Ashmolean Eastern Art Online, Yousef Jameel Centre for Islamic and Asian Art

Sugiura Jōi (1700-1761), another pupil of the Ko-Nara, initiated, or at least developed to a high pitch of perfection, a new style in figure representation. This is the sunk relief (intaglio rilievato) of very delicate, though forceful modelling, known as shishiai- (or nikuai) bori, “complexion carving”, which imparts great expressiveness to the play of the features and the flowing lines of the draperies. To this is added to a moderate amount of the iroye incrustation or inlay, combined with katakiri engraving. The favourite ground is plain copper, but shibuichi is also used.

Jōi’s signature has been forged on a vast number of bad or indifferent imitations. His nephew, Kawakatsu Jōwa, was his best pupil.

Tsuba depicting the luck god Hotei gazing at a crescent moon (EAX.10938)    Tsuba depicting the Chinese sage Bukan Zenji with his tiger familiar (EAX.10939)    Tsuba with a mounted Tatar archer (EAX.10940)

Tsuba depicting Kanzan and Jittoku (EAX.10941)    Tsuba depicting a travelling showman and his monkey (EAX.10942)    Tsuba depicting the god of luck, Jurōjin, with a picture of Mount Fuji (EAX.10943)