Category: Fuchi Kashira

Shakudo nanako fuchi kashira made by Takase Eizui. Eizui was the son (and pupil) of Takase Eiju, who was a disciple of a famous craftsman of the Mito Tradition, Taizan Motozane. Takase Eizui was active during the late Edo Period.

The rooster itself is a symbol of the Japanese zodiac sign and therefore a common theme on Tosogu. Since the rooster is known for defending his family and territory, the design has a deeper meaning for a samurai who chooses this motif.

As such, this fuchi kashira has just been awarded tokubetsu hozon by the NBTHK and comes with an old custom made kiri box which has a sayakagi by Kanzan. Further this fuchi kashira was published in the official NBTHK monthly magazine Token Bijutsu Nr. 594.

Please also note this fuchi kashira by Takase Eizui.

Daisho fuchi made by the Mito artist Takase Eiju, who was a disciple of a famous craftsman of the Mito Tradition, Taizan Motozane. Eiju was active in the late Edo period.
Recently, a tsuba belonging to Takase Eiju was recognized as juyo by the NBTHK.

Please also note this kogai by Eiju.

Please also note this fuchi kashira by Eiju.

These two fuchi form a daisho due to their similarity and slightly different sizes. Both baseplates are made from beautiful dark brown shibuchi and feature a hammered finish, a technique called (tuchime). Since the crows are made of shakudo, they stand out clearly from the baseplate. Details of the birds, such as eyes, legs and claws, are finely accentuated in gold.
In addition, large leafless trees can be seen with a stream or river flowing beneath them, creating larger waves. One of the crows bathes in it while the other crow watches.
Upon closer inspection, you can see that the crow’s body is smoothly modeled and has pronounced feathers on the wings and tail.

Takase Eizui was the son (and pupil) of Takase Eiju, who was a disciple of a famous craftsman of the Mito Tradition, Taizan Motozane. Takase Eizui was active during the late Edo Period.

This fuchi kashira has been well crafted using techniques called takabori zogan and iroe, related to the mito bori technique, named after the “Mito” region from which Eizui came.
The landscape consists of a coastal slope with a large house or temple between large and steep rocks and a pagoda in the middle of a forest. We also see large pine trees and the traveler on his horse with a companion or servant walking. It’s really amazing to see how much detail you can find in this work. Starting from the well-crafted base plate from which the stones are carved, to the gold and copper colored details. To enlarge the proverbial canvas Eizui was working on, he also used both sides of the kashira, expanding the waves of the sea on one side and the mountains on the other.

Recently, a tsuba belonging to his father Takase Eiju was recognized as juyo by the NBTHK.
Please also note this kogai by his father Eiju. Or this fuchi kashira by Eiju.

This fuchi kashira has been awarded hozon by the NBTHK and comes with a custom-made kiri box. I expect it will also be awarded to tokubetsu hozon due to the excellent craftsmanship.

Please also note this fuchi kashira by Takase Eizui.

Shakudo nanako fuchi kashira made by the Mito artist Takase Eiju, who was a disciple of a famous craftsman of the Mito Tradition, Taizan Motozane. Eiju was active in the late Edo period.

Recently, a tsuba belonging to Takase Eiju was recognized as juyo by the NBTHK.
Please also note this kogai by Eiju.

Please also note this daisho fuchi by Eiju.

A golden falcon is depicted on the very finely executed shakudo nanako ground of the kashira. We can now observe three golden herons in flight on the fuchi, also on a pristine shakudo nanako surface. The eyes of all birds are inlaid with small shakudo dots and the state of preservation of this fuchi kashira is almost perfect.

As such, this fuchi kashira has just been awarded tokubetsu hozon by the NBTHK and comes with a custom made kiri box.