu Tsuba. Cat. Nos. 131219, 131 142, 131221 XXXIV. Mounts by Artists of Tetsugendo, Cat. Nos. 130838, 131403, 131375 8 List of Plates XXXV. Mounts by Yokoya Artists. Cat. Nos. 131341, 130674, 130756 XXXVI. Mounts by Iwamoto Konkwan. Cat. Nos. 131355, 131356, 130673 XXXVII. Mounts by Yanagawa Artists. Tsuba by Sano Naoyoshi. Cat. Nos. 130612, I3I343, 131388, 130691 XXXVIII. Tsuba by Sano Naoteru and Inagawa Shigehisa. Cat. Nos. 130609, 130610, 130655 XXXIX. Tsuba by Omori Masters. Cat. Nos. 130600, 130670, 130678 XL. Mounts by Pupils of Omori Teruhide. Cat. Nos. 130780, 131362, I3I359, 130672 XLI. Mounts by Ishiguro Artists. Cat. Nos. 130678, 131350, 130653 XLII. Mounts by Ishiguro Artists. Cat. Nos. 130639, 131349, 130689 XLIII. Tsuba by Ichinomiya Nagatsune and Hosono Masamori. Cat. Nos. 130682, 130683, 130876 XLIV. Mounts by Ichinomiya Nagatsune and Tsuji Yoshinori. Cat. Nos. I3I37I, I3I373, I3I372, I3I493 XLV. Guribori, Mother-of-Pearl, and Enamel Decoration. Cat. Nos. 131278, 131 198, 131281 XLVI. Tsuba by Mito Artists. Cat. Nos. 131263, 130606, 130775 XLVII. Tsuba by Mito Artists. Cat. Nos. 131283, 130802, 130805 XLVIII. Tsuba by Tamagawa Artists. Cat. Nos. 130624, 130726, 130593 XLIX. Mounts by Uchikoshi Hironaga. Cat. Nos. 130643, 131515, 130602, I3I377, I3I376 L. Tsuba by Hiroyasu and Hiroyoshi of Uchikoshi School. Cat. Nos. 130732, 130605, 130736 LI. Tsuba by Toshikage and Masakage of Tanaka School.
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    Llilililj[Illlffilil[Il] Nittn

    www.morehongzhou.com fts tfir.|.l vol 7,tssuE 5, MAY201I l-{ A N GZI{OU TH EAEgTil n Great to Springint ummer HIGHFIVE PLEASEDON'T TAKE IT TOTHE EXTREME Gymand FitnessTips for Newbies NTERVIEW By Antoniodel Sexipantalones ELL The Modern CuttingEdge of AncientChinese Arts By RuebenMarley ISSN 1005-9644 HOTSPOT NEPAL- BAGKAGAIN! llilililJ[illlffiLil[il]nittn By TanSiew Yim SC(ITTR(IDELL TheModem Cutting Edge of AncientChinese Arts BY RUEBENMARLEY 've been luckyenough to sharea Thesedays everybodywants to be a teacher. coupleof hours,talking to a world- Nobodywants to be a studentany more.Scott classkung-fu master. He's also a pausesfor the briefestof moments,to convey globallyrecognized expert who specializesin the gravityof the situation,as he expresses the study of traditionalChinese swords. He's his frustrationat the lost art of craftingpracti- the Center Directorof the Great RiverTaoist cal, historicallyaccurate, Center(GRTC), which has been providingall and effective swords in 'He mannerof martialarts training to studentsliving china.when I asked explores other related in the greaterWashington D.C. areafor nearly whythis is thecase, he forms of martial artS, like terriblyuninformed 30 years.There are five other GRTC centers aroundthe world,from San Franciscoto Rus- ff#H:'ii#"il3n[: Man'chuarchery, in his spare ::,"'iffil"."*Xil: sia. He has spenta very impressiveproportion problems in the world time. He's also in search of who is seriousabout it,the sword of hislife traveling to countriesaround the world, today is that sometimes the best manUfaCtUrer Of the learning to teach,and to be taught,by martialartists from peoplejust becomeway all walksof life.He's also got about20 yearsof toosuccessfut in tisht of Chinese jian.' fi", H:t;"#:H:: Taijiquanexperience under legendarymasters their endeavors,robbing lightly,and Scott lays Wang Yen-nien,T.T.