Soshin

I am of the opinion that early Akasaka (Ko-Akasaka) tsuba were influenced also by the Kyo-Sukashi as stated in the article as well as the Owari Sukashi school. The article quoted above has much of the same information that I remember reading in Tsuba An Aesthetic Study by Kazutaro Torigoye and Robert E. Haynes on the origins of the Akasaka school. The book also present an alternative theory that the school's origin lies in Owari Province. Thanks everyone for the interesting discussion. The only thing I do know is that all of the schools we are talking about were influenced by one of my favorite early schools the Ko-Shoami school. :D Yours truly, David S.

Thanks John B. for providing a good example and restarting this thread as I am a collector of the Umetada school. Kamon were a common design motif for the Umetada school either as sukashi or inlay and I own a good example that is done with brass inlays. Here is a link http://kodogunosekai.com/2009/12/05/umetada-sukashi-tsuba/ to a Kodogu no Sekai Blog showing a very similar tsuba to the original tsuba that started the thread. The author of the Blog Richard Turner cites as the maker of the tsuba in the Blog as Umetada Tadatsugu. Yours truly, David S.

Thierry and Fred D., I wonder what the size is for your tsuba Thierry? If it is katana size then bring the two tsuba together would make a very nice matching daisho set. :D Yours truly, David S.

Hi Fred D., I generally don't collect Higo school tsuba but I really like the Higo tsuba. The optical illusion is a cool effect I wonder if the tsubako knew this type of illusion would happen with this type of design across the surface of the tsuba? Yours truly, David S.

Dear Fred D., Thanks for the nice comment. I wasn't planning to purchase anything until my willpower broke down around Sunday morning at about 10:00 AM. :lol: Yours truly, David S.

Hi Cory, The fuchi and kashira was made by the Soten school. I can read some of the mei at it reads on the left side after turning the image counter clockwise as the orientation of the photo is completely wrong to read Japanese. Here is what I have transliterated into Roman letters: Sōheishi Sōten Sei. There is some additional information on the right side I will need to take some time to transliterate. If you post the fuchi in the translation forum I am sure there are people that can do a much quicker transliteration and translation. The tsuba was not done in a Soten school. The tsuba looks to be a product of the Late Edo Period done in a much earlier tachi style. The texture of the tsuba is interesting. If you want to know more please take a look at a tsuba I am currently selling that I think is of similar origin: http://www.militaria.co.za/nmb/viewtopic.php?f=4&t=9730. I hope you find the information helpful. Yours truly, David S.

I purchased one tsuba from yumi3go55 and a few wooden boxes. The boxes were fine and the tsuba was fine. The tsuba being a Late Edo Period Tempo tsuba nothing special but also nothing wrong or strange about it. The other sellers I don't think I have any experience with. Yours truly, David S.

I really enjoyed both presentation arranged by the NBTHK. The Pete's Nobuie presentation had more of a impact in terms of what I collect as I am more of a Tosogu then a Nihonto person. The chance to handle multiple examples of Nobuie tsuba were also great. Here is a tsuba I picked up at the Tampa Japanese Sword Show. The previous owner thinks it is a Kyo-Shoami tsuba from the early Edo period. I agree with his judgement. The design is rice balls that makes up a pattern often seen on Edo period cloths and is referred to in Japanese as Shippo which translates as "seven treasures". The seven treasures reference has a Buddhist origin. Here is a link for more informaition about Shippo: http://furoshiki.com/collection/contemporary/shippo-seven-treasures-1.html Yours truly, David S.

Hi Mike, Welcome to the message board. I didn't even know kinko were made in Satsuma. Up until now I have only seen iron pieces from Satsuma in Kyushu. Really nice tsuba by the way I can't read the kanji would likely require a zoom image of the seppa-dai area. I enjoyed the Tampa show greatly. I am going back next year for sure with the addition of the NTHK shinsa. Yours truly, David Stiles

I really enjoyed myself. Thanks so much to the organizer and all of the exhibitors. Wasn't going to purchase anything as it was my first show. My will power broke down on Sunday morning and I purchased a very nice tsuba. :D I will post photographs and discussion later in the tosogu forum. Next year is a must for me with the NTHK shinsa being part of the show. Yours truly, David Stiles

I would agree. I really enjoyed the Florida Japanese Sword Show. Yours truly, David Stiles

What is a very wonderful tsuba for just two hundred dollars! Pick up many tsuba like that at such low prices then I can stop my day job and just start collecting full time. Well maybe not but I can still dream.:lol: Thanks for sharing the wonderful and low priced tsuba. Yours truly, David Stiles

I would like to point out that the crack is I think a minor point as you see many forged iron tsuba with minor cracks that don't go complete through the sukashi and don't compromise the structure of the tsuba. This has been personally confirmed by me from a tsuba I purchased from Grey late last year which is been since to be confirmed to be a Owari Sukashi tsuba from the Momoyama or ealry Edo periods. The biggest thing that makes me this this wakazashi tsuba is a cast iron copy is the iron "sekigane" in the nakago ana. This is clear evidence that a cast mold was used to make this tsuba. Thanks for sharing and for the discussion. These type of discussions help people avoid purchasing fakes. Yours truly, David S.

Hi Dirk, It might be damage from a fire. Just an idea as I haven't seen many tsuba damaged by fire but the surface and patina does look strange. Yours truly, David S.

I noticed the same thing with the upturned and finely folded rim (uchikaeshi-mimi). The in-sukashi is also complex and extensive. The overall size of the tsuba is 8.4 cm by 8.3 cm. The thickness at the center (seppa-dai) is 3.5 mm and narrows to 2.8 mm at the rim (mimi). In Tsuba An Aesthetic Study by Kazutaro Torigoye and Robert E. Hayes page 25 says that artificial use of yasurime is characteristic of Momoyama and early Edo Katchushi work. The idea that this tsuba was produced by professional tsubako working in what was once a style of non-professional tsuba makers of earlier periods still hold true even if my example tsuba is a Katchushi work. Thanks for the information it has been a very helpful learning process. Yours truly, David S.

Ludolf, I think you right that Momoyama and early Edo Period Tosho style tsuba were made by professional tsubako working in or doing a variations of what was done by non-professional swordsmith tsuba makers of earlier time periods. I know some just copied earlier works from the Nambokucho and Muramachi Periods while others used the same basic techniques to create something more original with a different aesthetic balance to it. Henry, Thanks for providing an example of a Edo utsushi (copy) of a Tosho tsuba made during the Nambokucho and Muramachi Periods. To post more photos of tsuba on a forum about tosogu here is an example I have which I and the former own thinks dates to the early Edo Period. This is primarily indicated I think by the bean shaped kozuka hitsu-ana as well as the color of patina. From my references of earlier Nambokucho and Muramachi Periods Tosho tsuba I don't remember this complex and naturalistic designs being done in in-sukashi and raiding file-marks (amida-yasuri). The techniques are associated with Edo Period Tosho style tsuba made by professional tsubako stated in Tsuba An Aesthetic Study by Kazutaro Torigoye and Robert E. Hayes page 18 but having more examples would be helpful. Yours truly, David S.

Yes Henry that is what I was referring to in starting this thread. While I do have some revival Tosho style tsuba from the Edo period that are clear copies of early work. I can also say that I also have some labeled Tosho style tsuba that display a fair amount of independent artistic character using general Tosho techniques such as in-sukashi (negative silhouetting). The tsubashi was I think trying to execute a more complex naturalistic design not seen in the earlier Tosho style tsuba from the Nambokucho and Muramachi Periods. Thanks for providing the reference "Tsuba no Bi" I will try to find it. Yours truly, David S.

I a interested in doing some more research about Tosho tsuba from the Momoyama and early Edo periods. Could anyone point me in the direction of some information about Tosho tsuba made during these time periods. I have some good references for Nambokucho and Muramachi Period Tosho works but don't have any references with good examples and information dating from the Momyama Period and onward to the early part of the Edo period. I will be sure to ask for some examples at the Tampa Sword Show this weekend. Thanks in advance for helping me with my next research tosogu project. Yours truly, David S.

Some really great pieces. I will be at the Tampa Show this year and will make sure to stop by for a look. Yours truly, David S.

Hi Everyone, The tsuba I posted with the coin design in ji-sukashi is now in Japan for NBTHK shinsa. Will keep everyone posted as to the results. Yours truly, David S.

I was going to say that the kin-zogan (gold inlay) looks real and consistent with work of the late Edo period on the dragon tsuba. The cross hatching of the gold inlay is clearly visible. Yours truly, David S.

I think something that should not be overlooked about this tsuba being a middle to late Edo Period Nobuie copy or not. The condition of the tsuba is very poor the surface has much active red rust. I know this will affect the color of the iron patina greatly. The surface reminds me of a Satome school tsuba that I have before I started the very long process of removing the rust with using natural methods outlined at the end of Sasano's first book and discussed on the Tosogu message board. With this tsuba the removal process of the red rust is complicated by prescence of some gold inlay work something I don't think you see in original Nobuie works of the first two generations from the Momoyama or early Edo Periods. Yours truly, David S.

Looking at the other tsuba I would say that it is also signed Tadatsugu in a similar manner as your original tsuba. I have been told that Tadatsugu was a very prolific artisan during the middle Edo period. He might have also had some students under him allowed to use his name. The linked tsuba has a more simpler tosho feel to it but I would still classify it as a Umetada school tsuba. The overall shape of the tsuba is also characteristic of Umetada school and not at all Tosho. Blossoms and kamon are a common motif found in tsuba made by the Umetada school. I have a middle Edo period Umetada tsuba that also has a nice Kamon motif over a nice tsuchimei-ji with maru-bori carved clouds. Yours truly, David S.

I just wanted to posted a update on this topic I started about half a year ago. I have been doing some work on this Satome School tsuba and have improved the surface by removing active red rust. Here are some new scans of the same tsuba after my careful cleaning of the rust. From examining the scans it looks like I still have some more work to do. I will be bring the tsuba to the Tampa Sword Show as Jim Gilbert has offered to take a look at the tsuba. I am still thinking the tsuba is likely early Edo due to its thickness and shape of the kogai hitsu-ana. Comments and questions are always welcome. Your truly, David S.

I would agree the tsuba looks be be classic example of work done by Umetada (埋忠) Tadatsugu (忠次) singed with a nijimei. The date I but on this work is from circa 1675 - 1725 CE. Which is during the middle Edo Period contemporary with the masters Umetada Shigenaga and Umetada Muneyuki. Thanks for sharing photos and starting the discussion. Yours truly, David S.