Higo Tsuba...

[Soshin]

Hi Everyone,

 

Here is the iron tsuba for the following koshirae discussed here: http://www.militaria.co.za/nmb/viewtopic.php?f=2&t=16704. The measurements of the tsuba are 8.0 cm wide by 8.1 cm high. The thickness is 4.6 mm at the rim and 5.0 mm at the seppa-dai. The ji-sukashi design is of a dancing paulownia (Nagekiri). The is fine line carving (kebori) used to highlight the design. The design was made popular by the Nishigaki school of Higo Province as well as the fourth master of the Akasaka school in Edo.

This is tsuba I think from my research is the work of the Kamiyoshi school of Higo Province. A similar signed example can be found on page 249 of Early Japanese Sword Guards by Masayuki Sasano. The chisel marks around the nakago-ana only on the omote side I think can be attributed to second master Fukanobu of the Kamiyoshi school as there are seven clear marks at the bottom and four marks at the top characteristic of Fukanobu and not Rakuju the third master.

 

P.S. I purchased the koshirae because I wanted this tsuba. :lol:

[Justin]

Hi David, something about this tsuba (and your koshirae) looks strange to me. Have you considered a Taisho/Showa copy of an old Higo design? I initially thought your koshirae looked fake, but on reflection I think it is possibly a Gendai period copy of handachi fittings.

[Soshin]

Hi Justin,

 

I would need to agree with Henry this tsuba is a mismatch in style from the handachi koshirae but not in theme. I have examine the tsuba in detail including the inside surfaces and I can't find anything that would make me think it isn't from the late Edo Period to Meiji Period Kamiyoshi school work possibility the work of the second master doing a popular Higo design and signed by kesho-tagane as he often did. It had a minor rust issue (common to Kamiyoshi tsuba I have read) in places on it but I have worked on it with bone and old ivory and it is fine with only minor pitting in a few places. The patina is wonderful and is textbook for the Kamiyoshi school. I currently have a sukashi Higo tsuba at NBTHK shinsa but this one I would consider is better in terms of the design and kebori carving workmanship.

 

P.S. I will try to do some sunlight photos in my free time tomorrow and will post them.

[Soshin]

Hi Everyone,

 

Here is a photo after I completed my rust removal process. Noticed some things about this tsuba.

 

1. The kirimon has different number of buds then is display in the handachi koshirea that it came with. The koshirea had the common san-go kirimon and the tsuba has the roku-san kirimon. The is more evidence of a latter mismatch discussed above.

 

2. The tsuba might be a antique copy made by the Tsuboi school of this popular design. I think this tsuba might also get a Higo, Kodai Higo, or Tsuboi call if it isn't determine to be the work of Fukanobu or more generally the Kamiyoshi school. The workmanship is good quality and kakushi-tagane around the nakago-ana is a good match for Fukanobu work from the example I have as reference.

 

3. Comparing this to my recent failed tsuba is like looking at night and day in terms of the iron. Makes me better understand the NTHK shinsa call better.

 

[kusunokimasahige]

I have a question on those chisel marks.

 

Was it an accepted way of telling who made a certain tsuba by the amount of chisel marks ?

 

I thought those marks were inserted to make the tsuba fit the nakago better.

 

KM

[Soshin]

  kusunokimasahige said:

Was it an accepted way of telling who made a certain tsuba by the amount of chisel marks ?

 

I thought those marks were inserted to make the tsuba fit the nakago better.

 

KM

 

Hi KM,

 

Yes chisel marks were generally used fit the tsuba better to the nakago but these on the tsuba in question are of the type that had no practical use in that regard. They were a way for a tsubako to sign his work without signing a mei, which were not allowed in certain cases. I have been told via email that the pattern of chisel marks I am seeing was common to Kamiyoshi school and not necessarily the second Kamiyoshi school master Fukanobu.

 

Here are some art photos I did under normal sunlight at different angles.

 

[Soshin]

Hi Everyone,

 

Here is a good reference example with NBTHK Hozon papers of the same nagekiri ji-sukashi design made by the Tosa Myochin school also during the late Edo Period. That school often copied Higo designs like this.

 

Aoi Art:

http://www.aoijapan.com/tsuba-unsignedtosa-myouchinnagekiri-tsuba

[Ford Hallam]

No David, emphatically NO!

 

That is not a good reference for Tosa Myochin at all. It's a vaguely competent bit of pierced steel with a great big split in the side. The photos reveal nothing of the patina or any possible subtle texture in the steel so why do you suggest so confidently that this is a good reference piece?

 

Have you thought of taking up golf? :?

[Pete Klein]

Yeah, screwed the pooch, what?

[Soshin]

Hi Ford H.,

 

So the use of line carving through the outside of the rim isn't a desirable feature. I was bit surprised to see this tsuba papered with such a large and major forging error along the rim. The layers used to make tsuba look like they are coming apart. This was a bit of joke to myself as I waiting the results of two tsuba I have submitted back in June. One was recommended by Pete K. I was thinking of the nagekiri sukashi design and really not meaning the iron and patina but you are correct it is a bit much to ignore. I should not have used that tsuba as an example.

[Ford Hallam]

David

 

It's very important to keep in mind that Hozon papers DO NOT attest to quality. All the paper tells you is that it's a real tsuba and, as in this case, offers an opinion as to attribution. An opinion that is not much more than a convenient label. In my opinion such vague and debatable attributions are, practically speaking, worthless. But then again I don't see the point in trying for Hozon papers for any unsigned piece.

 

Even higher papers may not necessarily indicate quality but other factors such as rarity or historical importance etc.

[Higo-san]

Hi David,

 

I totally agree with the attribution to the Kamiyoshi school from what I can see from the pictures. Of course, judging the quality of the iron from photos is almost impossible. But have you noticed how the carving of the leaves fades into the seppa dai? This is done in a rather nice way and you can find this on many Higo tsuba.

 

I think you cannot attribute a tsuba to a certain Kamiyoshi master judging only from photos - at least as long as there are no very unique features like Rakuju`s famous almost Matashishi like zogan. But in my uneducated opinion, I would not put my bets on Fukanobu. His tsuba have a different "feeling" - even on pictures. Nevertheless your tsuba looks really nice - and not being made by Fukanobu does not at all mean that your tsuba is of minor quality.

 

Best,

 

Chris

[Jean]

  Quote

Hozon papers DO NOT attest to quality

 

Yebo, Oom, same for swords

[Brian]

:lol: ....

Your Zulu and Afrikaans is coming along nicely Jean :D

 

Brian

[christianmalterre]

maybe now some do realise submitting to shinsa is somehow point-out?(for low level)

This-only does make sense if the item is definitely first class!(very few)

What are the actual costs for Hozon Paper?(300-500 Euro in Total)?

Submitting a Tsuba worth 100-250 Euro(?) plus 500 Euro for papers(in worst case)-and finally just to see that the "holy mountain" had ben that kind in attributing me something(in best case i already knew about already before)???

Doesn´t make sense at all in mine eyes...

Yes-Hozon just and only indicates you are member in NBTHK and do have an antique and authentic item shown/submitted...

Not more-not less...

Value?

LOL!(does this say the Tsuba is worth 700.-Euros now?

certainly not!

 

(by the way-the attribution is very kind!)

 

Christian

[Jean]

  Quote

Your Zulu and Afrikaans is coming along nicely Jean

 

Oke,

Ag, ewe but still vrot, bliksem.

 

I am reading Deon Meyer

[Soshin]

  Higo-san said:

I totally agree with the attribution to the Kamiyoshi school from what I can see from the pictures. Of course, judging the quality of the iron from photos is almost impossible. But have you noticed how the carving of the leaves fades into the seppa dai? This is done in a rather nice way and you can find this on many Higo tsuba.

 

Hi Chris,

 

I wasn't aware of this fact until you pointed it out. Thank you very much for that additional attribution point. I agree that such a specific attribution of a unsigned piece to a master such as Fukanobu isn't possible with digital images alone. There is no substitute for in person examination. A friend who is a high end collector of Higo tsuba says that my tsuba is Kamiyoshi school work but that the rim on my tsuba is really good and reminiscent of Fukanobu workmanship therefore he is currently undecided.

 

Below are two examples both with NBTHK Hozon papers one to Higo and the other to Kodai Higo with the same or similar designs. To me from looking at the photos the iron of both examples doesn't look that good compared to my tsuba. But in hand examination is always better to judge such things. Maybe on my next trip to Tokyo.

 

Aoi Art:

http://www.aoijapan.com/tsuba-mumei-unsigned-higo-school-kiri-plant

http://www.aoijapan.com/tsuba-mumei-unsigned-kodai-higo-kiri-plant

[Soshin]

Hi Everyone,

 

I was able to do some better photos of the Kamiyoshi school Higo tsuba today. Here is a new view of the omote side. The patina and the quality of the iron this tsuba is remarkable and wonderful to see in hand. I will updated my website with high resolution photos shortly. Enjoy.