Soshin

Thanks for posting the website. I see a few different tsuba that look nice and that are also generally in my price range. Thanks for posting the link I will added it to my list of tosogu related bookmarks. Yours truly, David S. (Soshin)

The flower design is of a Japanese plum blossom (Prunus mume) done in a small silhouette open craving. In Japanese this is called kô sukashi (小透). This technique is very common in late Edo period tsuba. The fuchi looks to have a family crest (ka-mon) on it. I hope you find this information helpful. Yours truly, David S. (Soshin)

After reading all of the posts. Just wanted to say that a subscription blog only about Tosogu connoisseurship would be great. Once I have the extra cash I will subscript via Paypal. Yours truly, David S. (Soshin)

Generally the practice of writing Buddhist mantras in Roman characters is a fairly recent practice started in the middle to late 20th century with the spread of the religion/philosophy into regions not traditional Buddhist (i.e. Western Europe and America). Having the mantras written with Roman characters greatly helps the western Buddhist not familiar with written Japanese to recite the mantras. Also generally speaking Buddhist mantras that were transliterated into Japanese from Chinese or Sanskrit start with a On (Sanskrit Om) or Namu (Sanskrit Namo). The use of Romanji (writing the Japanese language with Roman letters) was very popular during the Meiji period. The Meiji government even considered changing the official Japanese language to only use Roman letters. This never happen because it quickly became apparent that the Japanese language has too many homophones that can only be distinguished by their Kanji reading. The interesting Namban tsuba in questions looks likely made during the Meiji period and I would consider adding it to my collection if given a chance. Thanks for starting a discussion of such a interesting Namban tsuba. Yours truly, David S. (Soshin)

I have never personally used it on tosogu. I do have some iron tsuba in my collection that have been treated with Ibota wax. All with the exception of one was purchased in Japan. The Ibota wax was already applied to the iron tsuba(s) before I acquired them for my collection. I think it was a fairly common practice to appliy a layers of Ibota wax to prevent rusting on iron tosogu such as tsuba. Yours truly, David S. (Soshin)

Thanks again Ford for providing additional information about urushi and the board and very important issue of conversation versus restoration. The chemistry surrounding this whole issue I suspect to be very interesting from a scientific perceptive being a scientists (Biologist) myself by professional training. As for my friend's tsuba the substance that he was suspecting to be urushi was removed by mistake by mechanical abrasion and not by chemical means through the application of a modern organic solvent. I was under the impression that urushi applied to a iron surface would dry out and flake off over the course of hundredths of years. I have seen some examples in the Kodôgu no Sekai blog here http://kodogunosekai.com/. Yours truly, David S. (Soshin)

Ford, Thank you for the information. I find it interesting that the lacquer would react differently to the modern paint stripper. I had a friend of mine you has collected Nihonto and Tosogu longer then I have been alive told me a story about such a case of accidentally removing some of the black lacquer from a tsuba exposing part of the clean metal surface. His tsuba was likely pre-Edo or early Edo in age. Yours truly, David S. (Soshin)

Marius, From what I see in the photographs the black enamel paint you are referencing is more likely black lacquer. Tsuba were some times coated with black colored lacquer when they were made to prevent or slow rusting. If you remove the black lacker you will likely expose bright clean metal. This would be a major no no and would devalue the tsuba. Try to remove the rust and leave the black lacquer in place if possible. Thank for sharing the photos. Yours truly, David S. (Soshin)

Dear Paul, Thank you so much for this information. I was meaning to get around to buying some of Sasano's books that he had published on tosogu. Yours truly, David S. (Soshin)

Dear raven2, I fully agree. Even if it is of a modern production it is still a wonderful tsuba that I myself would love to add to my collection. At sometime in the near future I would like to add some quality tsuba from the Meiji, Taisho, Showa, and Heisei periods. Thank you for sharing and having a wonderful discussion. Yours truly, David S. (Soshin)

To provide more information from my last post. I was referring to other toshogu from the Edo period that was listed on eBay by the owners of Yamambushi. My post was a bit off topic as I referring to some nice Edo periods pieces and not the ko-kinko collection in the consignment page. The ko-kinko pieces are wonderful and I think they would be good addition to anyone's toshogu collection. Yours truly, David S. (Soshin)

I would agree with mariuszk comments. I offten go to Yamabushi Antiques. I plan at some point hopefully in the not so distant future purchase a tsuba. Obtaining one of the ko-kinko tsuba would be nice as I current don't have any in my collection. I have also notice once and awhile the owners of Yamabushi Antiques would list some nice tsuba on eBay as well at reasonable prices. Just wanted to quote mariuszk disclaimer as I am also not connected any way to Yamabushi Antiques. I am just a collector that sometimes visits their website. Yours truly, David S.

Here is reply I posted on another board as I was looking to see and possibly buy some toshogu for my collection. I was in Tokyo just this month would have been nice to visit this gallery. Yours truly, David S.

I noticed the same website. It does in if fact have some really nice photos of tsuba and other very interesting things as well. A little more then a week ago I was in Shinjuku-ku, Tokyo and was trying to call that business to see if I could stop by for a visit. But it turned out the telephone listed for there gallery that is located in Minato-ku has been disconnected. Does anyone know if the gallery is still open? Would have been nice to visit while I was in Tokyo. Thanks in advance for any additional information. Yours truly, David S.

The Owari tsuba is likely early Edo because if I am not mistaken the Owari school only produced tsuba until the middle Edo period. I will defer to the experts if I am incorrect. As for the Shoami group they produced tsuba throughout the Edo period and even before. Pre-Edo Shoami tsuba are termed Ko-Shoami. Thanks raven2 for posting the photos of your new tsuba(s). I really like them both. Yours truly, David S.

Comparing the carving technique used in the original Nubuie tusba posted and the technique used in the "Kurikara" statement on the ura side of my tsuba looks very different. Ford, would the technique used on my tsuba be considered ke-bori or katakiri-bori? I have a kinko tsuba that uses katakiri-bori style carving technique. I also have many books detailing wonderful machibori artisans who's kinko works used that technique greatly. I have never observed the katakiri-bori technique being used in the medium of iron. Thank again everyone for providing wonderful information and discussion. Yours truly, David S. (Soshin)

I decided to post on this topic because I recently purchased a Nobuiye styled Katchushi tsuba. From a website I can across on this message board a few months back. After examination of mei and talking with the person I purchased the tsuba from we (former owner and myself) are sure it isn't one of the two very famous Nobuiye of the Momoyama period. If it was I'm sure it would have been out of my price range in the first place. It was also different then the real Nobuiye I viewed at the "Art of the Samurai" exhibit at the Metropolitan Museum of Art, New York. The major reason for purchasing the tusba was because I like the style of the ko-sukashi in the shape of the bonji character "Kan" which is a symbol of Buddhist protection deity Fudo-Myo-o. I historical favorite of bushi. I also did some research of the Kanji character written on the ura side which reads in Romanji "Kurikara". Kurikara is a one of the popular forms of Fudo-Myo-o found on Nihonto. This form being a dragon rapped around a Chinese style sword with the head of the dragon bitting the tip of the sword. More then just researching the Kanji and Bonji characters present on the tsuba I also researched later Edo period Nobuiye or Nobuie (encountered both spellings) artisans. I did some research reading the book "Tsuba An Aesthetic Study" by Kazutaro Torigoye and came across the different regional schools of Nobuiye that were active in the Edo period (Joshu Nobuiye, Kashu Nobuiye, Akasaka Nobuiye, Owari Nobuiye, and Echizen Nobuiye). Could anyone tell me which group if any does my tsuba resembles? I really like the style and make of my tsuba and would consider it one of my better pieces in my small collection. Yours truly, David S. (Soshin)

This is the first time I have ever seen a Heianjo-zogan school tsuba with a fairly recent modification to fit into a gunto koshirae. I wonder if this was a common modification during WW2. The tusba might have looked better if it wasn't modified during WW2 even with some of the inlay damage. I really like the aoi-gata with inome designs. David S. (Soshin)

Nice website design. One of the best I have seen for Nihonto related subject. Much better then most Nihonto dealers as well. Maybe you could design there websites for a freebie or a discount. Thanks for posting a link to your website on the Tosogu message board. Yours truly, Soshin (David S.)

As I don't have any additional information to offer in terms of if the mei is real I will refrain from commenting on that issue. The katakiri-bori style and the subject reflected on the kozuka is wonderful and thank you for taking the time to post a write up about your kozuka and the screen pictured. I recently purchased a kinko tanto tsuba that uses this same katakiri-bori style. I really enjoy and find the detail of designs using this technique quite impressive. Yours truly, Soshin (David S.)

This can be judge by just looking at as many tsuba as you can and talking with knowledgeable people with the tsuba(s) in hand. Not all tsuba have a "rustic" look that is intentional. Sometimes it can be the result of age, use, and mistreatment. The tsuchimeji affect of the surface of tsuba is an intentional artistic affect that is fairly common. I could post some photographs of mistreated tsuba that came from the bargain bin that is my collection but don't want to incur the wrath of the tosogu fashion police anymore. Yours truly, David S. (Soshin)

The mokko-garu shape is very common in the Tembo school and the two examples both display this type of shape. I also have two Tembo school tsuba(s) with this type of shape. One is on a NBTHK Tokubetsu Kicho level Shinto Katana I own and the other I purchased for my tosogu collection. Thank you so much for sharing the additional photographs. Yours truly, David S. (Soshin)

Thanks for sharing the nice collection of tsuba with the Tosogu message board. I really like the Choshu and Miboku tsuba(s). Something about thoese type of kinko tsuba I really like and the Miboku is a really good example. Yours truly, David S. (Soshin)

Would Bakumatsu era (1856 - 1867) or early Meji period (1868 – 1890) be a better estimation of the tsuba's age? Thanks Reinhard for providing additional information about my tsuba I will update my records. If anyone else can provide information about school of the tsuba which worked in or came from Echizen that would be great as well. Yours truly, David S. (Soshin)

Thanks John for providing some assistance and additional information to the discussion. I would agree with everything you said after taking sometime to look back at the tsuba in question and the website of on the Echizen Kinai tsuba school. The tsuba are different and only share the same design motif of a dragon. I am fairy new to tsuba and just wanted to help facilitate discussion of Amon's tsuba to improve both of our level of understanding. Yours truly, David S. (Soshin)