Ko-Nara Tsuba? and odd Brass?

[tokashikibob]

Gentlemen,

I have gotten a hold of a few tsuba recently two of the more interesting are these. My question is am I way off base thinking that the samurai themed piece can be labeled Ko-Nara? Very detailed piece, unfortunately the samurai's face has been rubbed. Is this something that may be repaired?

 

The brassy one I could not find anything as a comparable in my few books or on any of tsuba sale/reference sites. Copper rim with gold wash, but the tsuba is a odd metal brassy mix I guess. Great detail, but also bird's breast has been rubbed a bit.

Thanks in advance for any comments and additional information of these tsuba.

Best Regards,

Bob

P.S Any ideas on how to get the ancient label goo off? It's on there.

[Soshin]

Hi Bob,

 

For your first tsuba I would go with Nara school and drop this "Ko" business. :lol: I will let someone else one NMB handle your second tsuba.

[Akitombo]

Hi Bob,

 

The second looks to be a modern cast copy.

 

Regards

 

David.N

[Geraint]

Hi Bob.

 

As you will gather from David S the second isn't going to set the world on fire but I'm not so sure it's a modern cast, I think it is a well worn and probably mistreated one. You can't do it much harm so I would try really hot water and soap to remove the crud first off. If David N is right then you will end up with a shiny piece of junk, :D On the other hand give it some time and see what happens to the decoration, it might turn out OK but not a keeper.

 

All the best

[kuromido]

Hi Bob, I would put your first tsuba to Mito.

I would like to hear from others on the board,

Cheers,

PeterD

[Mantis dude]

my gut reaction to the first was also Mito.

[Thierry BERNARD]

my gut reaction to the first was also Mito.

 

mine is Aizu-Shoami!

 

for the second one I don't have a good feeling but can't say more from theses pictures

[tokashikibob]

Fellas,

Thank you very much for all the input on both Tsuba. Tsuba study is just about as difficult and diverse as the study of blades enough to make the eyes water in front of the computer or waking up with a black and white referance book next to you in the sack. If I find some time at home I'll do a Jim Gilbert on the stove to try and get rid of the old tag mark. The Coppery one I think looks nice held in hand, and does not seem to be a fake, but what do I know. Hopefully I can get to CHicago next year and trade some tsuba's for a decent gunto.

Best Regards,

Bob

[tokashikibob]

Gentlemen,

On #2, am I way out in left field with Hirata Hikozo? There are some similarities here especially the comment "copper plate will have yamagane fukurin" which is what this has in my amateur opinion.

 

From Shibuiswords

 

Basic Shape:

Round, oval, nadekakugata, and mokko, a shape which is very common and is similar to nadekakugata, but is slightly wider and more rounded at the sides.

 

Seppa-dai:

Most are a wide oval shape with a tendancy toward roundness. It is thick in appearance, very stable and firm; powerful as are all parts of the Hikozo tsuba.

 

Hitsu-ana:

Most are common style and design. The very large size hitsu ana commonly associated with the first Hikozo are much rarer in his work than was previously thought, and seem to be used on the work of later generations for the most part.

 

Size & Thickness:

Average size in most cases. Average thickness (4.5 millimeters).

 

Edge:

Round edge, but many will have a fukurin attached. There are several types of fukurin used by Hikozo: plain, rope design, and others, but the most common is the odawara fukurin. The soldered joint of the Hikozo rim cover is so skillfully joined it can rarely be detected.

 

Inlay:

Gold and silver nunome, horikomi, and hirazogan plus splashed or drops of silver that seem to float on the surface.

 

Plate Metal:

Shakudo, shinchu, pure copper, and yamagane are the most common. Iron plate is very rare. The color of the plate is very rich and illustrates the many patinations and coloring processes Hikozo devised for the many plate metals and combinations he used with such facility.

 

Web:

The surface of the web is a wonder to behold. It may be treated in many ways but each shows a mastery of the tools, techniques, and feeling for the plate metal very rarely seen in the work of any other artist. The carving may be shishiai, katakiri, or horiage. In yasuri, shigure-yasuri, and particularly okina-yasuri were so perfectly executed that no other artist ever equaled their quality. The yakite kusarashi technique was used to form natural designs as well as surface finishes, both styles were handled with consummate skill.

 

Comments:

The most splendid point of the Hikozo tsuba is the control and treatment of the plate metal and the aesthetic combinations used to achieve harmony of plate and fukurin. Copper plate will have yamagane fukurin; yamagane plate will have shakudo fukurin; iron plate will have silver fukurin; and other combinations that blend metal color, textures, and values, to derive the most from their aesthetic beauty.

It must be remembered that Hikozo chose kawarigane plate for aesthetic as well as utilitarian beauty and his tsuba served both areas admirably. Even though the origins of his designs and techniques will be found in the tachikanagushi tsuba of the Muromachi age, he carried these techniques to a perfection never again to be equaled in the kawarigane tsuba.

 

 

 

 

http://www.shibuiswords.com/hikozoschool.html

[Geraint]

Hi Bob.

 

am I way out in left field with Hirata Hikozo?

So far out you are in the bleachers. (Does that make sense?) Have a look at Hirata Hikozo tsuba and get a feel for them. This one is not a good fit when you see them, hard to use a written description. Are you sure that the edge of your tsuba has a fukurin or is it a part of the plate? Can't tell from the photos.

 

All the best and have fun.

[Soshin]

Gentlemen,

On #2, am I way out in left field with Hirata Hikozo?

 

Hi Bob,

 

Left field!? I don't think you're even in the right solar system. :lol: How many Hirata Hikozo examples are display on the Shibuiswords website? Can you make any type of a serious judgment without seeing photographic examples of want is discussed in the text. Taking the text from Shibuiswords and having Ito sensei book or a medium size collection of Hirata Hikozo examples to examine in hand might be a way to go. I know from personal experience that any serious judgment and leaning is only done with the pieces in your hand. The second best way is to have books with extremely good color photographs. The Ito sensei book on the Higo schools is a good example as well as the many KTK catalogs, and a few other publications.

 

To put this in sword terms it would be like examining just a written list of the characteristics of a Masamune Nihonto and thinking the Gendaito you have was a undiscovered masterpiece of Masamune. Hirata Hikozo is at the level of Masamune when it comes to tosogu.