BMarkhasin

Henry, Good points, so let me clarify. Ezo has had outside influence, since we know the cultures which influenced the early tradition definately had outside contact via direct trade and travel, and its hard to imagine something not filtering in through cultural exchange. But the roots; clear lines of influence are hopelessly obscured by time and integration with the Japanese mainstream. Arguably, post destruction of Hiraizumi (lets say mid Kamakura), the strong northern influence would have been supplanted increasingly by a southern influence - Kanto in this case. Another century, and the Ashikaga in Kyoto would have been guiding the aesthetic. My comment of pure Japanese was meant to imply that by the Nambokucho, any outside or direct northern influence was not a direct factor in shaping the art. The choice of materials, subject matter, etc.. was following a mainstream Japanese aesthetic (whatever that is at any give time, and including all complexities). It was I think still rooted in the old tradition, of which there must have been numerous extant examples to draw from. For instance, the classic koshigatana shape was maintained (slender, high profile), with a tsuka often partially encased in ornamental metalwork. The wood however is often a hardwood traded through Korea/China, as was fashionable in Kyoto during that period (note that in many koshigatana, the kashira-end is purposely left exposed to showcase the wood). The earlier style of encasing the saya in metal foil was replaced with the more popular same (or equivalent). The northern fruit motifs such as akebi and vine motifs, gave way to peonies, seasonal motifs, dear, rabbits, insects, etc.. The koshirae still adhered to the old established Ezo form of antiquity (likely influenced by outside contacts), but the finer decoration reflected the ideas and tastes of the mainstream Japanese aesthetics of the time (whatever those were at any give time). I think we are delving into esoterics here, while saying the same thing. Best, Boris.

John, I dont think anyone can point to a time and place of influence, or for that matter exact paths of migration of style, but I would not attribute much direct influence to China (more to the Mongolian and various far eastern Russian cultural groups). China was far more influential in the southwest during these times. What we can say with some definition, is that from the Kofun, the northeast (Mutsu/Dewa and northern Kanto) were culturally distinct from the Kinai, and integration lasted centuries. The peoples in this area were aggressive/militaristic and contrary to popular belief had developed iron technology and a soft-metals industry (they brought us the Warabite-to for instance). During this long process these areas developed distinct styles, which with the input of imported craftsmen from the Kinai developed to the same level (some would argue surpassing) of Kyoto craftsmanship. This northern style which we now refer to as Ezo (terrible term), became highly fashionable in the Kinai and Kanto during the mid to late Heian. The military aristocratic families/clans which controlled these regions became fabulously wealthy and powerful (Abe, Fujiwara). Dont forget that before Yoritomo could solidify control of Japan, he had to conquer and destroy Hiraizumi, the primary northern city. Hiraizumi by contemporary Heian accounts rivaled or exceeded Kyoto as cultural and religious center, and greatly exceeded it in wealth, built largely on metal extraction (gold, silver, lead and iron), and secondary trade with Ezo (Hokkaido) and the continent (Parhae etc.). I think it a testament to this influence and power that the military aristocracy continued to patronize the Ezo style for 4oo years following the destruction of Hiraizumi. Dont overlook the fact that this was not a fringe style (Michinoku carries a bit of a redneck undertone, and is the wrong term), these items were extraordinarily expensive, incorporating imported exotic woods, gold, silver, tin and minerals. The finest old armors in existence in Japan share very close affinities to Ezo, and there is solid evidence of swapping parts between Ezo tosogu and armor (anyone visiting Oyamazumi should keep an eye to the kanagu on the Heian / Kamakura dou for these affinities). Your statement of out of fashion tosogu being traded northwards, is actually the opposite of what happened. It is well documented that as Muromachi trade missions went back into the north, they kept encountering preserved very high quality nihonto of the old style. They traded/bought and repatriated them during the 15th and 16th centuries, and I think this is why we see these occasional revivals, where southern artists created a 'fusion' style of koshirae, based on old traditional 'Ezo' characteristics and more modern southern tastes. Best, Boris.

Make no mistake, this style is pure Japanese. The origins of the Ezo tradition did have its roots in Dewa and Mutsu, but in the early Heian. By the time these were made, you are seeing a purely Japanese aesthetic. Alhambra reference to me, suggests numerous modifications through time, to create a unique, vibrant style.... thats also what I see in Ezo works. The koshirae are simply awesome in-hand... my favourite without contest. Best, Boris.

Gents, Below are some pix to ponder. Starting with a compilation which is intended to show a range of well-known, published pieces of 'Ezo' koshirae. 3 koshigatana and two tachi are pictured. The uppermost dates to the Nambokucho-early Muromachi, the second to the early to mid Muromachi, the final koshigatana to the mid-late Muromachi. The two tachi are dated to ca 15th c. Note the variability in the kodogu. Some are clear compilations, but very good ones in the spirit of the original, and I believe all are historic. The following compilation are of the latest stage of 'Ezo' works, and date to the latest Muromachi through Momoyama (Keicho). An excellent koshirae is illustrated in the 2006 KTK book of this style, dating to the Momoyama. Many would refer to this as 'Ko Umetada'. As I mentioned, these works are all shibuichi vs yamagane, and display a high level of detail. I consider this period to be a revival, but the best one. The later Edo pieces are all poor in comparison, usually made of Yamagane, and lacking in vigor / interest. The sizes of these pieces are surprisingly large. The dragon menuki measure 6.4cm, but unlike the earlier Ezo works, don't have the depth or weight. The Momoyama koshirae mentioned, as well as the fuchi kashira pictured are also slightly larger than expected for a tanto (large katana size). I believe this is in the spirit of the older style koshigatana which had a narrow, high profile. Best, Boris.

Junichi, I will try to post some examples in the coming days. I would strongly argue to avoid getting into papering discussions with Ezo works. As I said, this is a poorly understood group, and you will find that most papers simply provide the wildly insightful attribution of "Ezo Menuki". Occasionally, judges ante-up and state that the pieces date to the Muromachi, and in only a handful of cases, I have seen a very balsy Nambokucho attribution on sub-Juyo papers. When they get it right, Juyo papers can offer some good observations / opinions. On the flip side, I can post Juyo examples which would rise to lofty heights on the wall of shame... where dealers actually apologized before showing them! Papering discussions on any forum usually lead to quick emotional responses, uncontrolled speculation and eventually a locked thread. Instead, I propose to outline some quality parameters which collectors should strive towards, through both published and unpublished analogue examples. The targets will become evident. (Edit) -- Its interesting to note that the majority of top quality examples (individual kodogu and koshirae) I have seen are unpapered. The reason simply is that the quality is intuitively obvious, fully reflected in the ask-price, and papers functionally equate to a red-line cost item. I again encourage members to read the Bushido article, and the KTK article for an introduction to the historic range of theories, problems/uncertainties and opinions on this group -- keeping in mind that these articles have barely scraped the surface. There are also excellent previously unpublished koshirae and bits of Ezo kodogu scattered through the KTK books, where (if memory serves) the 2006 and 2008 books have the best Ezo content. Best, Boris.

Bazza, These are 'kosher', but relatively late. They are late Muromachi/Momoyama and are sharing characteristics with the kokinko / ko Mino works of the same period. Some would term these Ko Umetada. These works are typically well made, often of shibuichi (I cant tell by the colour of the photos) and the most successful revival of the old Ezo tradition. The later Edo period Ezo revivals are gilded yamagane, and of lower quality. Best, Boris.

Gents, Regarding Ezo works, please note that my ideas are still developing / evolving, and some of what I had previously posted on the Yamabushi Antiques website is now out of date and not consistent with my current beliefs, my continuing research and collecting. I have now taken the step of removing the remaining pages from the web -- some pieces have sold, and I dont have permission to post images from the current owners. Sorry, but this has invalidated the links posted elsewhere in this thread. I will say that "Ezo" tosogu are grossly over-generalized and woefully misinterpreted. My article in the 2008 KTK book still largely reflects my general views, and I still stand behind the age attributions of the pieces, etc.. If anyone has an interest in Ezo, I suggest they start by reading Tom Buttweiler's excellent article in the Bushido magazine series; Vol. 1, No. 2. 1979. This was a ground-breaking article, since it brought 'Ezo' works to the attention of western collectors. There is a paucity of published material in both English and Japanese. Unfortunately, shinsa organizations have granted high level papers with unacceptable inconsistency in my opinion, and made some obvious and amateurish misrepresentations. This has also negatively contributed to the understanding and valuation of Ezo pieces. Real; good; old Ezo works are extremely rare. The vast majority of what we see termed Ezo, dates as various revivals to the latest Muromachi through middle Edo periods. Authentic, old 'northern' works date to the Heian through Nambokucho, while the tradition lived-on in the Kinai into the mid Muromachi. The 'Ezo' style of workmanship can be seen in contemporaneous Buddhist art, armor and decorative fittings (non-nihonto) in parallel with the actual tosogu. In some cases, what we now view as tosogu, are in fact recycled works in earlier Ezo-style, which were not originally made as tosogu. I have to emphasize, that the only way to understand this group is to commit to handling / collecting the old pieces. One eventually finds (not unexpectedly) that there is a vast difference in quality between the run of the mill flotsam we run into, and the real deal. A perfect analogue is the huge variance in Ko Mino works, from the run of the mill menuki, in comparison to the fine examples posted to this forum by Pete, Curran and others. PS (edit) - the menuki (currently on sale in Japan) posted by Junichi is in my opinion an above-average set dating to the Muromachi. Need to see them in-hand to comment further. The second 'recycled' kozuka example can not even remotely be classified as Ezo. Plum blossom motif somehow has been incorporated into collective belief as being reflective of Ezo - its not. Some Momoyama to early Edo period works by what is now often called ko-Umetada, mass-produced similar motifs as Ezo revival pieces, and unfortunately this stuck... Best Regards, Boris.

Will do Grey, thanks for the pointer. I'll be in touch via PM. Best, Boris

Thanks guys, much appreciated. Pete do you have the Toron newsletters by chance? Grey, if you have those two titles, will you have them in Tampa? I am specifically looking for Muromachi and earlier photographs of blades, and/or some scholarly work describing their development from early tosu. Best, Boris.

Does anyone on the forum know of published articles on kogatana evolution / styles? I thought that John Yumoto and possibly Alan Harvie had published essays on the subject? Thanks. Best, Boris.

Send it out for papers... Namban or Shoami? Ooops, forgot to engage the brain-mouth filter. Boris

Realistic (someday) healthy ubu koBizen with mei. Unrealistic (sigh...) an early Kenukigata tachi. Boris.

I am almost exclusively an early period collector, and have been focused on pre-Edo for ~20 years. I distinctly recall in 1994 being aghast at paying $500 for a good set of ko-kinko menuki, then in 2002 being horrified at paying $3000 for an old iron tsuba and having buyers regret for months. By 2007, I was paying $6000+ for the equivalent tsuba, and feeling fortunate for the opportunity to buy it at all. Good early koshirae are practically unicorns, and I am now experiencing a whole new level of sticker shock when I do find them... The point being that at least for good early tosogu, the market has been steadily rising for the last 20 years, and I would say in the last 8 years, that curve has changed from arithmetic to exponential. In 2006 I paid what I felt was an insane price for a sword, and in 2011 I was thanking the kami for allowing me to breakeven on it when the market had slumped by 25%. Today I would wager I'd be able to pick up an equivalent sword for 30-40% less than what I originally paid for it. It seems that the sword market has gone reverse course to tosogu. As Fred and others mentioned, the market is awash with Juyo blades. Part of that tosogu price rise I mentioned has been due (I think) to a significant number of sword collectors being frustrated by over a decade of insanely inflated prices followed by the inevitable cataclysmic crash, and switching to the tosogu market in frustration. Over-printed on this trend was the drop in value of the U.S. Dollar relative to other world currencies. All this uncertainty, primarily in the US markets, resulted in an abrupt drop in consumer motivation and spending. European collectors caught-on to these trends immediately, and for the last 5+ years have been buying up a lot of tosogu, swords and armor from the US and Japan. US collectors however have stagnated, and unfortunately reverted to selling-off their collections at a loss, or piddling around looking for bargains. As a dealer trying to make a profitable business during that period, it was tough to see the historically robust US market fall so fast. Over the last 5 years, we were selling >90% of our good inventory to the Europeans (France, Belgium, Switzerland and Germany) or back into the Japanese markets. From an economic perspective, I think that the market is re-aligning itself, whereby buyer and seller expectation curves are starting to converge again, but at the bottom of the sine-curve. I predict we will see an increase in market confidence in the coming 2 years, but with prices remaining generally on the low-side. The only exception (as always) are high-end items, which are less susceptible to market jitters. my 2 yen.... Best Regards, Boris.

Hard to say without having them in hand but the backs dont look right to me. Could the dogs have been spliced-in to the peonies? Boris

David, As others have already pointed out, this strikes me as a very generic handachi-style koshirae, possibly dating to the 20th c. The fittings look like cast brass, and the gold looks like it is has been liberally painted onto the ridges. Nothing remotely Higo about this koshirae. I hope the tsuba is better, although if in this ensemble, I would doubt it. Boris

Mariusz, Cool tsuba. I have seen numerous 'like' tsuba, usually with a soft metal plate, but never one with this assemblage of differing materials. As it is so unusual and not representative of the body of period works, it can be assumed to be a 'one-off' example. I would postulate that it was once an iron tsuba sukashi tsuba which sustained damage to the nakago region, so some enterprising tsubako removed the center and replaced it with a form-fit yamagane plug, dove-tailed to strengthen the connection with the outer ring. The rim is typical of the style seen in the Azuchi Momoyama - early Edo called an Odawara Fukurin. I think one would have to question its structural integrity through extended use, but who really cares... its a cool tsuba and appealing to my eye. Nice find. No point trying to label it, or crowbar it into some artificial category. Thats my 2 Yen. Best Regards, Boris.

Chinese fake. Painful. Sorry... Boris.

I cried myself to sleep last night.....

Holy crap Henry! No need for insults! Similar tsuba? Are you freaking kidding!? B

Does anyone know of collectors / dealers located in Hong Kong / Kowloon? I will have a few spare hours in HK next week, which could be well spent pursuing tosogu / nihonto. Thanks. Best, Boris.

Gents, Regarding Ezo works, few people have had sufficient exposure to the real, good old pieces (either disarticulated or still mounted) to know the difference between these and the late Edo revival which pervades the market. I have devoted many years to this study, and this group is dear to my heart and core to my interests. It is curious to me that those with the least experience as collectors seem to have the most vehement opinions… it boils down to education and exposure. With the early materials, there is such a paucity of relevant material, that it comes down to exposure. I also wish that we had not inherited the term Ezo, contextualized culturally, for this group of fittings, as this is absolutely unfounded. Originally, I believe these fittings did have a northern origin, but not Ezo. Oh well, this isn’t the only poorly labeled and misunderstood group out there. Ezo is not for everyone. I often think they are rather naïve, simple and unobtrusive compared to Edo kinko - they can be considered somewhat crude. I like that simple character, while others prefer something shinier, or even modern repro works. To each their own. As Curran correctly pointed out, there is a limited but insightful set of studies / essays on Ezo, written mainly by western collectors. I have seen a couple of unpublished essays in Japanese which are complementary to the western works. Look to the work of Tom Buttweiler in the 1970/80’s – he wrote a very interesting article which can be found in Bushido magazine, Vol. 1, #2. There is a reference to a metallurgical test of a fairly early piece by in Kodogu by Gunther Heckmann. The Rosin Collection book has an interesting article as well by John Harding. I have an essay in the KTK 2008 book on Ezo Fittings, which includes metallurgical analysis on a number of pieces. A lot more work needs to be done on this group of fittings. There seems to be a relationship to armor in the early examples, so perhaps armor enthusiasts will also take up this torch. Work permitting, I will be in San Francisco later this year, and I will bring all the Ezo fittings I have left for anyone who wants to handle them in person. You will be able to compare items from the Kamakura to early Edo periods, and observe differences in workmanship, metallurgy and construction / finishing techniques. Make your own observations and reach your own conclusions. At least you will then be able to say you reached them after actually having seen/handled an item…. Novel concept in some circles. I will provide copies of the KTK article (save you buying the book), and the Bushido article by Buttweiler for those interested. For those interested in metallurgy, I will gladly share data from SEM work, so you can hold the kodogu and contextualize the analyses. Additionally, I hope to be able to bring examples of uchigatana koshirae, so people can see Muromachi fittings in their original mountings. Robert Haynes will be at the San Fran show, so you may have the chance to pick his brain on the subject of early menuki (tosogu) as well. Best, Boris.

Thats a beautiful piece Mike, thanks for posting it! Boris

Hi Paul, That is correct, but important to differentiate that it is symmetrical (as mirrors often are), but not identical (a kantei point of many higher quality 'kagamishi' tsuba). Best, Boris

Tony, This is definately a cast tsuba. Boris

I agree, its Nasu (Eggplant). Boris.