Kogai with Sansa Tagane Mon - Mumei

寸法

全長10.78センチ　幅8.2ミリ

Accessories

桐箱

Weight

重さ6.1グラム

As written by the shop

Machine translation from the shop's Japanese · may contain errors · Show original

Sansan-tagane-mon is an abstract pattern created by repeatedly striking the surface with a small tagane that branches in three directions, using the collection of those marks to create gradations and flow. Because it does not directly depict flowers, birds, or figures, and uses only the shape of the tagane, the angle of the strikes, the spacing, and the overlapping as the design, it appears simple at first glance, yet the craftsman's touch is expressed directly in the character of the work, possessing a unique charm in the way the repetition of the same stamp creates a scene like textiles or mist. This work is a small-sized kogai crafted from a warm brass-colored ji, with sansan-shaped tagane-mon densely struck into the upper half of the rounded do, while the lower part is left as a wide plain surface without patterns. The tagane are not aligned in simple horizontal rows; instead, the orientation and density are varied for each cluster, and by connecting them diagonally while overlapping the tips or leaving spaces, a movement and depth like drifting clouds is created on the patterned surface. A single horizontal line is drawn at the bottom edge of the pattern to clearly demarcate the decorative surface, neatly arranging the transition from the dense tagane-mon to the smooth ji. Without using the brilliance of gold or silver iroe or takabori, and making only the irregularities of each strike and the soft luster of the jigane the main focus, it appears quietly as a sober jimon from the front, and when receiving light from an angle, the countless stamps emerge in sequence as fine shadows. On the ura, long vertical yasurime are aligned, showing a linear texture different from the point-like pattern on the omote, forming a composition where one can enjoy the two metal expressions of tagane and yasuri by turning it over. Because it has no concrete motif, it does not limit the season or the theme of the koshirae, and the aged brass ji is also easy to match with fittings of tetsu-ji or shakudo-ji, showing a definite individuality despite its small size. This is an item I would like those who appreciate a craftsman-like beauty different from flamboyant iroe, the abstraction created by the repetition of handwork, and the simple koga that fits within the palm, to appreciate at their leisure.