A series of fittings ( or how not to build a collection )

[Bob M.]

Item No. 40  Iron sukashi tsuba 7.93 cm x 7.74 cm x 0.65 cm

 

This tsuba is a modern made Utsushi of a Tadashige Akasaka piece.

 

 I am having some problems  with the Tadao  (' Tororo Aoi ' ) signature as the plant depicted appears to be Tadao - used in the making of Japanese paper . The roots however seem to be Blue Yam . This has puzzled me ever since I bought the tsuba , 10 years ago direct from Japan , but I have enjoyed it for what it is - a beautifully crafted homage to a classic design .

 

The chocolate brown patina and smoothness of carving, tapering to a rounded mimi , make for a supremely tactile piece , and the addition of silver sekigane and solid gold hitsu-ana liners only enhance...

 

Shows that although the capability is much diminished , some quality work can still be produced in Japan.

[Tanto54]

Dear Bob, sorry I'm a little behind.  On your item 39, I think that it is Third Generation Jakushi (Shiroki) (Haynes 02014).  Although Haynes says that his work had lost the Chinese Landscape Style of the first two generations, this is probably one of his earlier works.  I come to this conclusion because Haynes has 5 Jakushi using these kanji.  The first two generations' mei don't match and it looks like they almost always used more than a two character mei.  The Third Gen's mei matches exactly, and he signed with two characters.  The two remaining Jakushi used more than two characters in their mei too.  Therefore, despite Haynes comment about the Third Generation moving away from the traditional Chinese Landscape Style, his mei is an exact match and the others are not.  Here are the mei from Wakayama.

 

Third and subsequent generations of Jakushi (I think yours matches some in this grouping):

 

 

 

 

Here are the first two Generations:

 

[Bob M.]

Hi George ,

 

Once again , Thankyou for your contribution - Item 39 is now pretty certainly shown to be 3rd generation...

 

I posted item 40 early because I knew that I wouldn't have time to do it on Tuesday ,so , you are not behind , it is me who is in front .

 

Regards

[Tanto54]

Dear Bob,

 

On item 40, there are two modern artists using these kanji for Tadao.  One is from Kanagawa (family name Adachibara) and the other is from Tokyo (family name Ito) and both worked in the mid to later 20th Century.  One of them is probably your guy.   In your post, you mentioned: "I am having some problems  with the Tadao  (' Tororo Aoi ' ) signature as the plant depicted appears to be Tadao - used in the making of Japanese paper."  Just to clarify, the maker's art name is "Tadao" (a common Japanese name) and the plant's name is "Tororo Aoi".  The two ("Tadao" and "Tororo-Aoi") are not related.  In addition, while I'm no plant expert, I don't think your plant is a Tororo Aoi for several reasons.  First, all the photos of Tororo Aoi that I've seen have 5 lobes on the leaves, and some of the leaves on your tsuba have 6 lobes.  The berries/flowers on your tsuba do not match the Tororo Aoi plant, and finally, the "yams" or roots/tubors [fruits?] shown at the bottom of your tsuba do not resemble anything from the Tororo Aoi plant either.  I did see an old listing from Ginza Choshuya from about a decade ago that listed a Tadao Tsuba with a Tororo Aoi motif, but if that is your tsuba, then I think that Ginza Choshuya got it wrong.  You should check to see if you can find a plant that is a better match.  Some of the guys on NMB are very good with plants, so let's hope that someone helps us out!

[Bob M.]

Item No. 41  -  Kozuka in Iron with silver  , gold , copper and shakudo . 

Item No. 42  -  Kozuka in copper and shakudo with gold , silver and shakudo highlights.

 

Same subject , different artists - Takanori , disguised as a farmer , wearing a mino and straw hat , writing his poem for his Emperor's eyes on a cherry tree.

 

item 41 , signature ( very difficult to make out ) appears to be Hamano Masayuki ( second pair of pictures ).

Item 42 , signature Kitosai Terumitsu + kao   -  Omori family ?

[Bob M.]

Item No. 43 - Fuchi Kashira in Shakudo with gold , copper and silver highlights.

 

Inscribed as Toshinaga + kao.

 

Subject of Shoki and Oni

 

Acquired about 8 years ago as part of a lot.

 

Doubtful about the signature on these , although the signing in itself looks quite convincing - it is just the overall quality of the F/K leaves something to be desired  , in my opinion. 

A set that ' flatters to deceive ' ?

 

Any thoughts anyone ?

[Bob M.]

Item No.44 - Kozuka  in Shibuichi with gold highlights

 

Subject  Shoki and Oni

 

Finely engraved with Katakiri work , Shoki is looking up into a tree where a rather annoyed oni  is trying to hide.

 

Signed Rakuosai Michiyoshi  - Sano School  - Haynes H 05079. Probably dates from around 1800.

 

Purchased 8 years ago from auction in Germany.

 

NBTHK papered.

 

[Bob M.]

Item No. 45  Kozuka in Shakudo with gold and silver highlights

 

Subject of cherry blossoms with cutting tool - are the blossoms tied to a pole of some sort ?  Is this something to do with the cherry blossom festivities ?

 

Fine nanako and engraving

 

Over 450 years old , from late Muromachi period.

 

Unsigned but papered as Ko - Goto by the NBTHK.

 

Bought direct from Japan some 8 years ago.

[b.hennick]

That has some mighty fine nanako! I do not remember seeing smaller.

[Bob M.]

Some additional views showing wear from use , extra detail etc...

[Bob M.]

Item No. 46  Iron Sukashi Tsuba  7.40 cm x 7.00 cm x 0.55 cm

 

A typical Namban Tsuba in good order , with two dragons and pearl , sparse gold highlighting .

 

Old green Tok. Kicho NBTHK papers

 

Purchased on ebay from a Japanese seller 16 years ago.

 

 

Item No. 47  Kozuka in Shibuichi with gold copper and silver highlights

 

Unsigned , with generic polearm design...

[b.hennick]

The polearm look to be Chinese. Simple and well done. I should have started to keep records on when and where purchased decades ago. I am impressed that you have the information and know where to find it!

[MauroP]

The polearm should be the "Green Dragon Crescent Blade" of the Chinese general Guan Yu.

 

[kissakai]

This is my Green Dragon Crescent Blade" of the Chinese general Guan Yu

 

[Bob M.]

Thanks everyone for your contributions - I knew the polearm belonged to the Chinese general but had never heard of it being called the Green Crescent Dragon blade before.

 

Learn something every day...

 

[Bob M.]

Item No. 48 Iron Sukashi tsuba with gold , silver and copper dot highlights   7.9 cm x 7.54 cm x 0.48 cm

 

Two dragons amidst turbulent waters - good detailing.

 

Unsigned  - not submitted to Shinsa.

 

Any ideas on school / period ?

 

Purchased from an American seller on Ebay in 2002.

[JohnTo]

Re: tsuba #46,

I have a very similar nanban tsuba (pics attached) and just have a couple of questions.

1.       Both tsuba, like other iron nanban tsuba I have, have no trace of rust. Do you think that these were cast?  The texture of the iron and softness of the carving makes me feel that they are cast, but the finish seems better (no mill scale) than Japanese made cast tsuba I have seen (our tsuba may have been made in Nagasaki, Japan, but presumably by Chinese craftsmen or Japanese craftsmen using Chinese casting techniques)

2.       The tsuba have the usual dragons and the tama jewel at the top.  In addition both have a stick shaped gilded character at the bottom of the tsuba that looks like a stylised man.  It resembles the kanji 出 (Shutsu, sui, da, de) meaning to put out, or leave but the ‘legs’ at the bottom point downwards, whereas the ‘legs’ on the kanji point upwards.  Does anyone know what they represent?

Any thoughts on my observations?  Enjoying the glimpses of your collections, but I have to remember to reference  which one when replying as the list is getting long.

My tsuba: Height: 7.6 cm.  Width: 7.1 cm.  Thickness (rim): 0.45 cm.  Weight: 102 g

Best regards, John

[kissakai]

Kinai is an obvious choice. I've seen the same mimi and hitsuana on Kinai although my kogai hitsuana is different

Umetada?

James Lawson told be the main differences between Kinai and Umetada but I can't remenber exactly what he said!

James visits the NMB so he may enlighten us

 

[Bob M.]

Hi John ,

 

Re Item No. 46 - Namban Tsuba

 

I do not know the answers to the questions you raise , but as far as I recall , the fashion for Namban tsubas/fittings arose quickly following successful military campaigns by the Japanese in China , with some of these pieces being  brought back as trophies or spoils of war . 

 

It is possible  ( although just speculation on my part ) that the sudden requirements meant the available craftspeople in Japan would have been overwhelmed , and commercial logic would dictate that the original sources in China would be used to try to satisfy the demand. I believe that the Chinese possessed the capability to produce iron castings at that time and I wonder if standard blanks with the outer rows of decoration in place were produced and exported to Japan and internally,  where the carvings etc. could be applied to order ?

 

The quality of iron being good , the tsubas would be pretty resistant to corrosion - at least in the early years , until inevitably , corners would be cut in the pursuit of extra profit.

 

Just a few thoughts ...

 

Regards

 

 

[Bob M.]

Hi Grev ,

 

Re Item No. 48

 

Thanks for your suggestions.

 

Kinai was my initial thought also , just wanting to get some other opinions...

[Bob M.]

Item No. 49 - Iron Tsuba with gold highlights   7.45 cm x 7.34 cm x 0.47 cm

 

Choshu tsuba from Inoue school , signed Michitaka Saku ( the second master of the school ) . This would place its date of making to around the year 1780.

 

In almost pristine condition , exceptional for its age .

 

Purchased from a senior member of this forum 12 years ago.

 

Can anyone identify the species of tree ?

 

 

[kissakai]

It looked like ivy to me  but the flower and bud groups were in bigger groups. Some good flower spotters here who will probably nail it

Another very nice tsuba

 

[ROKUJURO]

That could be KIRI (Paulownia imperialis).

[Yasaka Azuma]

On 5/23/2021 at 8:11 PM, JohnTo said:

Re: tsuba #46,

I have a very similar nanban tsuba (pics attached) and just have a couple of questions.

1.       Both tsuba, like other iron nanban tsuba I have, have no trace of rust. Do you think that these were cast?  The texture of the iron and softness of the carving makes me feel that they are cast, but the finish seems better (no mill scale) than Japanese made cast tsuba I have seen (our tsuba may have been made in Nagasaki, Japan, but presumably by Chinese craftsmen or Japanese craftsmen using Chinese casting techniques)

2.       The tsuba have the usual dragons and the tama jewel at the top.  In addition both have a stick shaped gilded character at the bottom of the tsuba that looks like a stylised man.  It resembles the kanji 出 (Shutsu, sui, da, de) meaning to put out, or leave but the ‘legs’ at the bottom point downwards, whereas the ‘legs’ on the kanji point upwards.  Does anyone know what they represent?

Any thoughts on my observations?  Enjoying the glimpses of your collections, but I have to remember to reference  which one when replying as the list is getting long.

My tsuba: Height: 7.6 cm.  Width: 7.1 cm.  Thickness (rim): 0.45 cm.  Weight: 102 g

Best regards, John

 

 

 

Hello,John.

Good nanban-tsuba. Seppa-dai with  lotus flower watermark is one of the fine.

1.There are two types of nanban-tsuba, plate and watermark. At least all of the watermark tsuba are cast.
2. Pagoda-shaped reliquary is made into a design.

https://www.jauce.com/auction/l653721803

 

[Bob M.]

Item No. 50   Brass tsuba with raised rim , ishime ground ,  gold ,silver , copper and shakudo inlays   8.20 cm x 7.45 cm x 0.47 cm over plain , 0.71 cm over figure

 

Subject of Monkey King , Songoku standing on a cloud , exhaling a crowd of small armed figures who are attacking  / frightening off an Oni . King Oni maybe ?

 

The rear uses gold dust to create the impression of mist

 

With a grass script ? signature Natsuo.  Studio ?

 

Could perhaps do with a light clean   , there seems to be detailing hidden ...

 

Any views / comments ?

 

 

[DirkO]

 

Originally Chinese, Sun Wukong (孫悟空) is the name given to this character by his teacher, Subhuti, the latter part of which means "Awakened to Emptiness" ; he is often called the Monkey King

His primary weapon is his staff, the "Ruyi Jingu Bang," which he can shrink down to the size of a needle and keep in his ear, as well as expand it to gigantic proportions. The rod, which weighs 17,550 pounds, was originally a pillar supporting the undersea palace of the Dragon King of the East Sea, but he was able to pull it out of its support and can swing it with ease. The Dragon King had told Sun Wukong he could have the staff if he could lift it, but was angry when the monkey was actually able to pull it out and accused him of being a thief; hence Sun Wukong was insulted, so he demanded a suit of armour and refused to leave until he received one. The Dragon King, fearful of Sun wreaking havoc in his palace, gave him a suit of golden armour. These gifts, combined with his devouring of the peaches of immortality, three jars of elixir, and his time being tempered in Laozi's Eight-Trigram Furnace (after which he gained a steel-hard body and fiery golden eyes that could see very far into the distance and through any disguise), makes Sun Wukong the strongest member of the pilgrimage by far. Besides these abilities, he can also pluck hairs from his body and blow on them to convert them into whatever he wishes (usually clones of himself to gain a numerical advantage in battle). Futhermore, he is a master of the 72 methods of transformation (七十二变), and can transform into anything that exists (animate and inanimate).Notably, however, Sun cannot fight as well underwater. The monkey, nimble and quick-witted, uses these skills to defeat all but the most powerful of demons on the journey.

Sun's behavior is checked by a band placed around his head by Guanyin, which cannot be removed by Sun Wukong himself until the journey's end.

 

Brilliant tsuba you've got there with a lot more than meets the eye!

[kissakai]

Re number 50 and the reply from Dirk

Is this the theme to my tsuba or maybe just too far fetched

I thought this to be associated with a Japanese play

 

[Bob M.]

Re Item No. 50

 

Has anybody come across this or this type of signature before ? 

 

Perhaps there is something in Wakayama ?

 

Thanks !

 

Also , have just taken a quick snap of Monkey King from a different angle to help show the depth of the modelling.

Will try to take some better pictures in natural light tomorrow....

 

Regards

[Tanto54]

Dear Bob, your Item 50 is a lovely tsuba.  I love Dirk's background story on Songoku (the Monkey King).  I've attached the signature that you requested from Wakayama (as you may know, Natsuo tinkered with his mei over his life - so lots of different versions).  I've also attached a photo of a papered Natsuo fuchi with very similar clouds for you to compare to your tsuba.  The writeup of that fuchi on the NMB is very interesting (see the links below).  Please remember that Natsuo was copying another artist's work when he made this replacement fuchi, so it may not really reflect his own "original" work style.  In addition, I understand that many of his students did a significant amount of work on the pieces that he signed and if their own work met the Master's standards, he or they would sign his mei to those pieces too.  Of course, there are many fakes too.  Based on a review of Natsuo's records and the nice work on your tsuba, I'd be inclined to agree with your assessment of "studio".

 

 

 

 

 

[Bob M.]

Well , I tried to take some better views of the Monkey King , but cannot improve on pictures already posted.

 

While trying , my wife remarked that when you hold the tsuba in hand , it is all but impossible to see his eyes , but that under magnification , they seem to shine and bring the King to life.

 

Yet another example of the Japanese talent for including hidden detail , not apparent unless under the closest scrutiny...  Something that Dirk O also hinted at in his post.

 

As usual , thank you to everyone for their contributions / comments.

 

Regards