FlorianB

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

The design of Your second Tsuba is clearly based on Owari, but the birds seem unusual for this school. Furthermore the rim appears to be rounded (though there are later Owari Tsuba with maru-mimi) and the Fundo run into the rim. My first impression was Akasaka. But it's diffcult to tell by this picture alone. Yours, Florian

Number 1 (Number One indeed!) proves the aesthetic sense and an eye for proportions of this anonymous Tsubako. Number 2 COULD BE Ko-Shoami, too, (although I stick to what I said above) probably a later copy of this design in variation with gilded bamboo (or reed) leaves. Alas, the picture alone isn’t good enough to estimate the quality. Florian

Claiming those Tsuba came from the same school would be mere speculation. Although they look similar you can’t deduce the origin from the appearance alone. A design was often copied by Tsubako of different schools. That’s why we find a certain motif on so many Tsuba. Some simply copied, others varied the motif. By the way, to copy was not bad or illegal (in the current sense of plagiarism) but showed the skills of an individual smith. Certainly, sometimes a copy was just a copy to accomodate demand... Yours, Florian

Hi Patrick, it’s sometimes very difficult indeed to differentiate between an old Katchushi and those made in Edo, especially late Edo times. Even the surface treatment of late specimen is often cunnigly made they could considered as old ones. That’s why I have lost my interest in Ko-Katchushi-Tsuba a little bit. By the way, the same problem occurs in Tosho-Tsuba, too. Yours is smaller dimensioned while the Ko-Katchushi are larger (very early ones 9-10 cm or larger, afterwards 8 to 9 cm). The design is sophisticated. However, judging by the pictures alone I would dare to put it into late Muromachi or Momoyama, i.e. a late Ko-Katchushi. In comparing Your Tsuba to others don’t cling to the motif alone because the motif isn’t the decisive factor. Consider measure, surface, nakago-ana, rim and so on, too. If You haven't the opportunity to study such Tsuba in hand, it helps to look for pictures of Ko-Katchushi-Tsuba (as much as you can get) to get a feeling for this style. Yours, Florian

Hello Patrick, I would claim this Tusba as Katchushi-style but a later one, early Edo at its best, probably later. Although the lower part of the picture is missing my supposition is based on the exakt shape of the nakago-ana and the somewhat stereotype form and layout of both hitsu-ana and the ivy leaves. The Tsuba is smaller but thicker than the old ones, too. Alas the condition isn’t good either so it looks older as it is. Yours, Florian

The paper seems to indicate, that the NBTHK played safe and therefore attributed to Shoami - that figures always. In such cases it’s a pity that there is no explanation to the outcome. Interstingly there is written “maru mimi” instead of "kaku-mimi ko-niku". A minor mistake only, but maybe an evidence of a certain routine. By the way: Obviously based on this certificate it was sold as “Ko-Shoami from Muromachi”. The mentiond Kanayama: Is it the one with the salmon? Florian

Well, I stick to my story. A very tasteful daisho and the tsuba suit well! Congrats! Florian

Gentlemen, I won’t conclude this telling discussion without giving You a glance on the paper issued for this particular Tsuba: Best, Florian

Hello Joel, very interesting indeed. I agree they are from the same school and maybe even the same maker. I do not think they are a daisho though the size differs. Just two similar Tsuba reunited. I bought in my younger days (in the last century) the below depicted Tsuba. It is signed as Yukiyoshi (or Koreyoshi, I'm not sure) and the seller said that this man belonged to Edo Ito-school. The Aoi-mon have been applied at a later date. I'd like the idea, a poor samurai came in service of a Tokugawa branch, but he couldn't afford a new formal Tsuba thus he altered his Tsuba like this. Nice story, isn't it, but probably it was just done to enhance an attractivness maybe for tourists. Best, Florian

Curran, I examined this Tsuba anew, but I'm not sure if those structures result from the 3-Layer-technique or by use and/or corrosion. I tried to make some pictures but I apologize for these mediocre ones. But please have a look by yourself. Best, Florian

Hello Jean, on earlier Tsuba the rim of the nakago-ana was optimized by more or less hammering, later seki-gane (softmetal inserts) where in use, so there was only seldom need to alter the nakago-ana itself. In my opinion a lot of nakago-ana haven’t changed too much and extremly modified ones are notorious. See example below. Cincerly, Florian

cit.: "...how one could judge the NAKAGO-ANA of an old and obviously 'used' TSUBA in terms of size and shape..." If You compare nakago-ana of a certain Tsubako common traits (shape, seme-tagane) appear frequently. But, of course, later alterations have to be carefully examined and considered. It’s the same with seppa-dai which are modified in many cases as well. Best, Florian

Yes, we’re talking about the very same person. No wonder that he, too, named the 3. Generation as possible maker. He dispelled my above mentioned doubts as an exception to the rule. So You see why I hoped to get shown some examples to prove those exceptions. Florian

In the opinion of a famous german Tsuba expert it has to be Ko-Akasaka. Thickness, steel and tekkotsu support this. Certainly I won’t dare to contradict, but I’m puzzled by this stiff Owari Design, the angular mimi, the lack of awari-gitae (indeed there is no hint of any linear structure in this Tsuba) and I miss a widening of the sukashi at the rim. Best, Florian

To specify the thickness: 7,8 mm at the rim, Seppa-dai is as thick as the rim, maybe about 0,2 mm thinner, it depends where You measure. Yagyu is an interesting supposition. I’m not an expert but to my knowledge Yagyu Tsuba are smaller, thinner and the edges are rounded off so the sukashi has a smooth appearance. The design itself I can’t relate to Yagyu. This design hints clearly to Owari and a friend of mine pinned the Tsuba down to this school. The steel would fit, too, but I haven’t seen Owari with such niku-bori yet. Best, Florian

Hello everyone, I want to show You a recently purchased tsuba. H: 81 mm, W: 78 mm, thickness 7,8 mm Excellent steel with granular tekkotsu in the rim (kaku-mimi-ko-niku). The design comprises enso, warabite and crossed timbers (latter in niku-bori). Though quality is out of question, opinions of fellow collectors differ concerning age and school. So I’d like to ask the community if there’s an idea where to put it. I also would be glad if there are one or two pieces out there to substantiate the origin. Thank You, FlorianB

Jean, lovely Tsuba with wonderful movement! I don’t recognize the design, maybe a weaving pattern, flash of lightning or modiefied manji, but it was clearly made intentionally. Look at my sketch below You’ll see, that a vertical was held. Thus the general impression is slanting but not unstable. Of course there are little variations, but this is acceptable - possibly intentioned to create a more livley effect. Florian

Thank You for Your input - there’s something to think about. Of course I recognized the purpose of a firm connection between seppa-dai and mimi, but it seemed too obvious in my eyes. Often a pair of karigane or myoga can be seen instead so I considered a symbolic or other reason in this single beam. Allow me one more question: Years ago I was shown an alleged Muromachi-Tsuba with a centerline. However, the upper and the lower fillet were not exactly in line but slightly misplaced (alas, I have no picture so please refer to the simple sketch below). That seemed unaesthetic to me. Was this Tsuba indeed of inferior make or wasn’t I able to appreciate an intentioned asymmetry? Thanks again, Florian

Hello everybody, maybe someone can sort out a problem that bothers me. There are several Sukashi-Tsuba with an accentuated vertical centerline (some random examples assembled below). Is there a particular idea in this design or was it just a kind of fashion in certain times? Thanks, Florian

I’m not an expert but judging by these pictures I would say Shoami at its best. But it's just a shot in the dark. Try the search at the Boston MFA: http://www.mfa.org/search?search_api_views_fulltext=tsuba%20shoami&page=1, there are some to compare with. Maybe that helps to get an idea. Furthermore unfortunately the nunome seems missing partially due to use. Any pictures of the reverse? Florian

Quotation from above: “ "Swords are utilarian objects before all". They are not anymore and modern swords are still considered as art.” Maybe it wasn’t expressed proper: a sword - if old or modern - has to be a functioning weapon at least - even if it isn’t used in battles nowadays. Please remember: the tiniest hagire kicks a blade from the heights of art to the hollow of scrap because it is considered to break IF You would fight with it. The usefulness of a sword is therefore one aspect of the art. Florian

Interestingly I have struggled with this term many years ago. This is - in short - my answer: A smith has an idea of how a blade should look like. Every step of his work has irreversible consequences to the final result. And the result could only be seen after polishing! So: The better a smith controls the steel the better the result is. An Art-Sword has to be technical perfect (including its function) and should show the smith’s intention clearly. The aesthetic value results by what we see on the blade - shape, hada, hamon et cetera. And the aesthetics could only be appreciated by understanding how a blade was made. There’s a lot more to say (and I have to stop myself by doing so) but I think this is the essence. Florian