Warikogai with Shell Design, Mumei

寸法

全長20.44センチ　幅10ミリ

Accessories

桐箱

Weight

重さ30.9グラム

As written by the shop

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

Wari-kogai are tosogu designed to form the same elongated silhouette as a standard kogai when the two pieces are joined, while possessing a structure that allows them to be separated into left and right halves as needed. Unlike a kogai where decoration is simply applied to a single plate of metal, this form requires the precision to align the width, sori, and thickness of both divided halves so that they appear as a single unit from the mimi to the sao and the hosaki; thus, the structure itself reflects the skill and ingenuity of the metalsmith. Although this piece is mumei, the outline when the two halves are joined is neatly ordered, and the harmony between the calm, dark brown metal and the golden decorations makes it a wari-kogai of high aesthetic quality. The theme of kai-zukushi is a traditional design representing the rich scenery of the seashore by combining shells of different shapes, such as bivalves reminiscent of hamaguri and spiral shells, and it connects to the refined elegance of kai-awase, shiohigari, and iso-asobi since the Heian era. Because the two shells of a hamaguri form a perfect pair, they are associated with celebratory wishes for marital harmony and good matches, and a composition gathering various shells also evokes prayers for the blessings of the sea and prosperity; thus, it has been a beloved subject in painting and crafts as a motif combining seasonal feeling with auspiciousness. In this piece, the roundness, folds, and spirals of the shells are carved distinctly with fine tagane work, and by adding scenery reminiscent of seaweed and water bubbles around them, the landscape of the rocky shore is condensed onto the slender body of the kogai. The kin-iroe applied to parts of the shells and seaweed stands out vividly from the dark brown ground without leaning toward excessive flashiness, instead enhancing the shadows of the carving and the calm koshoku of the metal; while a tidy flow of patterns is visible from the front, changing the angle reveals the depth of the carving and the brilliance of the gold, allowing one to find new points of interest the more it is viewed in hand. Particularly skillful is the composition where the scenery of shells and seaweed continues naturally when the two pieces are overlapped as one, even while remaining conscious of the central seam; there is a charm unique to wari-kogai in that one can enjoy the independent craftsmanship of each piece when separated, yet they unite as a single shore-side scene when joined. The mimi are matched in shape on the left and right and tightened brightly with golden decoration, and by placing gold of the same tone at the hosaki, the gaze is guided to the beginning and end of the long silhouette, while the ura-men features orderly diagonal yasurime to create a contrast with the flamboyant design on the omote. The great appeal of this piece lies in the ability to simultaneously appreciate the elegant and auspicious theme of kai-zukushi, the sophisticated structure where the two halves join beautifully, and the kin-iroe that shines quietly against the dark brown ground. When fitted to a koshirae, its slender form settles with refinement, and when taken from the kiri-bako to be appreciated as a standalone object, there is the pleasure of deciphering details from the fine lines of the shells and the undulations of the seaweed to the scenery of water bubbles and the yasurime on the reverse; it is a work of collecting value that I recommend to those who favor the distinctive format of the wari-kogai, seaside designs, and the harmony of patinated irogane.