FlorianB

Glen, the shots are just a random selection (just a fast search) of woodcut prints found in the web, but endless others could be added. I choose especially prints of the Edo-times and also scenes of this time, so decorated Tsuba must have been common. Thus it is peculiar artists don’t depict them (the suggested reason I gave above). Florian

The illustrations of Tsuba on paintings (scrolls and screens) and woodblock prints are not a reliable source. In most cases plain round or mokko-shaped swordguards WITHOUT ANY decoration (neither sukashi nor kinko - and by the way without hitsu-ana!) are shown. Does it means that samurai didn’t use decorated Tsuba? Certainly not, but the depiction of small details was apparently technical difficult or the artist wasn’t interested in an exact depiction and a simplified, standardized type was sufficient for him. Florian

Gentlemen, I want You to remember that Mr. Haynes is a well reputed and skilled collector so there is no need for mockery. Don’t forget he went for Tsuba when most of us haven’t been born and without todays possibilities. There are indeed pieces I won’t agree with Mr. Haynes judgement, but this can be discussed without scoffing. Florian

Mostly we are looking for a definitive, and thus satisfying explanation, in this particular case a Tsuba motif. But there are Japanese design motives which are intentionally unclear and could be interpreted in different ways. So everything You will see in it is correct! Maybe an artist created a Tsuba without the purpose to depict something. He has had just fun by playing with forms or varying existing ones. In these cases just enjoy the result and admire the beauty of shapes and surface. And the little secret not exactly to know what it means keeps it more interesting. Florian

Hi Steve, the wavy lines in the circle merge in a curve into the outer rim and connect these parts to one form. So I would clearly support Your sea cumber interpretation. Similar examples with angular connections at the junction seem far more indifferent. In the "Tosogu Classroom" Vol. 1 the motif is assumed as "OI" or backpack box for Yamabushi. So it’s a nice example how a little variation of curvature changes a design. However, a wonderful find! Congrats! Florian

Seeing the front I wasn't sure what to make out of it, but the backside looks all right. I’ve never seen such before - interesting indeed! Is the front side plated? Florian

Robert, The piece was made irregular intentionally. However, I’m not sure, if there are inlays missing. Needs cleaning which can be easily done with the usual means. What about the back side? Florian

The lattice is depicted fractional to allude to transientness. Florian

Thomas, Yes, they did - remembering Your fantastic pieces! First of all I wanted to correct the Kyo Sukashi imputation (my personal favorite) without daunting a young collector. I thought also of Kinai but didn’t dare to write it down because of my limited knowledge. Florian

Doesn't look like Kyo Sukashi (or Heianjo sukashi). It might be based on their composition, but it lacks their elegance and such modelled sukashi is untypical. What about Shoami? Best Florian

Fish bones indeed, there was a detailed report on this topic some time ago in the Token Bijutsu magazine, alas I don't know which issue.

Dimensions?

https://www.aoijapan.com/set-of-tosogu：tomei：tsuba-kozuka-fuchi-kashira-menuki-ura-gawara-kurikata-nbthk-juyo-tosogu-65th-millet/ Wonderful set - alas, not for small pockets! Florian

Agreed, one of those abstract motives which were made with the intent to confuse the viewer. Personally I tend to recognize a floral motif. However, there are some Higo Jingo Tsuba with an abstract design called butterfly. One of these here: http://world.seiyudo...m/product/tu-040415/ Maybe there's a connection? Best, Florian

My humble contribution - a classical Kyo-Sukashi with bamboo and iris. Florian

That’s right generally, but I can imagine, that there were also warriors who chose more showy pieces because they could afford them and/or want to boast. Especially in pre-Edo times when social rules were not as strict as under the Tokugawa bakufu. Florian

For me it is the art itself, the combination of design and workmanship. In all those years I saw a lot of Tsuba and interestingly most of them don’t appeal to me. I flip through the dealer’s sites or look at the offerings at meetings, but only a handful catch my eye. If I buy pieces it is out of interest or for studies. But every few years there’s one which arouse the ambition to possess them in a flash. I can’t tell why, maybe they look perfect to me. Those I esteem especially. Best, Florian

Dan, the sawastika is called manji 卍, the pattern on the second one is called sayagata 紗綾形. There are many Tsuba with this auspicious pasttern. Here's one of mine with some kind of manji: Best, Florian

I know only round nanako grains. Maybe the remark refers to the arrangement itself? On Tsuba these are usually round, on Fuchi or Kozuka they are linear. Example I showed recently in another thread. Best, Florian

Who knows - maybe it's a start! Enjoy and learn, Best, Florian

Next time it seems wise to trust the suggestions of Your dealer. If the depicted blade is the content of Your sword it looks O.K.. Not much to be recognized on the pictures, but there seem to be no faults. I think it's Shinto but You said Showa-to...? Florian

I just wanted to know, if there are tagane which would explain the deformations of the nakago-ana. Incidentally I was thinking of a Tsuba for Gendaito (IF it is original). I wonder about the material. The seppa dai looks like brass, the plate itself like brownish copper… Florian

Have You got a photo from the backside? (of the Tsuba, not the paper ) Florian

Emil, this paper is by the dealer himself and thus his personal opinion. At least I’m not convinced by this statement. Florian

Emil, sorry for my straightforward judgement because now I saw You bought it already. There is no necessity to reveal this dealer, but maybe You can show the paper? Best, Florian