FlorianB

The thing in the water is definitely a crescent, representing the reflection of the moon on the water. Another eyxample from Varshavsky-Collection: Best, Florian

You will note the ornamentation in the upper part of Mauro's Tsuba (also in some of the other shown tsuba) is similar to the ornament in question. It may be that some temple roof tops could fit to this form but IMHO I doubt a concrete reference to a certain temple. Sometimes an ornament is just an ornament - without a special meaning. But if You need an interpretation I would stick to the initial idea of a flower bud and sprouting leaves. Best, Florian

The lower ornament is a variation of an umpan 雲版 , a temple Gong. Best, Florian

Here are some variations of the Yotsu-me (Four-eye pattern), similar ones but not the one in question could be find in Hawley's Mon-book, called Me-yui (eyes) there. Best Florian

... and a short remark to the initial issue: The crossed objects left and right could be water ladles or hishaku. Just an idea. Florian

Adam, I see Your point, but I’am not convinced. Karigane on Japanese Tsuba show a lot of variations and I think artistic ideas must taken into account, not bound to realism. Here’s one from Sasano with a karigane on the right having even different formed wings: I doubt Karigane are geese everytimes, I think the general term “birds” would be more appropiate. Here’s a karigane with elongiated body or tail which looks like a bird of prey: As mentioned above geese play a major role in Japanese iconography, bats are only seldom an issue. Japanese art, however, is very tolerant concerning interpretation. Florian

Adam, interesting theory. I haven’t heard about this difference yet. Best, Florian

Hi, IMHO the pattern on the right hand side of the ura show Yuki Mochi Sasa, snowflake on bamboo, a traditional motif in a stylised way. Some examples: The bird in the lower part of the omote could also be a plover (chidori 千鳥 ) because of the connection with a stream or shore. Anyway, a very interesting Tsuba! Florian

Although Mr. Hoppen’s offer seems a little bit unprepared it’s worth to have patience while waiting for pictures. All swords offered here are top-swords shown on several occasions at meetings. Wish I had the money to buy only one of those. BTW: There are two books published by the Nihonto Club Germany. The first one contains the the Sekishu Naotsuna Katana and the Tantos by Hosho and Motoshige. In the second Volume You find the Katanas by Ko-Aoe and Enju. Only the Miike blade wasn't published in here. Florian

Another quotation from “Tosogu no Kigen”: The first period could be ignored concerning Kyo-Sukashi, due to the assumption they came into existance around Oei-Period. Curran, great piece! Any nearer details? Florian

"Masu" is also translated with "growth" and thus it is a symbol for luck and success. In interlaced masu forms these wishes become multipled. Due to this meaning it makes sense to attach this particular design on tsuba. Here's an other example: Florian

It is said that early Tsuba in general, not only Kyo-Sukashi but also Kanayama, Owari, Ko-Shoami, Ko-Kinko etc., have identical hitsu ana shape in half-moon-form while the kogai hitsu ana was replaced by suhama gata later. In Your case the Eisho aera is late Muromachi and in Sasano's books You find enough examples with suhama shaped kogai-hitsu-ana. BTW concerning Kyo-sukashi guards there are also pieces from Momoyama or early Edo-period showing identical shaped hitsu-ana on both sides on account of geometric design. Textbooks say also that Kyo-sukashi hitsu-ana have an oblong shape which is true but not the rule. There are Kyo-sukashi hitsu-ana in regular shape or even considerably rounded. Alas a generalization seems impossible so a lot of comparing is necessary to get a feeling for this topic. Best, Florian

IMHO a cross is at least a basic design, which could be found in tsuba frequently. Certainly it could be interpreted as a christian symbol. I have still no idea about the meaning of the prominent squares. These could be the clue if a christian background is intended. Slight irregularites in geometry maintain a livley design, if drawn by rulers a cross would possibly appear tedious. Florian

That was quick! Thank You, Florian

Hello, I need Your kind help in translating an inscription on a firebrigade tool called TOBIGUCHI. The owner (not me) provided me with the following pictures plus a photoshoped variation of the inscription which could be found in the lower half of the handle between socket and ring: Thanks in advance, Florian

Have a look at this one: https://www.aoijapan.com/katana-sesshu-ju-fujiwara-sadayukishinto/ An Osaka-Shinto-blade with two huge hagire (Mr. Tsuruta marked them on the picture). I wonder how does this blade (not very old and not by a famous smith) with fatal flaws managed to receive Hozon in the last year? Florian

I must admit I got a little bit confused by the wording of this texts (more to read on this site: www.shibuiswords.com/heianjosukashischool.html and www.shibuiswords.com/kyo-sukashischool.html) which seems to be indistinct here and there. So I hope to hear and see more about this proposition which deserves attention. Florian

Hello ladies and gentlemen, for all I know Heianjo-sukashi is the pre-Edo-period forerunner of Kyo-sukashi. Sasano’s written in his book “Tosogu no Kigen” that Kyo-sukashi (he does not use the term Heinajo-sukashi) came into existence in between Eikyo- and Onin-period (i.e. MIDDLE Muromachi). Now I read about another idea on the shibuiswords.com website ( www.shibuiswords.com/tsuba.htm#heianjo ), that Heianjo-sukashi and Kyo-sukashi are two separate schools working parallel since LATE Muromachi-period, the former closely connected with (or being part of) the Heianjo-zogan-school. According to this theory the workmanship of Heianjo-sukashi and Kyo-sukashi is similar and during the Momoyama period became more and more identical since then it was labelled only as Kyo-sukashi. Alas the article doesn’t illustrate the differences in their styles. Is this theory to be taken seriously? Thanks, Florian

IMHO “finer craftmanship” refers here not to quality itself but simply to thin sukashi lines, a trait of early Kyo-sukashi works, later they become thicker. Florian

I’m not sure if I made myself clear. I was just talking about the two Kyo sukashi types and wanted to know if one of them was the forerunner, the other the successor as I suspect or came they into existence at the same time but one of them was abandoned shortly after? Florian

Hello all, while researching a Kyo-Sukashi-Tsuba with Tsurumaru I recognized that there are two kinds of this particular motif: One with 36 feather openings, a slim head and bent headfeathers, the other one with 42 feather openings, a rounded head with a crown-like extension. (Examples here taken from the Oeder collection (left) and Mr. Tsuruta’s Aoi-site) I haven’t found anything about this difference yet. IMHO the “36-feathers-type” must be probably an early version which has been replaced by a more sophisticated variation because on later Kyo Tsuba only the “42-feathers-type” was reproduced. Any other ideas concerning this difference? Florian

Not my special field but to me it looks like a Choshu or Bushu specimen from Edo era. So I would research in these directions. To differentiate between both schools is difficult (sometimes even impossible), but it is said that a blackish colour of the steel and a similar design on both sides would hint to Choshu. Florian BTW Your Tsuba topics would fit better in the Tosogu section to gain more attention.

I can’t recognize a specific plant. In connection with the mentioned repetitions I would tend to call it karakusa or arabesque. Florian

IMHO it’s a typical Edo-Period Naginata with a koshirae for representation. Interesting piece, however the laquer suffers a lot of damage, parts are missing. I can’t tell if and how it can restored and no idea about the costs. On the first glimpse the blade seems worth polishing. There are rusty areas and the tip is broken off but a polisher could mend this. More pics from blade and tang are needed to judge about it. I can't see any reason why not taking the blade out of the shaft. Florian

Christian, It was simply the only Tsuba I found showing this peculiar bent head/neck similar to Bruno’s Tsuba. That’s all. Puts the depiction of this particular Akasaka the researched one on the same level (or vice versa)? I don’t think so. Sorry, but I still can’t see Your point. Florian