Aikuchi

CRKT, RJ Martin
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A whole lot of awesome shown above. Thank you. Please keep 'em coming.
 
I’m not quitting. Where the hell is everyone else?


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Granted, ‘aikuchi’ is kind of obscure, and my blatant, selfish appropriation of someone else’s culture blurs the lines between what it’s even supposed to be, or not be. ‘Sword tip’ is how I’ve always seen it interpreted, and there’s all sorts of arguments about whether or not any sort of guard is allowable, but it IS appropriation, after all, and once you’ve admitted that you’re bastardizing it for your own nefarious purposes, I suppose you can go all-in…

Can’t find a shot of any, but Keffeler does some great ones, as does Ben Tendick. Josh Mason does stuff that I’d say falls into this category, too.
 
Aikuchi from everything I have seen refers to a dagger or sword mounting style that has no tsuba or guard between the tsuka and saya.
 
Arathol said:
Aikuchi from everything I have seen refers to a dagger or sword mounting style that has no tsuba or guard between the tsuka and saya.
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That is correct. Although "dagger" does not mean double edged, as nearly every Tanto was single edged.
Usually 1 shaku (30 cm) more or less.
Aikuchi 合口 means the meeting mouth, describing the lack of a tsuba between the Fuchi (縁) and the Koiguchi(鯉口).
A tanto in it's shirasaya is also sometimes called an Aikuchi.
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K KenHash A Arathol 100% agree that your observations regarding traditional Japanese aikuchi are spot-on.

However, the OP was looking for:

tatsu said:
Let's see some modern style Aikuchi. Sayas and handles made of G10, micarta, TT and CF.

😎
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Hence, my observation regarding my shameless appropriation of the design of another culture. Hope you’ll give me a pass. :)
 
Matthew Gregory said:
K KenHash A Arathol 100% agree that your observations regarding traditional Japanese aikuchi are spot-on.

However, the OP was looking for:




Hence, my observation regarding my shameless appropriation of the design of another culture. Hope you’ll give me a pass. :)
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I wasn't addressing the OP. I was simply adding to Arathol's accurate statement.

I don't personally agree with this current "cultural appropriation" broo-ha in general, and here where American makers make a traditional Japanese design with some leeway in methods and aspects I think is fine. That of course does not diminish the value of knowing the background of the Aikuchi.
Japanese custom knife makers make all sorts of bowies, loveless styles and nobody calls that cultural appropriation. Like tantos made in the the U.S. I see that as a homage.

I think where the term cultural appropriation" might fit with regard to knives is the enormous volume of kitchen knives made in Yangjiang China factories that are total copies of Japanese knives and are sold in the Western markets to consumers who can't tell the difference.
 
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KenHash said:
I wasn't addressing the OP. I was simply adding to Arathol's accurate statement.

I don't personally agree with this current "cultural appropriation" broo-ha in general, and here where American makers make a traditional Japanese design with some leeway in methods and aspects I think is fine. That of course does not diminish the value of knowing the background of the Aikuchi.
Japanese custom knife makers make all sorts of bowies, loveless styles and nobody calls that cultural appropriation. Like tantos made in the the U.S. I see that as a homage.

I think where the term cultural appropriation" might fit with regard to knives is the enormous volume of kitchen knives made in Yangjiang China factories that are total copies of Japanese knives and are sold in the Western markets to consumers who can't tell the difference.
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I knew where you were heading, which is why my opening statement was acknowledging and agreeing with you. 😉

I also used the term ‘appropriation’ because it’s slightly less vulgar than ‘theft’. Both terms, depending on perspective, could apply, and neither are really indicative of my own thoughts on this, which are more along the lines of ‘using existing concepts as springboards for forward creativity’. Just, like you say, so many Japanese makers (some of whom are my friends) have done with Western designs - Loveless, of course, being an obvious example.

‘Cultural appropriation’ is in some respects another reflection of evolution. Taking elements and concepts and applying them to ‘modern’ applications, regardless of where those elements and concepts came from, is natural, regardless of whether or not the designer has a deep or fundamental understanding of the previous history and culture of the original.
 
Ken, after walking the dog, it occurs to me that my wording may sound as if I’m arguing with you, and that is absolutely not the case. In fact, I’m in agreement with you. There is a great deal to be gained by understanding the history and background, and in fact striving for that information is both noble and rewarding. I don’t want you to think that I’ve somehow ignored everything about this topic and maintained a state of blissful ignorance while cobbing blade shapes from the Japanese. :)
 
I think your work, Matt, if anything, shows your respect for, and how much you value the traditional art of the Japanese blade. I don't consider what you do appropriation in the least.

I once asked the late Kit Carson, a dear friend, how he felt about another maker's work which was the spitting image of some patterns that Kit was known for. In his usual gracious manner he told me that "nothing is new under the sun" and that "we all stand on the shoulders of those who came before us".

You don't claim that your art is anything other than what it is, and anyone who doesn't see the reverence implied in the work itself, is in need of a new prescription.

(This is not directed at anyone who posted in this thread, simply my thoughts based upon the subject.)

Your work is no more guilty of appropriation than John Coltrane was guilty for playing and mastering the saxophone.
 
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