Two readings of the Shiba Inu (II) / by Dr. Elettra Grassi

We now turn to the second example where we will see the application on characters present but with different ranges of type. It has been chosen to analyze the relationship between the skull - eyes-ears, for good reason. Mr. Kume attributes to this element almost 30% of the value over the total, in line not only with the importance that the same standard gives to all of those elements, but also the Japanese school that gives this characteristic in comparison among themselves, the true element to have that particular expression of the breed so sought after by breeders, and appreciated by the judges, as Mr. Saito rightly pointed out and as the standard expressly indicates.

No obstante, este discurso no debe desviarnos de cual es el objetivo principal: tener, digamos, un perro completo en cada parte. No debe pasar en modo alguno la idea de que «hecha una buena cabeza, hecho un buen perro\”, no hay nada más equivocado, no sólo pensando en la raza, sino sobre todo teniendo en cuenta el estandard y lo dicho hasta ahora.

Repetimos, que la armonía de toda la figura se atribuye, justamente, por el valor que se da a la cabeza. Basta pensar que la primera regla del estandard hace refencia a una medida del tronco, definida como “proporción importante” (11/10), incluso antes de la descripción de la raza, demostrando que en una raza, donde todos los elementos se presentan en equilibrio, cada elemento es, básicamente, equilibrio. Esto nos indica que estas características de dignidad y orgullo en el shiba debe ser el resultado de todos estos factores juntos y no al margen de una incidencia elevada y el movimiento típico, lo cual, ciertamente, un perro con los codos abiertos, o una parte posterior baja, aunque con una buena cabeza, no podrá tenerlo. La prueba de una buena impresión sobre el perro, es y sigue siendo el mismo movimiento del perro, que es simplemente la verificación de la estructura y del conjunto, como también la amplia literatura fundamento de la cinotecnia enseña, incluyendo Bonetti y Gorrieri.

Therefore, the examples obviously relate these characters taken in examination and fundamentally for that particular typical expression of the shiba, but taking into account that the assessment of the whole, both of the subject and of the head itself, is missing, since the objective of This article is particularly illustrating the method.

We must also consider the very limits of a drawing regarding a real subject, however, the designs shown here were made with special care to express as accurately as possible the character of interest, and therefore it can be considered quite reliable and useful.

Having made this long but necessary preamble, we now turn to analyze the characters examined. The figures are ranked in ascending order of excellence.

Fig.A shows a subject in which the relationship between the skull - eyes - the ears are not well positioned or well reported. It starts with the most obvious character: the eyes. These are poorly positioned by shape and position and not dark enough in color.
The eyes must be well pigmented (the alternative is not contemplated by the standard), with a clearly triangular cut (and here they are obviously almond-shaped / rounded), well separated from each other and with an inclination that should tend to the edge of the base of the ear. These elements are presented incorrectly: the inclination of the eyes with respect to the ear is insufficient, since their ears are not well spaced and they are also placed in a practically vertical position with respect to the forehead.

The necessary slight forward tilt of the ears is missing (which should not, however, be marked as in the Akita!). In addition to referring to or the wrong shape of the eyes, also especially a too narrow "support" skull. Finally, the ears are too big. The expression, especially when compared to figure F, is absolutely altered compared to "excellence." Obviously, if we were to value these characters according to Mr. Kume's reading, the values ​​should be considered with a negative sign.

Fig. B is the case of a subject who presents a slightly wider forehead with a relatively better positioning of the ear, which have a sufficient dimension in relation to the head. The eyes are pigmented enough, but not optimal. With respect to fig.A, it has a better shape, broad although still tending to be oval, and not well triangular, so it is not yet excellent. Definitely better with respect to fig. At the distance and the inclination of the eyes with respect to the ears.

Note as the expression, still far from fig. F, is already much more typical and close to sufficiency with respect to fig. A. If we had to evaluate the expression of this subject, we would have a positive relationship with respect to fig. A, but if we grant Fig. F + 4% of the eyes, + 8% of the ears, + 15% for the skull (although this last value is partial, missing the assessment of the face and neck) a fig. B is attributable to a positive value with medium intensity in the expression of the characteristics. For simplicity, attributing to fig. F the value of + 100% of the phenotypic expression of the examined character, we could attribute to the expression of the proper characters of figure B a total value between + 40 and + 50%, or close to sufficiency.

Fig. C, D, E all clearly have the characters of excellence and differ from each other in the complex, by the details.

Figure C presents excellent ears by shape and position and sufficiently inclined. His eyes have a correctly triangular cut, with optimal pigmentation and good inclination with respect to the ears. They could be better spaced and a slightly wider forehead would be preferable.

Fig. D presents the same advantages of fig. C with better distance and establishment of the ears, although the true merit of fig. D is an even better eye shape, in addition to a better position relative to the ears and better inclination: perfectly in line with the base of the ears.

It would be preferable, in this case, a better distance between the eyes and a better inclination of the ears on the skull; forward, however, the inclination is good.

These characteristics appear even better presented in fig. E.

Here we obviously find a truly well-dimensioned front that allows an excellent assessment of the various characteristics.

Fig. F departs from the previous ones due to relationships of the elements closest to the ideal, ears well positioned laterally and well inclined. Perfectly cut eyes in triangle and well positioned between them in a front neither too wide nor too narrow and well compared to the ears. Furthermore, the latter have better proportions compared to the head.

The expression in these last three examples is increasingly hieratic (rigid and solemn) and proud: the expression of race is given in fact with better somatic features. Note how the expression change of the first two examples with respect to fig. C. The last three examples, finally, differ mainly by the quality of the individual characters, which occur at almost the same level of excellence, but by how they relate to each other.

Here, the initial 25% that should be assigned to the harmony of the individual elements and the correct relationship between the characters becomes useful, which, even if individually evaluated, would not be enough to make a correct judgment, if there is no correlation between them. in a general figure.

The overall end result should be as similar as possible to the three heads shown here: these Japanese subjects exhibit the highest degree of element and relationship excellence, and are therefore currently the best example.

[Original document by Elettra Grassi. Our thanks to the author for allowing us to publish and translate it]

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