I carved these a while ago and was waiting to anodise them electronically but decided to use heat instead.
Friday 31 July 2015
Monday 27 July 2015
Ford Hallam 2
One of the things I admire most about Ford is his absolute commitment to the traditions taught to him by his sensei. There is a great integrity about not just his techniques but his approach to the way of learning and teaching the subject. All aspects of Japanese thought processes, aesthetic considerations and spiritual ethos are brought to bear on any subject he chooses to portray.
"The classical tradition which I'm presenting is a coherent system that has evolved over more than 1000 years and has given birth to some of the worlds most remarkable metal art. The methods and approach of these artists were not at all simple, nor easy, and any attempt to learn from the past it is sometimes going to entail doing things the hard way to ensure we don't miss something of value. The fact is we can only begin to asses the value of each aspect at the end of the learning process, not at the start."
Ford Hallam
It is not to just be able to replicate some skill level or make objects similar in look that I wish to attain, but to walk this particular path engenders a spirit of mindful approach which I am looking to grow within myself. This approach is exemplified in both Ford and many of his students.
The making of your own tagane, punches and hammers is the start of the skills required. Knowing good heat treating, how to grind, file and sharpen chisels is essential. These skills support good carving as there is often a place in a new piece which needs a different shape or size tool.
During the period swords were banned in Japan, makers of sword fittings turned their skills towards all metal work including jewellery, box inserts, netsuke and pots. This gives a precedent to be able to work on all forms of metal, the approach and techniques used are as important as the final piece.
"The classical tradition which I'm presenting is a coherent system that has evolved over more than 1000 years and has given birth to some of the worlds most remarkable metal art. The methods and approach of these artists were not at all simple, nor easy, and any attempt to learn from the past it is sometimes going to entail doing things the hard way to ensure we don't miss something of value. The fact is we can only begin to asses the value of each aspect at the end of the learning process, not at the start."
Ford Hallam
It is not to just be able to replicate some skill level or make objects similar in look that I wish to attain, but to walk this particular path engenders a spirit of mindful approach which I am looking to grow within myself. This approach is exemplified in both Ford and many of his students.
The making of your own tagane, punches and hammers is the start of the skills required. Knowing good heat treating, how to grind, file and sharpen chisels is essential. These skills support good carving as there is often a place in a new piece which needs a different shape or size tool.
During the period swords were banned in Japan, makers of sword fittings turned their skills towards all metal work including jewellery, box inserts, netsuke and pots. This gives a precedent to be able to work on all forms of metal, the approach and techniques used are as important as the final piece.
Following the Iron Brush 2
As a reference for classical Japanese metalwork, especially as an English speaker, there is no better than Ford Hallam. When I first saw his work I was amazed, when I looked further and discovered the methods involved and the history of the tradition, my first thought was that moment of "when I grow up I want to do that!"
The only way it has been possible for me to access the knowledge I need to make the tools and learn their use has been through his Following the Iron Brush forum. There are various sections in the forum, from jewellery, art, netsuke and classical Japanese metalwork. Many users at different stages of development can share their experiences with excellent tips and tutorials by the more experienced people.
Ford is always available for comment if asked but usually the questions have been asked already and a quick search reveals the answer, often in more detail than I would have thought necessary.
The only way it has been possible for me to access the knowledge I need to make the tools and learn their use has been through his Following the Iron Brush forum. There are various sections in the forum, from jewellery, art, netsuke and classical Japanese metalwork. Many users at different stages of development can share their experiences with excellent tips and tutorials by the more experienced people.
Ford is always available for comment if asked but usually the questions have been asked already and a quick search reveals the answer, often in more detail than I would have thought necessary.
Sunday 26 July 2015
Tiaan Burger part 2
One of the major advantages I gained from the visit with Tiaan was to be able to see both the tools and some finished pieces in real life. Pictures and descriptions can be very misleading when trying to learn about something entirely new.
Tiaan's tagane were much more refined than the ones I had made thus far. The body and points were smaller. The angle of the cutting edge was steeper. These are things I find you can only see when actually holding an object. Tiaan is also very experienced with forging and working with steel so his tools are excellently made.
Tiaan's tagane were much more refined than the ones I had made thus far. The body and points were smaller. The angle of the cutting edge was steeper. These are things I find you can only see when actually holding an object. Tiaan is also very experienced with forging and working with steel so his tools are excellently made.
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| Tagane |
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| Tagane next to a steel ruler showing the length at approx. 11.5cm |
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| This is a scraper, it is used to smooth out chisel marks before the abrasive stones |
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| Another view of the same scraper, they are really effective and can also be used for subtle shaping |
Tiaan Burger
Tiaan Burger is a South African knifemaker and artist. I had been following his work on facebook because of the mutual interest in knife making. Recently he has also started posting some traditional Japanese carving which he learnt much the same way as myself, through the Iron Brush forum and by contacting Ford Hallam. He was able to spend some time in Ford's workshop as well which is something I would dearly like to do.
I contacted Tiaan and was fortunate enough to be able to interview him when he was in Durban on holiday. I am very interested in Tiaan's work because he doesn't just take Japanese techniques and carve Japanese motifs but rather uses Japanese techniques to carve South African scenery, fauna and flora. In the interview I asked about this and he said he likes to imagine a Japanese craftsman growing up in South Africa. The Japanese used their surroundings as inspiration, so too should we.
I contacted Tiaan and was fortunate enough to be able to interview him when he was in Durban on holiday. I am very interested in Tiaan's work because he doesn't just take Japanese techniques and carve Japanese motifs but rather uses Japanese techniques to carve South African scenery, fauna and flora. In the interview I asked about this and he said he likes to imagine a Japanese craftsman growing up in South Africa. The Japanese used their surroundings as inspiration, so too should we.
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| Traditional Japanese techniques and materials applied to South African scenery and animals. |
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| Gathering motifs from your surroundings |
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| Translating that into the traditional form of a tsuba or Japanese sword guard |
Tuesday 7 July 2015
Monday 6 July 2015
Sunday 5 July 2015
Saturday 4 July 2015
Anachronism
I can say that by nature I am an anachronist. This definition from here, seems to sum it up.
"An anachronist, on the other hand, is a person who refuses to blindly embrace the fashions and modes of life characteristic of his time. That, he says, would be a temporal prejudice; a more enlightened view would find that the past contains treasures which have been lost to us, but which can–so we hope–be recovered."
I shave with a straight razor, even if Gillette says one blade good five blades better. I investigate cultures and customs from the past. I hold religious beliefs which mankind have held for thousands of years prior to the rise of the Abrahamic traditions. I regularly read archaeology journals. At the core of things I have this idea that possibly this rapid acceleration brought on by the industrial revolution, means we have left some things behind which we should be holding onto. This is not to say I don't appreciate sanitation, modern surgery, freely available coffee supplies and wifi. It just means that I feel sense of loss of something which is possibly intangible.
One of the reasons I am so fascinated with ancient craft techniques is that by learning them, it is possible to, through shared experience, connect in some way with craftsman from the past. In many traditions such as the martial art of the sword, Japanese culture has been able to keep the line of teacher to student unbroken. This is mostly due to their policy of voluntary cultural isolation, eschewing modern things as non Japanese. This unbroken line is what makes learning Japanese metal techniques most attractive to me. Many western traditions have been revived or reverse engineered, we have manuscripts describing sword techniques, woodcuts depicting medieval workshops as well as surviving material evidence which can be studied. However, the act of teaching a student, passing on the knowledge your teacher gave you carries with it thousands of both practical as well as less tangible things such as correct mindset or attitude.
The Japanese government recognise the value in these traditional disciplines and make funding available for small schools to continue. Unfortunately, fewer and fewer people are willing to endure the traditional apprenticeship required to receive not just the physical skills but the mental fortitude the exacting traditions demand. Fortunately, this has allowed a few westerners who have shown such dedication to be allowed to learn and then teach and so continue the line of master to student.
"An anachronist, on the other hand, is a person who refuses to blindly embrace the fashions and modes of life characteristic of his time. That, he says, would be a temporal prejudice; a more enlightened view would find that the past contains treasures which have been lost to us, but which can–so we hope–be recovered."
I shave with a straight razor, even if Gillette says one blade good five blades better. I investigate cultures and customs from the past. I hold religious beliefs which mankind have held for thousands of years prior to the rise of the Abrahamic traditions. I regularly read archaeology journals. At the core of things I have this idea that possibly this rapid acceleration brought on by the industrial revolution, means we have left some things behind which we should be holding onto. This is not to say I don't appreciate sanitation, modern surgery, freely available coffee supplies and wifi. It just means that I feel sense of loss of something which is possibly intangible.
One of the reasons I am so fascinated with ancient craft techniques is that by learning them, it is possible to, through shared experience, connect in some way with craftsman from the past. In many traditions such as the martial art of the sword, Japanese culture has been able to keep the line of teacher to student unbroken. This is mostly due to their policy of voluntary cultural isolation, eschewing modern things as non Japanese. This unbroken line is what makes learning Japanese metal techniques most attractive to me. Many western traditions have been revived or reverse engineered, we have manuscripts describing sword techniques, woodcuts depicting medieval workshops as well as surviving material evidence which can be studied. However, the act of teaching a student, passing on the knowledge your teacher gave you carries with it thousands of both practical as well as less tangible things such as correct mindset or attitude.
The Japanese government recognise the value in these traditional disciplines and make funding available for small schools to continue. Unfortunately, fewer and fewer people are willing to endure the traditional apprenticeship required to receive not just the physical skills but the mental fortitude the exacting traditions demand. Fortunately, this has allowed a few westerners who have shown such dedication to be allowed to learn and then teach and so continue the line of master to student.
Jake Powning
Jake Powning is a Canadian sword maker and wood carver. I have followed his work for several years. His work focusses on keeping ancient techniques and cultural concepts alive.
http://powning.com/jake/about-jake-2/
As a craftsman interested in ancient cultures and techniques, I really enjoy his pieces. He also writes a blog and interacts with people who share his interests.
It is encouraging to find these small pockets of people who are continuing and in some cases reverse engineering traditional techniques. In many cases it is not just a technique people are looking for but a way to share a certain mindset with those who came before.
In Powning's case the mindset is to walk the border between myth and reality, to cast aside modern cynicism and allow oneself to believe in a little magic just as our forebears did. In Jungian terms, the myth and magic are keys to our subconscious mind from whence creativity and art spring.
Something I struggle with in the creative process is to let go of my analytical cynical mind and allow myself to show the more child like, magic believing, dragon fearing side of my nature.
http://powning.com/jake/about-jake-2/
As a craftsman interested in ancient cultures and techniques, I really enjoy his pieces. He also writes a blog and interacts with people who share his interests.
It is encouraging to find these small pockets of people who are continuing and in some cases reverse engineering traditional techniques. In many cases it is not just a technique people are looking for but a way to share a certain mindset with those who came before.
In Powning's case the mindset is to walk the border between myth and reality, to cast aside modern cynicism and allow oneself to believe in a little magic just as our forebears did. In Jungian terms, the myth and magic are keys to our subconscious mind from whence creativity and art spring.
Something I struggle with in the creative process is to let go of my analytical cynical mind and allow myself to show the more child like, magic believing, dragon fearing side of my nature.
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| http://society6.com/jakepowning/prints |
Enzo 97
There is love in your body but you can't hold it in
It pours from your eyes and spills from your skin
Tenderest touch leaves the darkest of marks
And the kindest of kisses break the hardest of hearts
Florence and the machine
Wednesday 1 July 2015
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