Ron STL Posted October 22, 2012 Report Posted October 22, 2012 This a two-part question regarding a kinko tsuba depicting Raijin, god of lighting. The tsuba is signed only with a kao as you can see from the photo. It carries an NBTHK "green paper" origami from 1980. From what I can tell the paper only mention (kao) and then, I would guess, a description of the tsuba...but no mention of who this maker was. Can someone confirm this for me? My other related question is, the origami is stampledat the bottom: B.S.g.h.896. I'm unfamiliar with this and wonder if anyone can explain this to me. I don't recall any stateside NBTHK shinsa in 1980 (Showa 55). Thanks Ron STL Quote
cabowen Posted October 22, 2012 Report Posted October 22, 2012 I would venture that this tsuba was signed and the signature removed. The NBTHK paper does not mention a maker. No idea what the stamp is at the bottom.... Quote
Ron STL Posted October 22, 2012 Author Report Posted October 22, 2012 I'm not so sure I agree with a mei being removed, but always open minded. I know (or think I know) that you see some tosogu signed only with a kao. As for the paper, I should have included the full paper...but does this explain where this shinsa was held? I realize this is where an owner's name goes but this looks more like initials for an event. Simple kanji but hey, I make no sense of them. Ron STL Quote
Bazza Posted October 22, 2012 Report Posted October 22, 2012 Off the top of my head without checking "the books" - SU MI SU (Smith)???? BaZZa. Edit - and the strange number at the bottom rhs is possibly the personal stamp of a previous Western owner. A similar thing happens with ukiyoe where a Japanese owner/collector would put his own seal on a print. Quote
cabowen Posted October 22, 2012 Report Posted October 22, 2012 Yes, the former owner was named Smith. There is no other info about location. The reason I suggest it may have had a mei removed is because there appears to be what may be remnants of kanji strokes in the metal; they could just be gouges.... If you have handled it and feel no depression or other signs of removal, then perhaps the distress is simply from use.... Quote
Ron STL Posted October 23, 2012 Author Report Posted October 23, 2012 Ah, Smith...you're correct, Chris. This tsuba is part of the koshirae for my Soshu-style Naokatsu katana that I purchased from the widow of my friend, Rad Smith, after he died. Obviously Rad had the tsuba papered. I was never really excited about the tsuba but the sword is super quality. Rina was kind enough to put it aside for me, thanks to Rad's notes. All so long ago... Ron STL Quote
Ford Hallam Posted October 23, 2012 Report Posted October 23, 2012 Based on what I can discern from the image I can't see anything that suggests a mei has been removed. Quote
cabowen Posted October 23, 2012 Report Posted October 23, 2012 Upper left has these dings which are what I am talking about: Quote
Ford Hallam Posted October 26, 2012 Report Posted October 26, 2012 Hi Chris, I'd describe this alloy as a sentoku type. This means there is about 5% Zn in the mix. What happens over 100 years is that the Zn present in the surface tends to oxidise more readily that the copper matrix and this inevitably results in a lighter patina that the one it started out with. This pale yellow/ochre is typical. If the surface is now repolished, to remove scratches for example, the original aged surface is removed and fresh metal exposed. When it is then repatriated this fresh metal develops a much darker colour than the surrounding untouched ground. To an extent this is true of most non-ferrous alloys but with the brass/ sentoku and bronze type alloys the effect is very marked. It makes proper restoration a real headache. Anyway, that was why I felt the ground was untouched, at least in modern times. regards, Ford Quote
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