Question On Signed Fuchi

[Jwrussell]

So, wasn't sure if this should go into Tosogu or Translation, but in searching on this I came across something that I figured pushed it more this direction. I hope I got it right. If not, my apologies.

 

So, I'm a new "wannabe" collector and have been trolling the internet looking at everything I can that is available searching both for that elusive Nihonto that is in my limited budget as well as using said search in attempt to learn. I find myself focusing on different parts of the nihonto experience depending on the blade/koshirae I encounter. And one of the areas I'm working on is attempting to translate just about anything I can. Frustrating as I'm still building up resources for the correct Kanji. Further, as I discovered with this piece, even Kanji that I find that appear to be clear and decidedly one character, somehow end up otherwise.

 

In my searches, I came across this signed Fuchi . Appears to be either wood or buffalo horn.

 

I was able to match this signature up after some searching with that of Mino Ju Mitsunaka. Mitsu jumped out at me immediately, but the "naka" kanji threw me for a loop. Either way, I figured it out by locating similar signatures on other Fuchi and Tsuba. Which brought me to a personal realization when it comes to my personal stance on preservation.The next two attached photos are of a Fuchi/Kashira I found along with a Tsuba that seemed to match the signature and style of the Fuchi/Kashira on this nihonto.

 

It surprised me to find two Fuchi by the same maker (assumed) where one seems solidly one material and the other is two different materials. I assume from other pictures this is common? However, what really struck me was a sadness that these two items had been sold separately when they so obviously complete a set. Which brought me to a question. Is this an assumption I shouldn't be making? In looking at Mitsunaka work on other pieces, this insect theme seems common, so even though these pieces appear matched, might they not be?

 

Of further interest, the Fuchi and Kashira on the Koshirae that started this whole trip down the rabbit hole, appear to be similar in style, if not in preservation and clarity as the others posted here.

 

So, some follow up questions.Have I identified this correctly? I was able to pick out Mino on the right side of the Fuchi, but there appears to be more characters than just Mino?

 

Does it seem authentic? There are enough differences in the signature to make me curious, but overall it seems to match.

 

The Tsuba on this Koshirae is obviously not a match for the Fuchi and Kashira. Was this common when these blades where in use, or is more likely the tsuba has since been swapped out by a collector throughout the years?

 

Thank you for your thoughts-Jason

[EdWolf]

Hi Jason,

I have a fuchi signed MITSUNAKA. See

 

http://www.militaria.co.za/nmb/topic/27436-fuchi-opinions-please/?do=findComment&comment=277527

 

Best regards, Ed

[Geraint]

Dear Jason.

 

First point, the first fuchi you show has a copper tenjo gane, the base plate carrying the signature, it's not wood or horn.  The vast majority of fuchi have copper tenjo gane.

 

Second.  This style of work is widely produced within the Mino tradition, some is superb and some not quite so good.  It becomes a problem to say that a fuchi kashira and a tsuba were meant to be together.  To do so you would want to know that they were by the same hand, and the detail you would need to go into to confirm this would be rather fine.  Even then it might be that someone has assembled them as a set, perhaps recently, perhaps a long time ago.  You have already started to do this when you say that the fuchi kashira and the tsuba do not belong together so you will understand what I mean.

 

Third, the extra character below Mino is (no) ju.  It's a very common kanji in all sorts of signatures and means resident of.  So what you have is Mitsunaka, a resident of Mino.

 

Fourth.  Generally speaking someone who had a true set of fuchi kashira and tsuba would be foolish to separate them.  On the other hand it is common to find swords where an ill fitting tsuba has been added to replace a much finer one, the difference is often made up with an extra seppa or two.  Most of us look for and would rather own complete and original koshirae if at all possible, I believe that I have recently seen a kodzuka for sale because the collector was able to track down and buy the original matching kozuka which had been traded off for  a profit. That's a hard thing to do but it sometimes works.

 

Fifth.  The term issaku koshirae is used to describe one where all the fittings match each other and are by the same hand.   The fact that there is a term for this suggest what the real picture is, that you will see many more koshirae where the different elements have been assembled for reasons that sometimes escape our Western aesthetic.

 

I cannot comment on the veracity or otherwise of any of the signatures but if I were picking I would be much happier with the first one that you show than I would with the second one.  For me the unusual treatment of the tenjo gane in number two makes me suspicious.

 

Hope some of that helps.

 

All the best.

[Jwrussell]

Thank you, Geraint. I appreciate the thorough response. The knowledge on this board never ceases to amaze. Ed, I actually came across your post while researching.

[ggil]

I (WAG probably dead-wrong) guess the menuki were by the same hand, but unsigned so we will never know who. Pretty flashy late edo “mino” work. With the nice tsuka wrapping it makes a great display. 

 

the quality is relatively low though, I mean compared to what subtleties in Japanese fine art are out there.  Most serious collectors consider this type of stuff trite and not too desirable, but that isn't to say that they cant command a high price.  I got this tsuka as a koshirae, where the real value is in the saya lacquer job.  uniform sizes of copper filings inlaid into the clearcoat.  the shiney red/gold copper and the gold/brown tsuka ito are stunning together, but again late and over flashy lacking the subtleties once prized and sought by a more discerning market.  Also the tsuba was very old but kinda poorly cut.  the shitodome on the saya are really nice though.  I think it was a great deal overall for just over $400 on ebay for the entire package.  most of the FK I see of this theme, are worse, but it only takes one look at some REAL master work to see that this stuff is poor and very late.

[SteveM]

You and Geraint have the kanji right

美濃住

Minō-jū

光仲

Mitsunaka

[Jwrussell]

Grant, those are great pieces. They certainly look to be of the same style/school. I must say I like this motif. It also makes me chuckle and wonder. Such a grounded subject to be celebrated on the handle of an item made for such deadly purpose.