FlorianB

A friend of mine sees a relation to Akasaka. Indeed there are common traits like size and thickness, the niku, the small, offset kozuka-hitsu-ana and the slight conical shape of seppa-dai - though no sanmai-awase. My friend supposes it could be some kind of proto-Akasaka still without layered steel. Any suggestions to this idea? Florian

Ko-Shoami was my first choice, too, because of the archaic and unconstrained look. But angular hitsu-ana were also produced in later times, so Shoami of Edo-period seemed another option. By the way, I have another Ko-Shoami of about the same thickness. Owari came in to my mind as well, but in this case it must be a late one and should be more refined than this. Lack of refinement and the smaller seppa-dai speak in my opinion against Akao. Mauro, Your picture is interesting. Have a look at this one: Clearly the same specimen and depicted in a 1976 reprint of the “Red Cross” Catalogue from 1916. Not actually a textbook, mere a picture book and this Tsuba is claimed in here as “Kanayama nenuke”, 17th century! Florian

Gentlemen, I’d like to discuss my latest acquisition. This Tsuba measures 77.5 cm x 78.8 cm, the thickness at the seppa-dai is 0.65 cm, at the rounded rim 0.6 cm. The design comprises warabite and matsukawa-bishi. Although I’ve done research yet, I’m uncertain of a definite attribution. That’s why I ask for Your opinions concerning school (or “style” as some of You would prefer) and age. There isn’t any paper so feel free to speculate. Furthermore: Is there a special meaning in combination of warabite and matsukawa-bishi? Thanks, Florian

Gentlemen, indeed we do not much really know about Tsuba. The whole classification-system we follow today came from later times especially out of the middle of the last century, based on comparing and looking for similarities. This system is far from perfect and all those “cross-over” pieces prove this. There is, however, no other or better system. Dealing with Tsuba would be rather boring simply to state that someone made a piece at some time in the past somewhere in Japan. In respect classifying seems obviously a desire of man - why not speculate further and put a Tsuba in a labled box? Florian

My first impression was Owari but the somewhat unique design make me agree with Kanayama. It is said their Tsuba are thick but there are also thinner ones, probably a later one. The smooth surface could be migaki finish and would proof an Edo period origin. Is there a shot of the missing part? I wonder if it was removed for fitting or omitted purposely. I’m also curious about the circular tagane with riffles. Florian

Hello Grev, sorry for misunderstanding. Alas I can’t catch exactly Your second question. Concerning the Edo-Tosho-piece it is IMHO made of iron with a polished surface (migaki) usual in Edo-Period (mine shows the same). Shakudo wouldn’t look like this, even if rubbed. Further shakudo and other material mixes are made very fine so that neither rough traces of wearing nor tekkotsu wouldn’t appear. Concerning the second Tsuba with the kebori-Design I must admit my lack of knowledge, but judging by the picture I think it is made of iron, too. The polished surface isn’t glossy but could be heighten by rubbing with cotton. At last the Ko-Tosho Tsuba shows a lustreless surface and it appears there is initial rust. Deer antler and cotton cloth would help enhance its beauty, too. Florian

Grev, You seemed to be a bit disappointed because this Tsuba isn’t a Koto one. In my younger days when I have had neither money nor knowledge I purchased this late Tosho-style-Tsuba: Fortunately most of the rubbish I bought in those times has gone again but although I know it’s only a humble piece and despite meanwhile I own better specimen I kept it until today because I simply like it. So know what You have and enjoy Your Tsuba! Florian

Difficult to identify without closer inspection. Could be traces of corrosion or tekkotsu which is slighty rubbed. But alas in case of the latter that’s not a hint to pre-Edo-times. There’s a round spot, too, (5 o’clock position) maybe the remains of some glued label. Florian

It is thicker as Ko-Tosho, the thickness decreases at the rim and the sukashi is more sophisticated. You’re right, a typical example for a later Tosho-style-Tsuba. Florian

John, this is an interesting Tsuba and I haven’t heard of this school yet but IMHO it can’t be compared properly with the above one because of the nunome, the sharply angled edges and the different surface. Pat, if the paper would put the Tsuba down to Shoami I persume this topic wouldn't have been started. I don’t want to harp on the reliability of papers again because we have had discussions about doubtful attributions frequently and not long ago even one of my own Tsuba was mooted here thus. But on the other hand the first thing is to assume that an attribution is correct. Only if after proper research another option seems more probable a paper could be certainly questioned. Florian

In addition here are two examples of Ko-Katchushi-Tsuba without raised rim and it’s easy to find more of them. If a Tsuba in "Tosho"-style shows large areas of sukashi it is claimed as Katchushi. Probably this is the reason for the attribution of the Tsuba in question. Florian

If I remember correctly, Katchushi Tsuba haven’t always a raised rim. Those karigane arranged in a circle are often to be seen in different schools. But where to put the broad rim into? I haven’t seen this in Owari or Akasaka as supposed. The archaic look, large size, surface obviously without niku and a rather thin thickness (of course thicker than in pre-Edo) - I can live with this attribution. If there woud be inlays or something else I would have other ideas... Florian

I’ve seen this, too, and was also astonished at first, but I can’t single out another school. Taking into consideration that it is a later one which is more sophisticated, the attribution seems to be the best guess and I have no doubts concerning the reliability. Florian

Yes, moon and stars. Stars are frequently connected with lines, this look is unusual and reminds me to dew-drops. I agree with the Akasaka attribution, probably a later piece. Indeed the "three-layer-construction" wasn't made everytimes. However, a good looking specimen in design and metal. Florian

Les, judging by the picture alone the worn-out look was produced on purpose. You can see similar ones from Higo frequently, occasionally the petals are executed in different metals on each side. Florian

Tim, I have got the impression the deeper I get into this topic the more I have to learn... Great comments of Yours! Florian

Nakago-ana obviously not correctly placed in the middle, hitsu-ana in a most unusual form, a scratched outline of a kogai-hitsu-ana, surface roughly raked, crude ornamentation - I’m afraid even if it should be Japanese (I rather think probably chinese) origin it’s poorly done and at least worthless. Sorry, Florian

To Steve: Thank You for explaining my own words! That’s exactly what I meant though I tried to say it as short as possible. Probably too short... To all: I think It would be a good idea to get engaged with tea culture and tea aesthetics. This could help in understanding wabi-sabi. I'd like to recommend a book by Soetsu Yanagi: “The unknown craftsman. A Japanese insight to beauty.” - it deals with pottery only but it's very enlightning. Florian

I went in for Japanese aesthetic principles like wabi-sabi, kire or mono-no-aware frequently. Someone could read a lot about wabi-sabi but has not the slightest idea what the term means. There must be an individual understanding. It’s rather an expierience that can’t be explained. Also I think that pictures of Tsuba which claim to have wabi-sabi aren’t sufficient. You must study those in hand to get a feeling for it. Yours, Florian

Challenging indeed! However, often there isn’t any definitive answer. At least You never get certainty but only a probability based on the opinions of experienced collectors. So sometimes it’s a little bit disappointing when the outcome states „Owari with Kyo INFLUENCE“, „Owari OR Kanayama“, „Akasaka STYLE“ - or even the ubiquitous „Shoami“. Florian

I wrote in one of Your other threads that tsubako reproduced not only the works of their predecessors but also adopted ideas from other schools. So we can see today many similar designs from different schools or crossovers. Thats why in this board the question of origin appears frequently. Me too asked one or two times for help in attribution. I my opinion the questioned Tsuba from Nihontocraft-page is a Higo piece because it has another aestehic expression as the Heianjo-zogan example. Some of the inlays are missing but maybe this was made intentionally to create a “used effect” or playing with a combination of inlay and kebori.

The Higo guys produced great variety in design, materials and techniques, obviously the key to their success - and their large output. Most textbooks show only smaller selections of their work, however Higo is a field of interest of its own. Florian

Because of the hitsu-ana I would guess Higo origin Florian

Sometimes it becomes difficult to differentiate between the positive and negative sukashi because the empty space of a ji-sukashi gets an independent existence. Was in such cases an optical illusion maybe intended...? Florian

Just to clarify the motif of the second Tsuba, which has nothing to do with the mentioned mushrooms: Here You see warabite (fern sprouts) and myoga (ginger), a combination commonly found on sukashi Tsuba. Florian