Henry Wilson

Hi David I am glad you like the tsuba and thanks for the scan. On seeing it, I actually have the same book but none the less thank you for taking the time to look it up and post it here. Please feel free to post the tsuba you refer to. I probably will post another tsuba in a couple of days so the sooner you can post it.... I would be most grateful . I hope you get over your cold soon. お大事に

Thank you of the comments everyone. Hi Pete I remember you saying this before. I will check it out. I don't have this reference. Can you provide a summary of it or even better some scans? Hi Christian I will get the camera out and try to get a variety of shots. Stay tuned. Can you post a picture or a link? Many thanks everyone

What I will do, if others don’t mind, is post a few of my tusba from my Ko Tosho and Ko Katchushi collection. Some members seem to be quite interested in these two schools (as I am) so I will post around 4 more of what I think are nice peices from my collection in this thread over coming days. To see a Ko Tosho tsuba, have a look at this thread; http://www.nihontomessageboard.com/nmb/viewtopic.php?f=2&t=13468&sid=049ddade3b820e50e9c4859b0280f89d Some of the members who have been around for while have probably seen this tsuba before. It was the first ‘serious’ tsuba I bought a long time ago and I still love it. It is what I would call a Ko Katchushi tsuba that probably dates to around the mid Muromachi period. The dimensions are 8.8 cm x 8.4 cm, 0.2 cm in nakago ana and 0.4 cm at the rim. It is large, has a classic rim, the kind of brown and well forged metal, as well as a plenty of sukashi that I associate with katchushi. The plate is beautifully hammered and in great condition. There a few fold lines on the surface which are not lose or open in anyway. The hitsuana are probably not original but the lead plugs are stamped and are very old so have taken a beautiful patina. The sukashi is of a mon called Matsukawabishi　松皮菱. They are neatly arranged around the plate which has a very pleasing visual effect. Five are included and I am sure there is a meaning to this number. Just as a thought, how about a reference to Gozan Mountains :| ? http://en.wikipedia.org/wiki/Five_Mountain_System A few years back there was a thread on this mon design. Here is a extract that I think is relevant that was provide by Piers D. The whole thread can be read here; http://www.nihontomessageboard.com/nmb/viewtopic.php?f=9&t=2687&st=0&sk=t&sd=a&hilit=matsukawabishi&sid=049ddade3b820e50e9c4859b0280f89d Now, the problem is that on the rim of the tsuba is lovely flowing zogan done in silver and brass. It is of vines and at the four points on the tsuba (top , bottom, left and right) they are joined together by small flowers. (see the picture below for detail). The zogan is about 70 percent intact and most of it has come of were the hand would have naturally rested when the sword was worn at the hip in the scabbard. The inlay is a simpler version of a style found on old horse stirrups and is probably a later addition. The presence of this inlay would mean that it would probably be kantei to Ko Shoami. Thanks for reading.

Me too. I might photo a few more of mine when I have time and post them somewhere.

Thanks Pete.

Hi all Thanks for the comments and especially thank you to Brian for the . I feel . There are lots of interesting comments made on the differences of the two sides. I have tried to photograph the difference but unfortunately can't capture it. To compare it to food it looks a bit like the flat surface on this cut tofu; or the bottom side of a pizza base that is in contact with the metal pan. Basically the back of the tsuba is so flat it is as if it has been pushed hard against another flat surface, especially when compared to the hammered and slightly modulated front. The reason why I think the tsuba was hammer on an anvil is because the back side is so flat, to get the sort of effect would require a lot of skill and time using a file in my opinion, especially on a tsuba so thin. I can imagine quite easily the flat effect being produced by hammering on a flat surface. But of course saying all this does not mean that it is correct and the other well considered opinions are wrong, it is just my opinion. Thanks again and best regards

Thank you all for taking the time to comment on the tsuba. Here are some thoughts below. Tetsu maru gata maru mimi 7.2cm x 0.2cm thick The motif is possibly of two lotus leaves or petals. The symmetry of the design could hint at a reflection in water. This is a relatively small tsuba with mon sukashi. The back is perfectly flat were the front surface is worked and slightly modulated. The hitsuana is probably a later addition and the lead insert with the cat-scratch finish is new. The elongate shape suggests it was probably originally cut at an earlier time. The type of metal, the execution of the work, the lack of a rim and the simple sukashi is typical of the style classed as Tosho. The tsuba colour is a strong black with brown undertones and the overall rustic appearance and obvious age places this tsuba in the Ko Tosho group. When you come across what you believe to be Tosho, I would recommend that you continue your research by referring to one of the Sasano books, or all them if you have them. Sasano Masayuki did a thorough study of small Ko Tosho tsuba in his book “Tosogu no Kigen” (Origins of Tosogu). He concluded that small Ko Tosho tsuba like this one date to the time when uchigatana were used before the Mongol invasions, and larger Ko Tosho tsuba date to after this period. Before the Mongols arrival, uchigatana were worn by low-ranking vassals called bonge凡下 and the 12th century scroll called “Ban Dainagon Ekotoba”http://en.wikipedia.org/wiki/Ban_Dainagon_Ekotoba illustrates such people and the types of swords they wore. See the picture below for detail. After the Mongols, warfare tactics in Japan changed and uchigatana became the main weapon for the large armies and as a result they became longer and larger overall. It is interesting that previous owners, (senior Japanese Tosogu collectors) compare this tsuba to the mikatsuki zukashi tsuba that Sasano onced owned. It is believed this tsuba dates from the late Kamakura to the Nanbokucho period and is on a par with any of the Ko Tosho in Tosogu no Kigen or any of Sasano’s books. Below is a translation of the Japanese note that came with the tsuba. Here is what I think is a fitting (pardon the pun) passage from Tosogu no Kigen. Extract taken from the translation done by Markus Sesko. “The art of tosho tusba Tosho tsuba display the attitude or sentiment of their wearers and shows something about the melancholic, touching atmosphere of those days. It is this trace of melancholy of a warrior covered with the dust of the battle, and thinking of next morning which still reverbrates in today’s soldier songs, a sentiment which has not changed since back then. It is the simple and plain, reduced to the essential and timeless shaping which makes the atmospheric art of the tosho tsuba. You might say that their flowering and perfection emerged from the beginnings of art itself, namely from purity, a direct naivety, as well as from simplicity. And the much praised “gentlenss fo the warrior” (bushi no nasake 武士の情け) reverbrates with such peices in an impressive way. It is astonishing that such excellent tsuba are found among works which were made to be mounted of swords of lower ranking perosns.” A few final comments; The back is very flat, were the front has been worked and Brian picked up on this and referred to it as wear. In my opinion, this is not wear-and-tear or any form of alteration due to use. I think it is an indication of how it was manufactured and suggests it was quite quickly hammered out on a kind of anvil, with the back side not getting much attention which in turn suggests it was made for a low-ranking person. Also in my opinion another main difference between Tosho and Katchushi is the type of metal used. Tosho tsuba metal to me looks like the metal on a nakago, were katchushi metal looks like the metal you see non-lacquered armour made of. Thanks for reading. Best regards

Hi David Pretty much all my tsuba are in such boxes but only a few have silk bags. I get them custom made which takes about 3 weeks all in all so I don't find them.... The hardest part is finding kimono silk that is good quality that I don't feel guilty cutting up. I will post my thoughts and findings on the tsuba sometime today so stay tuned everyone :D

Thanks to all who have commented so far. Actually, the size 7.2 cm is quite small, where over 8 cm being relatively large I will post my thoughts some time around Monday, to let other people have a say.

Hi David There　is a chance it is a variation of the kutsuwa 轡 kamon. This site might help http://minagi.p-kit.com/page135691.html good luck

Hi David The thickness across the tsuba remains the same. Also, the pictures don't illustrate this well, but the back is very flat, were the front is worked and slightly modulated. The contrast is quite clear in hand. Regards

The rainy season has passed, the sun is out and I have some time on my hands so I decided to photograph the following tsuba. It is iron, perfectly round, 7.2cm and 0.2 cm thick. Any thoughts would be most interesting and in a few days I will post what conclusions I have made on it. Best regards

Hi David Well done. Nice to hear some good news. I think you have been getting it a bit rough lately. I hope this news rekindles your enthusiasm. Good luck

Yookan, 羊羹 (ようかん) is a Japanese sweet that is usually black / brown and glossy.

It probably would be Ko Kinko and should have looked a bit like this;

Thanks all for taking the time to comment on my tsuba. I would say that Ron and Mariusz are on the money with this one. I would say a Momoyama tsuba (maybe early Muromachi) that was worn on a tachi, but modified later for an uchigatana. Regards

Nice tsuba. It looks a bit like this one below which is copper with a gold wash. The pattern is waves. It is 6.6 x 5.9 x 0.4 cm and quite tired. Any ideas on the group and age?

Just to make things clear. Soshin asked me: And this was my reply:

Hi David I am not that well versed in Owari sub groups. If I were to flick through Owari To Mikawa No Tanko, I would expect to see something like it under Yamakichibei. At a guess I would say a late-ish Edo period Yamakichibei koubasaku 工場作. The metal, the roundness of the sukashi cuts and the general feel makes me think so,... but like I say this is just a guess and I am probably way off. I am sure other members could give you a more concrete answer though... The design could also represent a folded and tied peice of paper.... http://www.superstock.com/stock-photos- ... 70R-125190 Cheers

In my opinion the main differences between Tosho and Katchushi are the types of metal used and the surface hammer work. From my experience Tosho tends to be black with rougher (but non-the-less pleasing) hammer work and Katchushi tends to be brown with softer and more subtle hammer work. The tsuba David has posted above to me looks Owari not Tosho. I think becasue of the shape, the colour of the metal, the melted effect the iron has and the style of open work as well as a general softness of feeling. To me the motif looks like a stylized dango 団子 which was a banner of Nobunaga. As for the Sendai and rain pattern, I sometimes wonder how Kamakurabori Tsuba got their name... The initial tsuba posted to me looks possibly old (the metal and hitsuana suggest this this) but the file marks look younger as they are very clear and seem relativley newly cut. The lobes of the flower pattern look Edo ish too me. It could be an Edo tsuba in rough condition. Just my opinion and food for thought. Ko Tosho and Ko Katchushi tsuba are my all time favourite tsuba so I hope the above helps...

Maybe a slight hiijack, but I have always felt this is Christian inspired: compared to a Jersualem Cross Although, it could be "lock and keys" theme....

That has been a very interesting read so far. Thank you both and keep chatting

Ｉｎｔｅｒｅｓｔｉｎｇ． Ｉs there anyway to tell the difference between the shiiremono and the "real" ones? Thanks in advance.

David I found this in "Owari To Mikawa No Tanko". I hope it is of help. On the subject of Yagyu tsuba, is it common for them to have inlay of any sort?

Of course! Thanks Thierry.