Cross-Cultural Histories and Traditions Between the Cut and Engraved Glass Scenes of the UK and Japan
Round 1
Reviewer 1 Report
Comments and Suggestions for AuthorsThe text is structured into two sections, with the second section being thoroughly explanatory and well-developed, substantiating the presented topic. The subject matter is contemporary and of great significance; however, a revision of the first section is suggested. The text provides a descriptive overview of a set of ideas, without delving into their development, thus remaining superficial and failing to add value to what was discussed in the conference. It merely outlines topics that, if elaborated upon, could form the basis of an excellent article.
The abstract is too extensive
Part 1. Should be improve:
The paper should start explaining better what the Edo Kiriko is. Line 47 – “traditional type of Japanese cut crystal”. What consists this traditional cut technique? What distinguishes it from other techniques and makes it unique?
Line 79 – Please provide the “three glassmakers from Scotland”, and a reference
Line 95 – Please provide the date of birth and dead of James Speed. This would be helpful to understand the period the author is speaking off.
Line 96 – “He was among the four British individuals who”, please provide the names of the other persons.
Line 87-88 - “Shinagawa Glassworks of Tokyo, a pivotal institution that played a transformative role in Japan's glass industry from 1873 to 1884.” How? The author should explain this importance.
Line 97-99 – “Over the past ten years, she has delved into intensive research, engaging in speaking engagements and producing written work”, please provide the names of the written works.
Line 100-101 “articulate the historical connection between British and Japanese glass- 100 making and the profound influence it exerted on the Japanese glass industry”. The author should develop this point. How was the influence done? Please give examples.
During the paragraph the author does not develop the content.
107-108 “key insights into this period and to demonstrate how these early Scottish pioneers were able to offer their advice “ – How? Please explain.
Line 111 – “which was established in Tokyo during this period”, please provide a date.
Line 112 – “show how this pioneering project was the country’s first workshop”, please develop and explain.
Paragraph 123 – 143 - Professor Aaron William Moore – Please provide examples of papers/books of the Professor. The author should also develop into a more critical aspect describing and giving examples—not just saying “He introduced a range of scholarly insights into the culture of the time” – How? “able to show a clear context and fertile ground for cut crystal” – How?
Line 152 – “That can trace its roots traced back to 1834” Please provide a reference.
Part 2: As mentioned previously, this section is better developed. However, some recommendations are suggested.
Line 237 – “share both the triumphs and challenges”, please provide examples.
Line 239-241 – “address the current contemporary landscape, shedding light on the unfortunate decline of the cut and engraved scene glass in the UK”, this is very interesting, please develop.
Line 242 – “she explored the factors contributing to this decline”, please describe the factors. What are they?
Line 258 “complex set of projects”, please describe the projects.
Line 271 – “He was also able to unravel the brand's commitment to keeping rare, heritage skills alive through the meticulous artistry of crystalware in the UK.”, please develop this idea providing samples.
Regarding Allison Kinnaird it would benefit the article to have examples of the works she show.
Line 293 -295- “was able to introduce the art of copper wheel engraving, which has been a notable feature of the Scottish glass scene since the middle of the last century (see Figure 12)” - In figure 12 we cannot visualize the art of cooper wheel, what is the importance of this figure?
Line 299-300 – “was able to unpack and explore the reasons for this decline, and to demonstrate through her work”, please provide the reasons, and again present a work of the artist.
The workshop is very interesting. Please make it in a separate point and speak more about it.
Lines 392-395 – “The sharp contrast of the thriving cut glass scene in Japan and the governmental measures that were put in place to support this alternative landscape were also noted and could be used as a model of good practice to assist the rebuilding of the UK glass scene”. Please provide more information. What were the governmental measures?
Author Response
Thank you so much for taking the time to review my manuscript I have made a range of edits, thanks to your very helpful suggestions. I have used track changes to mark the document marked in blue, as the edits were quite substantial. I hope that you are satisified with the changes and look forward to receiving any further guidance or suggestions you may wish to add. Parts 1, 2 & 3 have been extensively revised and the referencing has been improved.
Author Response File: 
Author Response.pdf
Reviewer 2 Report
Comments and Suggestions for Authors"Cross-cultural histories and traditions between the cut and engraved glass scenes of the UK and Japan" provides an interesting report from a conference on the history and current situation of these types of glassmaking in both countries.
Ironically, the UK brought cut and engraved glass techniques to Japan in the 1870s-1880s but now it is Japan that is home to the more vital and protected culture of cut and engraved glass. The critical circumstances of cut and engraved glass in the UK has led to “red list” designation of near-extinction by Heritage Crafts, a prominent national advocacy organisation dedicated to preserving traditional heritage crafts in the UK. In Japan, conversely, these techniques are considered national craft treasures to be passed-on from generation to generation. While these forms of glassmaking struggle in the UK, in Japan they are respected in accordance with their profound cultural appreciation for traditional crafts which is admired internationally.
The conference itself was divided into two parts and the conference report helpfully follows this format so that the reader can appreciate how themes were presented at the actual event. The first part, which focused on the historical relationship between Scotland and Japan in glass manufacture, presented major figures and lineages of knowledge. More information on precise techniques or materials that tangibly demonstrates the cross-national relationship in glass would be useful as well.
The second half of the conference moved away from Japan in exploring the loss of cut and engraved glass manufacture in England. While very valuable, the summaries of many different talks on this theme could be condensed into a few concluding sentences in this section to help the reader gather an overall impression of the many discussions. The final section attempts to connect Scotland and Japan in these genres of glassmaking both historically and in their contemporary situation. Sometimes the linkage appears a bit strained, especially given the dire state of UK engraved and cut glass as compared with Japan. Overall, this article clearly summarizes historical aspects of this type of glassmaking in both countries and provides reflections on the current situation in the UK.
Though Japanese ways of protecting these forms of glassmaking may not necessarily be the best way forward for the UK, they do encourage preservation and validate the value of these heritage techniques. The role of Scotland in hosting this conference and highlighting the endangerment of heritage crafts is a hopeful sign that these concerns will be addressed.
This conference report is well written, provides useful information, and numerous paper presentation summaries. More historical and technical information on the precise nature of the Scottish-Japanese connection in cut and engraved glass would have also been helpful.
Minor specifics:
Footnote 4 – repeat the actual name of “she” which is the subject of both sentences
The paragraph on Sally Haden’s talk (lines 123-143) is a bit heavy on superlatives / adjectives. More economical language in these sentences would lend more weight to the content.
Author Response
Thank you so much for taking the time to review my manuscript I have made a range of edits, thanks to your very helpful suggestions. I have used track changes to mark the document marked in blue, as the edits were quite substantial. I hope that you are satisified with the changes and look forward to receiving any further guidance or suggestions you may wish to add. Parts 1, 2 & 3 have been extensively revised and the referencing has been improved.
Author Response File: Author Response.pdf
Reviewer 3 Report
Comments and Suggestions for AuthorsLine 404 and 407 both sentences begin with the same two words: "In hearing".
Author Response
Thank you so much for taking the time to review my manuscript I have made a range of edits, thanks to your very helpful suggestions. I have used track changes to mark the document marked in blue, as the edits were quite substantial. I hope that you are satisified with the changes and look forward to receiving any further guidance or suggestions you may wish to add. Parts 1, 2 & 3 have been extensively revised and the referencing has been improved.
Author Response File: Author Response.pdf
