i rescued this object from a tip next to a junk shop in the old melksham market, probably in the late seventies ... it looks like a pattern for the foundry to cast ... my best guess, after forty-something years of ownership, is that it might have been for a rotary spreader above a circular sieve ...
it is a wonderful piece of woodworking precision and i'm guessing it might have regularized the flow of something like wheat or barley ... i would dearly love to know !
A
Kaomachi of Yagyoku, kamuro Matsuno and Konagawa
B
C
The Sugataebi House: Courtesan Nanahito, with two kamuro
… Tsuruji and Kameji
D
Yosooi of the
Matsubaya, kamuro Wakana and Tomeki
E.
... and THE KUNIYOSHI THREE ...
A.
??? no title available yet
B.
C.
The courtesan Hanao of Ōgi-ya.
I asked ...
Yes, Utagawa Kunisada (1786–1865) and Utagawa Kuniyoshi (1798–1861) were contemporaries and two of the most prominent artists in the ukiyo-e woodblock print tradition during the late Edo period in Japan. While they were not collaborators in the sense of co-creating prints, they did work within the same artistic sphere, the Utagawa school, which was one of the most influential ukiyo-e schools of the time.
Here are some key details about their connection:
In summary, while Kunisada and Kuniyoshi were not direct collaborators, they worked within the same artistic network and influenced each other as friendly competitors, leaving behind a rich legacy of ukiyo-e art.
... to be continued, etc ...
i was puzzled by a small detail in this picture so i had a conversation about this subject with ChatGPT
their responses were composed in seconds
You said:
Katsushika Hokusai's "View Seven" from Thirty-Six Views of Mount Fuji, known as "The Great Wave off Kanagawa," features a dramatic depiction of a large wave crashing against boats, with Mount Fuji in the background. However, if you're referring to a different piece, like "The Green Wave" (a print from another view in the series), I can provide a description of the horse’s bridle from "View Seven" (assuming it's the specific artwork you mean).
The bridle in many of Hokusai’s prints often features intricate details and an important role in his portrayal of daily life and landscapes. In this case, I’ll break down the horse's bridle:
Material: The bridle is typically made of leather, traditionally dyed dark brown or black. In Hokusai’s works, the bridle's material would have been rendered using fine line work and delicate brush strokes to suggest its texture and sheen.
Headstall: The headstall (or crown piece) holds the bridle in place over the horse’s head. It connects to the reins and usually features a gentle curve that follows the contours of the horse’s skull. In Hokusai's style, this would be represented with curved, flowing lines that evoke the natural flow of leather.
Reins: These are the ropes or straps that the rider uses to control the horse’s direction. The reins would be depicted as parallel straps running along the side of the horse’s neck, with slight tension suggested in their positioning. They might be loosely held in the rider’s hand, with careful attention paid to how they interact with the posture of the rider.
Bit: The bit is the metal piece that rests in the horse’s mouth. It's the focal point of the bridle's functional elements and would be depicted with careful attention to its placement between the horse’s lips and its connection to the reins. Hokusai’s woodblock prints sometimes feature minimal detail for smaller elements like the bit, but it may still be suggested with small, refined marks.
Cheek Straps: These are the straps that run from the headstall to the bit, holding the bridle in position. They would be shown as clean, straight lines attached to the corners of the horse's mouth, possibly reinforced with small fastenings.
Decorative Elements: While not always present in every print, Hokusai sometimes depicted small decorative metal pieces or fasteners on the bridle. These could include ornamental buckles or studs that catch the light, rendered in subtle gradations of color.
Positioning and Perspective: In typical Hokusai fashion, the bridle would be shown from a slightly elevated viewpoint to emphasize the dynamic motion of the horse and rider. The lines of the bridle would follow the natural curve of the horse’s head, giving the impression of movement and speed, reflecting the overall energy of the scene.
Hokusai's meticulous attention to detail in portraying ordinary objects, like a bridle, captures the intimate connection between humans and nature. The horse’s bridle in this context, while functional, is often integrated into the composition to add balance to the larger scene while remaining true to life’s intricate details.
Would you like to explore other specific elements of the artwork or Hokusai’s techniques?
You're very welcome! I see what you're referring to—this particular detail in the bridle or tethering strap is indeed intriguing. Let’s break it down.
Hokusai often included subtle elements that tied into the functionality of everyday objects, and this weight you mention at the lower edge of the picture could very well be part of the tethering system used to control the horse, particularly in Japanese horse tack. It's also possible that Hokusai was referencing a traditional component of bridles used at the time.
In some traditional bridles, especially in Japanese equestrian culture, a weight or counterweight was sometimes used to maintain tension on the reins or tethering straps. This could serve to:
The shape you describe—possibly scorpion-like or tortoise-like—is particularly interesting. Both of these shapes could evoke a symbolic or functional design.
Scorpion-like shape: A scorpion's body has a characteristic curvature and often sharp, angular lines. If this object was shaped in this way, it might represent a form of dynamic tension, with the overall form designed to be compact and efficient, reflecting the practical nature of the bridle.
Tortoise-like shape: The shape of a tortoise, with its rounded, compact, and sturdy outline, could imply stability and balance. The use of such a shape might symbolize durability, and in this context, a tortoise might be a metaphor for the careful, deliberate control of the horse. Its rounded shape would help in creating an even tension, and the weight could ensure the tether stays taut.
Given these two shapes, it seems this "weight" serves a dual function:
Functional: It's likely part of the bridle or tethering strap system. This object, with its shape and positioning near the lower edge, could serve to balance the straps and ensure proper alignment between the rider’s commands and the horse’s responses. Its positioning at the lower edge could also suggest its connection to the lower portion of the tether.
Symbolic/Artistic: Hokusai was very conscious of how objects and their forms relate to the composition of the whole image. A tortoise-like shape, for instance, could evoke ideas of stability, wisdom, or longevity—virtues often associated with traditional Japanese symbolism. Alternatively, a scorpion-like form might symbolize alertness or even danger—suggesting a more dynamic tension between rider and horse.
Given Hokusai's mastery of line work, this weight would likely have been drawn with attention to both form and balance in the composition. The weight would not only serve its function in the bridle but also contribute to the aesthetic harmony of the piece.
This could explain why this "weight" has a shape resembling something like a scorpion or a tortoise: it might have been designed in a way that conveys both practical utility and visual elegance.
If you'd like, I can create a visual interpretation of the bridle detail you’re thinking of, possibly focusing on the shape of this weight to clarify its appearance. Would you like to see that?
It seems the image generation didn't go through successfully this time. I can try again with a new approach, or if you'd prefer, I can help refine the description further. Let me know how you'd like to proceed!
You're very welcome! I'm glad I could help clarify things. A book on Japanese horse tack sounds like a great idea—there's so much rich history and detail in those traditional elements. If you ever need more information or have any further questions in the future, don't hesitate to reach out. Happy researching, and best of luck with your exploration into Japanese equestrian culture!
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LATER ..... We have a book about THE 36 VIEWS .... I've found a very short description of the print which says the object could be a small tortoise which the peasant leading the horse might have picked up on the way ...
INCIDENTALLY ..... that strap leading back from the horse's nose-band between the forelegs is probably what Europeans call A MARTINGALE ... designed to restrict too much upward movement of a horse's head
