Akasaka Tsuba

[sabi]

Hello all!

 

I've been burying myself in Sasano's silver book lately and while doing so, managed to add a piece to my small collection.

 

While learning and researching tsuba, I have found myself heavily drawn to iron ji sukashi examples. I love most types of iron plates overall, but bold, positive relief designs are the ones that I enjoy studying the most and have the highest interest in acquiring.

 

Early on in my research, I focused mostly on pre Edo tsuba. While making my way through Sasano's book I became very intrigued by Akasaka designs. The flow, elegance and widely varying motifs drew me in and I started focusing on them solely, particularly the work of the first four generations. I was browsing a few weeks later and came across an ex-Holbrook collection piece that I had to have, and that is what I have come to share with the board today. Let's get to it!

 

 

 

 

 

This specific tsuba is a classic representation of the school, in my opinion. The motif is the moon caught in a pine tree, framed in the textbook Akasaka square shape. I really enjoy the intimacy of the design achieved by placing the full moon in the foreground. The design uses every millimeter on the plate and creates a nice sense of spontaneity and open space. The hitsu ana are seamlessly worked into the design, and when looking at the piece as a whole, they essentially disappear. This is also a trademark of the school and there are many examples with incredibly clever hitsu ana.

 

The iron on this piece is just wonderful. The patina is a rich chocolate brown and has an incredibly soft feel to it. The plate is perfectly healthy with no light spots and a glowing luster. These last two photos were purposely taken with flash, as it's been gloomy here for the past week and I wanted to display it's true color. With no sunlight around, this was my only option but I think it's represented nicely.

 

 

 

The measurements are: 7.1 x 6.6 cm, .50 cm at the seppa dai and .45 cm at the mimi.

 

The combination of the iron, subject, execution, stylism and dimensions are no doubt an expression of the first four generations. Exploring the details even further, this one has been given to the third generation, Tadatora (died in 1707). I studied this tsuba extensively before deciding to make it mine and I completely agree with the attribution. You simply don't see design work (or iron) like this in the later generations and the styling shows off the carefree nature of the third master.

 

I hope you've enjoyed this post! Any comments, questions etc. are greatly appreciated and encouraged. If any of you have Akasaka work that you'd like the share, I'd love to see it!

 

Thanks for taking your time to read and I look forward to any discussion. Hope everyone is having a great weekend!

[Soshin]

Hi Evan,

 

Sorry all my Akasaka School tsuba have long since been studied and sold off so I can't share any photos for a public discussion of other peoples tsuba. Your Akasaka tsuba is a nice one thanks for sharing it. To me it looks more like the work of the fourth generation due in part to the original composition as the fifth generation onward the Akasaka School mostly copied Higo openwork designs. The second characteristic is the thinness of the plate of your tsuba. The third generation Akasaka the last of the three generation that make up the Ko-Akasaka classification and who made tsuba with characteristically very thick plates often 6 mm or greater at their thinness point with bold original openwork designs. Some examples I have found.

 

Example #1

Ko-Akasaka

[sabi]

Hey David! Thanks for stopping by!

 

Yes, it is on the thin side for Akasaka work however I have come across examples attributed to each of the first four generations that are in the 4.5-5.5mm thickness range. Those tsuba also tend to be smaller, like this one.

 

Wish you still had your pieces! I'd love to see what you came across!

[Antti]

this one has been given to the third generation, Tadatora

 

Is it papered? NBTHK or NTHK?

[sabi]

this one has been given to the third generation, Tadatora

 

Is it papered? NBTHK or NTHK?

 

It isn't, however I was thinking about submitting it to the 2015 NTHK shinsa in Chicago. Still trying to decide...

[Soshin]

Yes, it is on the thin side for Akasaka work however I have come across examples attributed to each of the first four generations that are in the 4.5-5.5mm thickness range. Those tsuba also tend to be smaller, like this one.

 

Hi Evan,

 

Just stating my educated opinion take it or leave it. No your tsuba is not on the thin side and is fine. Many tsuba made by the fourth, firth, and six generations have this what I would consider average thickness. Still think it is forth generation School work as the design is original and not a copy of a design developed by one of the Higo schools. It would likely get a plain "Akasaka (赤坂)" or even a "yondai Akasaka (四代赤坂)" attribution if your lucky to the middle Edo Period (江戸時代中期) but submitting it to NTHK might still be a good learning experience. Being there in person at the show for the NTHK shinsa is a good idea because they have answered my question afterwards in the past.

[sabi]

Yes, it is on the thin side for Akasaka work however I have come across examples attributed to each of the first four generations that are in the 4.5-5.5mm thickness range. Those tsuba also tend to be smaller, like this one.

 

Hi Evan,

 

Just stating my educated opinion take it or leave it. No your tsuba is not on the thin side and is fine. Many tsuba made by the fourth, firth, and six generations have this what I would consider average thickness. Still think it is forth generation School work as the design is original and not a copy of a design developed by one of the Higo schools. It would likely get a plain "Akasaka (赤坂)" or even a "yondai Akasaka (四代赤坂)" attribution if your lucky to the middle Edo Period (江戸時代中期) but submitting it to NTHK might still be a good learning experience. Being there in person at the show for the NTHK shinsa is a good idea because they have answered my question afterwards in the past.

 

Sorry, should have been more specific. I just meant on the thin side for the first three generations. Either way, I couldn't be happier with the piece. Like you said, it's an original design and many Akasaka works that pop up are the later generation, Higo copy types.

 

I have tossed around the idea of submitting this as I have seen a fair amount of papered Akasaka tsuba pinpointed to a certain generation. However, it does appear to be very hit or miss...