FlorianB

Dale, actually it is the first I see with mokko-gata. Thanks for posting. The Akasaka attribution is encircled: BTW, the rusty one on the Japanese sales page is described as "Ko Shoami". Florian

Hello Dan, it looks not like Akasaka. As far as I remember they never made mokko-gata. Large seppa-dai and the symmetrical design - in my opinion here we have Shoami again, probably Edo because of the lack of displacement of centre lines. Best, Florian

Hi, thickness and a small, pointed seppadai alone aren’t sufficent for a Ko-Akasaka attribution. Not even the size but also the shape of the hitsu ana are non-typical. In general I can’t see even Akasaka here. Concerning the motif there are different leaves depicted, at the bottom maybe myoga, the sharp angeled sukashi elements could be broken bamboo stems, at the top juzuba, a buddhist rosary. Just a quick shot in the dark. A look at Japanese heraldy (kamon) is often helpful for identifying stylised design. Best, Florian

Looks like an old Tokubetsu Kicho paper (replaced by Hozon paper in 1982). Example with explanation here: http://www.nihontocraft.com/japanese_sword_papers.html Best, Florian

Ed, In my view the surface structure is result of corrosion. It seems that parts are laquered? Those tagane on the back in groups of five could be found on Shoami and Kanayama pieces, neatly done here. Similar to one of mine: Dimensions could help to pin down the origin, but Shoami seems most likely. Florian

Sure it's painted? Looks more like a plastic label with a number on it... Florian

An old thread with similar examples: Best, Florian

Hi, the lower motif in question shows gourds. Alas, the condition isn't the best. Concerning the signatures on Kogatana there are some which certainly are genuine (and thus made by the named smith), but in many cases these designations just refer to a well known smith. Best, Florian

Hi, what do you mean - raining swordblades? Or simply the proportions of the tiger, made by someone who'd never seen one? Florian

In my opinion a real daisho should be different in size and corresponding (not necessarily identical) in design, so you can see the artist’s intention in creating the pair. Often a popular design was routinely repeated over and over by tsubako and, as said above, in later times similar ones where put together by dealers to increase the value. Thus often seen in western collections. Florian

The noted tapering at the edge is typical for later Tosho-style works, the circle is too exact and the carving on the butterfly is unusual for old examples, so my gut feeling tends to a later reminiscence from Edo. However an impressive work. I like it. Florian

Hello Greve (?), on the first sight it seems to be an interesting Tsuba, well done with elegant curves in orikaeshi mimi. I like it. I don’t think, the corners depict Mount Fuji (there should be three peaks). I would describe it as a variation of itomaki-gata. The indentation could be called sumi-iri. Concerning the manji- or sawastika-mon no apologies needed - we all know the meaning of it in Japan. If the mon refer to specific families or if they are just decoration I can’t tell, but in my opinion these inlays have a kind of crudeness in workmanship. Perhaps later additions? Best, Florian

concerning item 222: A friend of mine owns a nearly identical one, the paper says „akikusa suzumushi“ - autumn grasses and cricket. The jagged parts seem to be simplified panicles like those: Best, Florian

Glen, that was my first thought, too, some kind of Japanese humour. At least it could be an allusion to military strategy, overcoming obstacles - something like that. Florian

Stirrups or abumi as Glen mentioned, a ladder and perhaps a gaming board for shogi or go. But no idea what this compilation represents. Best, Florian

That’s up to you. Japanese art aims at a subjective perception, so the depicted is just an impetus for deeper understanding. Florian

Sorry to be a drag, but I’m not sure if it is Yatsuhashi at all. We see a collection of various flowers comprising chrysanthemum, bellflower, iris, peony and a trunk with plum (or cherry) buds. I don’t know if there is a special meaning in this ensemble. Perhaps a connection to seasons. The zig-zag line reminds me to several laquer works giving the impression of parts merged together. Like this: In my opinion the tsuba motif needs further study. Best, Florian

Or is it the other way round? Florian

Gentlemen, please don’t forget that the motif (indeed often shared by different workshops) isn’t in many cases a decisive factor for attribution. Here we are comparing pictures (even of good quality), but it’s completely different to have those pieces in hand and compare the steel/iron, the colour and other details. Best, Florian

Here’s one of mine, however I don’t know if “ko“. Of smaller size, but I’m fond of the composition. Florian

Sorry, I referred to Tsuba No. 178! Florian

Hello Evan, Kanayama design is often very abstract and difficult to interpret - if interpretation is intended at all. Another idea concerning Your guard: these forms could also symbolize a stupa or a gravestone. Best, Florian

Concerning Tsuba 147 it looks like umpan 雲版 , temple gongs, arranged like the well known tumbler toys. So an amusing variation of this theme

Hello Calimero, to gain more knowledge to this topic there are a lot of websites and books explaining technical terms, however on english. I don’t know if Markus Sesko’s „Handbuch der Schwertzierate betreffenden Fachbegriffe“ is still available on german, if so, try to get and study it. Best, Florian

Looks like later Akasaka to me. Beginning with the fourth generation (Tadamune) an influence of Hizen stylistic could be noticed in Akasaka works. However, Hizen made rounded sukashi lines while Akasaka produced sharp angeled sukashi. Florian