FlorianB

"There are more things in heaven and earth, Horatio, than are dreamt of in your philosophy" - Hamlet Best, Florian

The problem is the lack of any explanation for an attribution. Frequently a temporal classification is omitted, too. Even the quality of a tsuba can’t be recognized because there are high class Tsuba and low end specimen with Hozon. But sometimes the description of the motif is informative, in some cases, however, cryptic. Best, Florian

It is difficult to determine the age. There are specimen about the same thickness which date back to be Muromachi-period, so I think Richard is right. However it is worth to recover the beauty by removing the rust and careful rubbing. BTW on Paul’s Tsuba.info is also an example with karigane in a cartouche: https://tsuba.info/tosho/ Best, Florian

Hello Mario, definitive not (Ko-)Katchushi. This kind of Saotome/Tembo-style Tsuba was made from late Muromachi till the late Edo-period. Unfortunately the surface is very corroded so it seems difficult to make a statement concerning the age. Best, Florian

Hello Mario, my first impression seeing Your Tsuba was Shoami - because I remembered a similar one in Sasano’s book: He sticks it into Momoyama period, in my eyes Yours is a later specimen because of the broad rim. Best, Florian

The Suketaka signature looks indeed a little bit amateurish, there are better examples. However, the hamon - as far as to recognize - displays Suketaka’s toran-ba comprising a wavy pattern with two tama above. The motif of the Kozuka shows a famous Zen koan of someone who tries to catch a catfish with a gourd. The back side shows interesting ornamental strips, maybe to refer to the water theme on the front. Note the fine nanako surface in comparision to the coarser one on the dragon Kozuka. The dragon itself looks not done well either (sorry to be frank). The chinese sages kozuka seems to consist of iron with nikubori and inlays of different metals. This technique appears frequently. Not the best quality but neatly done. Best, Florian

Snow on Bamboo is correct. Obviously a middle to late Edo Tosho-style Tsuba, but a nice design. Here’s something similar on a wakizashi-sized Tsuba of mine: Concerning the spot: The origin is impossible to tell by picture. Take it as it is. I remember removing glue remnants from a Tsuba - the glue had gone, but the patina below the glue was not the same, so I saw the spot anyway... Best, Florian

I remember my research on a somewhat unusual myoga. Although I suppose You have tried myoga already, there is a very similar design with apricot or gyoyo 杏葉 . Maybe this will be fruitful . Best, Florian

Hello Peter, a little gem indeed! But what a difference good pictures make comparing to the original images from the website: I suppose that's the reason it hasn't sold earlier… Best, Florian

A small contribution of mine, another Nishigaki (although humble in comparision with above), moon on the left, dewdrop or star in the pine at the top. Florian

Colin, I won’t adhere too strichtly to reality. Many objects have been conventionalized i.e. depicted birds = karigane, and fog ( 霞 kasumi ) on Akasaka Tsuba, too. Here’s a contemporary icon of cloud and fog: Akasaka design was ahead of the times! Florian

Hello Colin, Akasaka and late Muromachi? To my mind the Akasaka were founded in early Edo-period, even with the mystic Kariganeya Hikobei at it start it would be late Momoyama at the earliest. Furthermore Your work looks not like Ko-Akasaka but a later generation. So it would be safe to place it into Genroku or middle Edo-Period. However, a wonderful piece! I often wonder, why the angles of the mist are different and not continuous horizontal… Best, Florian

Hi Colin, concerning Your question if it is a net or not, I can’t imagine any connection to a fishing net. Kyo Sukashi often produced a regular, grid-like design. Yours is a typical specimen from early Edo period. Like it a lot! Florian

Peter, the hototogisu is connected with the summer season in which heavy rainfalls are common. Furthermore there could also be an allusion to the Ise Monogatari. In chapter 43 the cocoo symbolizes infidelity in love. Best, Florian

Hi Damon, interesting Tsuba. Any measures? In my eyes the seppa dai looks extraodinary large. Have You tried how a saya-mouth would fit? I suppose, the particular cutouts are just an adaption to a regular saya. Best, Florian

The same old question if the term "karigane" means wildgeese exclusively or is a generic term for birds. Certainly geese are strongly connected with the samurai but in several cases the depiction is a question of interpretation. Florian

...another one from the Ashmolean (http://jameelcentre....ction/8/object/21271): Tightly knotted! Best, Florian

Steve, what an interesting interpretation, thanks for the explanation! That proves again the worth of the NMB. On Kyo-Tsuba with motifs like bridges or yatsuhashi those karigane are a part of the scenery, so I doubt they’re kamon, but there are other Tsuba on which they represent obviously crests. I wonder if musubi karigane came into fashion for some time… Thanks, Florian

Gentlemen, we all know simplified karigane composed of a double curve with a dent in between. But sometimes knotted geese (musubi karigane) are depicted on Tsuba. Here’s an example out of Sasano Sensei’s book: Does anybody know the reason for this peculiar design? Thanks, Florian

Not sure about it, but it looks like former inlays have fallen out - or never set in... Best, Florian

Feather? Maybe a haboki, a feather brush used for tea ceremony? Best, Florian

Nashiji (pear skin pattern) just refers to the small structure (not the wavy one). The generic term for those surface patterns is ishime (stone surface). Castle wall seems plausible, imagine You look over the wall into the moat. Best Florian

...just seen at Aoi Art, attributed to Higo Hayashi: https://www.aoijapan...hinbthk-hozon-paper/ Best, Florian

Nice little one! Dimensions? In my view it looks like a worn strawhat (kasa). Best, Florian

I can see Your point that Your tsuba appears to look old. But for example the treatment of the surface is a sophistication clearly made in later times. Maybe there could be a connection with the wabi-sabi-taste. As David pointed out the Tsuba was produced in Edo-Period. The Ko-Shoami works date back to Muromachi- and Momoyama-times. (Ko-)Shoami is not a school but mere an style produced in and around Kyoto as mentioned. Later Shoami tsubako founded numerous schools all about Japan. For further information have a look here: www.shibuiswords.com/tsuba.htm#shoami Best, Florian