拍品专文
Natsuo in his early years, followed the traditions of Toshinaga and Somin using takanikubori. He then emulated the early Goto masters, once saying that Goto Yujo's genius was beyond comparison. He regarded Nagatsune and Yasuchika as the great masters, studying and applying their techniques to his own work.
However, his style was probably mostly influenced by Nagatsune. Both worked in Kyoto and had studied drawing by leading Kyoto painters. Nagatsune's carving has elegant movement tending to fill space. Natsuo, on the other hand is inclined to be economic with his chisel strokes.
This fuchi-kashira was probably made between his late thirties and early forties when he changed from inlay to favour katakiribori. The slight use of kebori to undercut the edge of the pine trunk, producing light shadow, is a favoured technique introduced by the master.
However, his style was probably mostly influenced by Nagatsune. Both worked in Kyoto and had studied drawing by leading Kyoto painters. Nagatsune's carving has elegant movement tending to fill space. Natsuo, on the other hand is inclined to be economic with his chisel strokes.
This fuchi-kashira was probably made between his late thirties and early forties when he changed from inlay to favour katakiribori. The slight use of kebori to undercut the edge of the pine trunk, producing light shadow, is a favoured technique introduced by the master.