Ford Hallam

Hi Milt, Very tasty piece, lovely bit of work. It does look as thought the nanako was applied after the inlay. The fine line around the actual inlay seems to suggest that. In fact it is evidence of the exact opposite. The ground would be prepared and the piece to be inlaid, shaped to fit the curve of the top of the kashira. Then the outline of the inlay would be scribed around the piece directly onto the ground, ie; the kashira blank. At this stage it would be passed to the studio specialists who would create the nanako decoration. It can be seen that it would be much easier to keep the lines in a coherent arrangement before you have the inlay in the way, marking out the lines is also much easier this way. When the inlay work is to be done the craftsman creates only the very finest raised edge to the recess into which the inlay design is to go. It's more like setting a gemstone. The sleight burr is then pushed back down taking great care not to mar the nanako beyond the immediate outline. Obviously this sort of minimalist inlay technique requires a massive amount of control and experienced judgement to gauge the amount of metal to move that will still do the job. There is in fact an iron tsuba by Goto Ichijo ( I think) in the Caldwell collection catalogue, that has a polished ground with a spray of flowers and plumb blossoms, that is set in the same fashion. In that case the the outline of the inlay is a fine incised line.

Hi Milt, what is even more interesting is that the decoration is very clearly nunome-zogan. Apart from the rarity of Goto work in iron, the use of nunome-zogan is, to my knowledge, unheard of. This type of work is quite late in any respect, if that helps at all. regards, Ford

Hi John, I'm sure you might get some more responses if you cropped that image a little. I'm on a really fast broadband connection but I imagine that if anyone with anything slower attempted to view it they'd give up after watching a vast area of white towel slowly download. I'd estimate that you could lose at least 80% of that image and save us all a lot of wasted time. regards, Ford I've taken the liberty of cropping it myself, by almost 90%, here is the result sans towelling.

I would have to agree with Rich's assessment too. The kozuka was in fact made from a thin stamping ( this is why there is such a noticeable dent on the face ) which is then given a thin electroplated coat of gold to highlight some details.

Greetings all, some of you may already be aware of the sort of work I'm involved in and my blog. Recently I've expanded this internet venture to a forum also. It's early days still but I'm pleased to report that we've got the makings of a lively and knowledgeable community. The forum is "Dedicated to Fine Art metalwork, small sculpture and the associated arts" but with a very strong Japanese metalwork bias. We've made a few postings in this area already and intend to create the definitive resource on the net for this tradition, at least in terms of the technical aspects. So if you've any interest in learning a little more about how these amazing artefacts were made, or are interested in seeing what is being done today, please take a peek...or even join us. We'd be pleased to see you there. Here's the link: http://followingtheironbrush.org/index.php Big thanks to Brian for all the help in getting the forum up and running too. Honto ni Domo arigato gozaimasu Regards to you all, Ford ( the tsuba guy )

:D from my perspective I'd say the carving is a recent addition. The carved areas aren't polished at all really and you can still see the chisel marks. This, so called, horimono is a fake, imnsho It's trying to be something it very clearly is not. Guido may actually have been nearer the mark in terms of the carvers abilities . just chipping ( pardon the pun ) in my observation . regards, Ford

and here's a link to the website of the Osafune Sword museum; http://www.city.setouchi.lg.jp/~osa-token/english/index.htm

Seems to me that this is a perfectly honest offering. The sword is exactly as described. The origami is apparently genuine and the only decision you have to make is; do you believe the accuracy of the appraisal. As for the sword itself, I wouldn't mind giving it a home at all. Fine katana-kake too. The whole package would make a perfect birthday present..hint, hint I'd laugh my head off if someone were to buy it and it subsequently was authenticated . It's when seeing these sort of discussions that I'm reminded of something Basil Robinson said, "the easiest way to appear to be "one who knows", is to condemn everything as a fake". This can be a strategy that can backfire badly just stirring the primeval waters, like Izanagi regards, Ford

I think it is also misleading to think of these various sukashi related terms as techniques. They aren't, they merely function as descriptive labels. As such they are of use to collectors in describing pieces but not in terms of describing how they were made. The technique used is always the same, regardless of the end result. Another thing to bear in mind is that prior to the modern period there was no universal glossary of technique names, alloy and metal names or design effects. Most of those we have learned have a number of alternative terms. Shakudo for instance; u-kin, u-do and karasu-gane, to mention just 3 synonyms. Japanese artists and artisans have always taken apparent delight in creating poetic names for the their processes, materials and aesthetic effects. I think it would be missing this lyrical expression if we were to insist on too much conformity. We just need to learn more Regards, Ford

Hi John, in practice both scenarios are likely possibilities. I would suggest that where the inlay and the carving is clearly something exceptional, ie; by a master, then the likely hood is that the ground was nanako'd later. With more generic work, especially where the decoration is applied by means of pegs, ( sue-mon or appliqué ) as seen on certain early Goto-esque kozuka, then the ground is clearly prepared prior to the decorative element being applied. Hope this helps, Ford

Hi John, not sword related but if you have any interest in bizen yaki, the local pottery, the the next train stop from Osafune ( travelling from Osaka side ) is Imbe. the centre of such. It's a good source of tokkuri and sake zue. enjoy. Ford

well...it would be tricky to be absolute on this one but in general terms I'd say yes. Where it gets interesting is how the various minor components of alloys ( natural or artificial ) alter the patination colour. Often the changes in colour are not at all what one would expect. Sorry if I came across as a bit of a pedant re; the comment, I should have recognised the fact you were obviously being flippant. Sometimes I forget to lighten up Sorry, again. Regards, Ford

The explanation offered by Pete is pretty much spot on, IMO. Not much to add in that respect other than to say that the likelihood of being able to use a piece of found, native, impure copper is highly unlikely. I'd suggest that all such finds would have undergone some smelting prior to being worked to a usable state. The interpretation of the kanji, however, is in need of a little revision. Yama-gane is usually written with the kanji for mountain ( yama ) and the kanji for metal (gane or kane; gold or metal, same kanji ) in the version you've posted Pete, the second kanji is that used for copper. Do, or akagane ( not akigane ) is a common name for what we would recognise as regular copper ( aka means red.) If the material is only partially refined we must continue to call it "yama-gane" as it is still contains impurities. The slightest trace of impurity in the alloy will yield a colour very much to the brown side of the colour chart. A more red colour is a very accurate indication of the degree of purity of the metal. Incidentally, the element that is responsible for the dark tone of impure copper ( yama-gane ) is arsenic. Traces of less than 0.5% are enough to ensure the characteristic post-patination colour of the metal. Lead and silver also play a part in the overall colour but it is As ( arsenic ) that is most characteristic both by it's presence and it's absence. Interestingly, Kano Natsuo developed a synthetic version of yama gane in the late 19th cent for use at the Tokyo School of Art that does not contain As. I've made this alloy and compared it with older, pre 1600 yama-gane and would suggest that the, original, natural, alloy has a peculiar black/grey cast to the overall colour. The synthetic copy has a far more pleasing brown tone with a hint of tan, I put this down to the absence of arsenic. I was also involved in a series of analysis' of yama-gane and early shakudo tsuba carried out at the British Museum by Susan La Niece, so I have a fairly reliable data base to work from in my assessments. anyway, just my half tuppence worth, regards to all, Ford p.s just read your post John; In my opinion there is no mistaking yamagane for suaka, or vise versa. They are just too dissimilar in terms of colour. In general terms I'd go so far as to suggest that anything prior to 1600 is highly unlikely to be made of anything close to refined copper. The issue of the kanji is not that complicated either, kane/gane means both gold and metal. Not all metals are gold,at all. It depends on the context ( and time frame ), as does a lot of Japanese.

Hello John, as I said, I'm not sure what I can definitively say so those were merely my impressions. If nothing else they might provide ground for further speculation. I must also confess that I've not had a chance to study your own work on Namban tsuba, but I'll try and rectify that asap. Very best regards, Ford

I'm not sure if this page has already been highlighted for the forum so here's a link to some very fine images of both swords and fittings; http://www.choshuya.co.jp/0705/thanks_info.htm For those of you who have not yet had the pleasure of visiting a gallery of this quality, this will have to stand in as the second best thing. The enlarged images of some of the fittings are particularly good, the Natsuo fuchi/kashira in particular. The delicacy of the work does boggle the mind. Enjoy, Ford

Good evening John, I don't know that I can really add much but for what it's worth... The first thing that I am inclined to comment on is the fact that the plaques are silvered copper. This, in my experience, almost invariably points to a fairly late date of manufacture. I'd suggest last quarter of the 19th cent. The fact that they are silvered copper also raises the likely possibility that they are stampings. Why would an artisan spend all that time carving such delicate scenes in copper only have them plated to appear silver? If the work was worth doing only once then the material used would surely reflect that. The actual shape and appearance of the plate doesn't give us much more to go on but if I consider the date suggested to me by the plaques then I would begin to consider a provincial origin in that it it an honest and unassuming form. Putting the delicacy of the plaques ( albeit they're possibly stampings ), the rustic feel of the plate and taking into account the time frame I'm looking at, I'd plump for very late Mito work. It may also be a Kyoto piece ( the nunome touches around the plaques could be seen as evidence of that possibility ) but the nakago-ana and hitsu-ana feel more Mito-esque to me. Not necessarily as late as Yoshiteru though. Just my observations though, I wonder what others may think of them. Best regards, Ford

Hi Steve, I'm not aware of any "how to books" on the subject in English. These is at least one very basic one in Japanese that I know of but it would probably be less than useless to you. This site; http://www.urushi-kobo.com/index.html may give you an accurate overview of the complexity of the authentic process. Frankly, I'm not sure this sort of approach could be recommended to a complete novice and it would be worth considering that generally speaking restoring something like this is often a more delicate job than making a new piece. If you dig around on the net I'm sure you'll find a number of alternative approaches using other types of material and paints etc...personally though, I can't recommend any of them as being in any way comparable to the real thing. Regards, Ford

Morning Craig, thanks for those extra images, nicely clear too. I think there is no question, this is a genuine piece. I was concerned that the seam might have been a casting flange. There are one or two spots on the tsuba that might also have been casting flaws but can also be seen as severe corrosion. The nakago ana is almost too neatly shaped considering it's apparent age, so it would seem that it has been reshaped to fit the present blade and as such no sekigane were needed either. It's possible the concentric lines were produced on some sort of pole lathe. We know that wooden lacquer-work blanks were made this way in the past and there is no major reason why this method could not have been employed here. I do think some sort of jig was used either way. The example that Jez has posted a link to is quite good and is very similar but I don't think this one is Shoami. The concentric lines do make me think of Kagamishi tsuba but as this is not bronze I'd merely suggest a bit of influence from that source. To me this looks like a fairly standard Katchushi tsuba dating from perhaps the late Momoyama period. It has suffered badly but may benifit from a lot of tlc. It's a decent and honest piece IMO. regards, Ford

Hi Craig, the detail you describe as a join, inside the nakago ana, intrigues me. Would it be possible to post a close up of that? cheers, Ford

Hi Sebastian, I didn't mean to cause you worry and I certainly was not angry but I was a little concerned that you seemed to be missing out on a big part of what makes this subject so interesting. That is, the search for the answers to these mysteries. Most serious reference material is in Japanese and you need to get to grips with kanji but in English you might find The Robert Haynes volumes handy. The Baur collection by BW Robertson will provide a reasonable overview of schools of fittings makers and a good sample of mei to study. Not all are genuine but it is a start. In fact B W Robertsons little book; "The arts of the Japanese sword", contains some very useful charts of the kanji you will see on swords and fittings. This may actually be the first book many of us ever bought and in my opinion it still is one of the best introductory texts on the subject. I still use mine on occasion. I know that John Yumoto's book, "The Japanese sword, a guide, is probably more popular in America but it does not cover fittings really. Then you could begin looking at spending a bit more on Japanese texts, I think there are suggestions here on the Nihonto forum but it would of course depend on which areas you want to focus on. Good luck and welcome to the club. regards, Ford

hello Sebastian, I speak only for myself at this point, but I can't help noticing that you have posted quite a few requests for help with signature translations in a short period of time. I would be concerned if you regarded this as an easy answer to the sort of questions most of us have spent a lot of time and money trying to answer for ourselves. If you are serious about your apparent interest in this subject then I would suggest that before you purchase your next "treasure" you invest in some useful reference material. You never know, you may then be able to offer some assistance to those who follow you into this field of study. I trust my comments are not misconstrued. I simply hope that this forum, and the generosity of it's members, does not become a substitute for personal study and research. sincerely, Ford

From what I can see I think Reinhard is showing us a tsuba that is very similar in design and actual style to the one that started this thread. This is also not by a big name but "merely" yet another of the many highly competent artisans working in the Edo period and in a style that is indistinguishable from many others. Moriyama San has highlighted the fact that the origami states a Meiji period artist. I don't see any reference to the Ishiguro school and as we have established this is unlikely to be relevant. Haynes lists 6 artists who all used the same mei but there is no matching kao. The papers can be taken at face value and as genuine because it is not making any extraordinary claim ( something I didn't at first recognise. ) And as for the example that Reinhard has posted, I fail to see why that example should be deemed suspect on the basis of another work by the same artist that is in quite a different style, as is the mei, too. I think to make that sort of call we need at least to compare like with like. In fact in my opinion, the example that Reinhard posted seems to my eyes to exhibit finer technique, and frankly, with these types of work there is never a great deal of real artistry so what is there left to base any sort of qualitative judgement on? regards to all, Ford

oops , Thanks for the clarification Moriyama San. I didn't even bother to read the origami, I had assumed that Kiku gathered that information from the paper himself. Thanks for the comment on the perforated number too. regards, Ford

Perhaps the first question you ought to be asking is about the authenticity of an origami that claims this tsuba to be by Ishiguro Masayoshi. You might contact the NBTHK and cross check the papers number. Is there a perforated number punched through the certificate on the far left of your paper? ( not in the image you posted ) As always though, it's your tsuba and you must decide for yourself what to think. I imagine that as a genuine Masayoshi you must have paid a pretty penny for it too. Good luck.

Something to consider when looking at these greatly enlarged images is that the real thing is so much smaller, and delicate, that you may realise. In fact, I continue to be quite literally shocked when viewing the originals. Last November I was visiting a collector in Kyoto who had just taken delivery of an Ishiguro Masayoshi Daisho tsuba pair. The images become very familiar but it is as though they are actually about 25% smaller, and finer, than you'd imagine. Anyway, I hope all this helps put things in perspective. regards, Ford