Japan2112

Sukesada, a Bizento, likely machi okuri and Muromachi age. The nakago appears "worn" for it's age adding to its history. A signed work with a few nakago ana always points to an interesting story. After all, the blade has past its useful purpose. Je serai au Canada la semaine prochaine et j'attends avec impatience une sortie de ce climat chaud de la Floride. Mark C.

What a nice display. As always, Markus will weigh in with his good insight. I'd have to say that in the last 30 years I have not seen one. How unusual.

Kuraya Hashimoto shop in Kyoto opposite Nijo castle is a wonderful place to experience swords. Regarding the tanto, it gives me a feeling of a yomeiri tanto, possibly a re purposed yari. The mei. adds to the auspicious nature of the gift. Meiji era , and a thoughtful gift indeed.. Sharp and delicate.

Hello again, Pete. Here is a photo of this tsuba. I am very interested in your impression. Thank you. Mark

Thanks, Pete. That is what I was guessing, as he praises the iron. Here is a translation of the hakogaki (courtesy of Markus S.) Mark Lid: Akasaka sandai saku 赤坂三代作 Akasaka work of the 3rd generation Akasaka futatsu-hiki kiri-sukashi tsuba 二引桐透鐔 Twofold hiki bar and paulownia sukashi Inside: marugata tetsu-ji sukashibori 丸形鉄地透彫 maru gata, iron, sukashi bori mumei Akasaka sandai 無銘赤坂三代 unsigned, 3rd generation Akasaka jigane yoroshii 地鉄宜矣 excellent iron Shôwa hinoto-hitsujidoshi haru 昭和丁未年春 Spring - year of the sheep of the Shôwa era Kanzan shirusu 寒山誌 written by Kanzan (1967)

Hello all, I have seen Kanzan Sato hakogaki included with none, one, or in some cases, two seals. I have a ko Akasaka tsuba with accompanying 2 seals. Is there a significance to the application of two seals? Thanks, Mark C.

Here is what I have tended to do, after years of collecting. Discover my study interest (Gokaden, Bizen, Shinshinto, Tadayoshi school...Impressionist, Goya, or whatever...)and buy something that is representative and of the best quality I can afford. The smith, school, period, village... representation provides timeless opportunity for study and enjoyment. If I like what I've found in research, I will buy another, or something that compliments or contrasts the work . In this way, a collection can become a just few pieces that really "talk" to you. As Ray points out, tastes change with appreciation - as in wines, so a collection may morph over time, but if you stay focused on quality you won't be so apt to "turnover" your purchase. An interesting collection focus could be - students of the Soden Bizen masters - those of Kanemitsu, Nagayoshi, Motoshige. The collection could be as small as 3, but what a story.

Yogoro san. Very good comparison of Kanayama and Akasaka work, and nice tsuba, too. The Kanayama is very different from what is usually seen. here is a later Akasaka work (godai?) that reminds me of yours.

Ed, my experience with a tightly fitting habaki is that it may be rusted in. The penetrating oil (WD40 or equivalent) for a few days with a gentle tapping with wood block and mallet (brass mekugi hammer is a good weight), then oil again, and repeat the process in a few days. The light tapping can "lift" the rust and allow for improved penetration on the second application. That is my experience, and good luck. Congratulations, BTW, on a good find.

Congratulations, Grev, on such an ambitious and helpful project. I will order my copy today. Yes, it is disheartening to know of a museum's treasure trove, but not be able to view it. Your work brings that opportunity to light. Mark

The NBTHK paper says only Akasaka. I'd seen another tsuba that looked very similar, and was given a Kanayama attribution by the NBTHK. This one seems to bear its Owari roots with much linear and globular tekkotsu. Mark

Second image, that is.

Sorry gents, the first image is ko shoami - wisteria

Good evening members, Here is a first post from me to learn about the process and gain some perspective. These are two iron tsuba I had submitted to the NBTHK last year. They both were given Tokubetsu Hozon. The first - "ko Shoami", the second "Akasaka". I was pleased to confirm the ko shoami, but disappointed that the Akasaka did not receive the "ko Akasaka " attribution I expected. I am confident it is Tadamasa, but would appreciate the members comments and opinion on the work itself and maybe the submital process. In speaking with others who are more knowledgeable than I, the attribution is considered secondary. What do you think? Thanks for any input.