Early Akasaka?

[jct3602]

7.62x7.30  cm  -  .51 cm rim, .55 cm seppa

 

john twineham

[Curran]

NBTHK would probably say Akasaka.

To me. the carving of the ume reminds me of Hayashi work. See attached detail photo and compare/contrast.

So it comes down to a coin toss between the two won by study of the iron.

 

But the NBTHK would probably go to Akasaka.

 

 

[FlorianB]

Looks like later Akasaka to me.
Beginning with the fourth generation (Tadamune) an influence of Hizen stylistic could be noticed in Akasaka works.
However, Hizen made rounded sukashi lines while Akasaka produced sharp angeled sukashi.

 

Florian

[jct3602]

Thanks Curran - I did not have anything to link the carving to, and that was puzzling me, so I think you are right.  Have not seen enough examples of Akasaka to know how prevalent carving is.

 

john

[Fred Geyer]

John,

 

do not note on many things, read a lot but this school it is a favorite   

 

1. with Akasaka , first buy the Akasaka book then note the following,

2. shape of the seppa , look 1,2 then 3 then the rest

3. Seppa tagana ..the signature if not one 

4. the angle of the Kogai Ana ..leaning to the right or not ???

5. thickness of the mimi 

6. the edges of the motif ...Akasaka did many fine edges, age adds corrosion

7. over all flow of the tsuba ... when you noted old , ones on the group understand this vague meaning of Tadamasa to Tadatoki  with be nodding there head

8. look at as many Akasaka tsuba as you can even online you will start to see it    

8. weight or maybe I should say density in hand being last

 

good luck , great school to study !

 

Fred Geyer      

[Brian]

Fred is one of the go-to guys on Akasaka, so if he comments, the points are well worth committing to memory. Thanks Fred.

[Curran]

10 hours ago, Fred Geyer said:

1. with Akasaka , first buy the Akasaka book then note the following,

2. shape of the seppa , look 1,2 then 3 then the rest

3. Seppa tagana ..the signature if not one 

4. the angle of the Kogai Ana ..leaning to the right or not ???

5. thickness of the mimi 

6. the edges of the motif ...Akasaka did many fine edges, age adds corrosion

7. over all flow of the tsuba ... when you noted old , ones on the group understand this vague meaning of Tadamasa to Tadatoki  with be nodding there head

8. look at as many Akasaka tsuba as you can even online you will start to see it    

8. weight or maybe I should say density in hand being last

 

Fred Geyer      

 

Great list of analysis by Fred. Listen to him and Mark in Orlando for Akasaka.

I sometimes regret that I only own one. I am trying to rectify that by having bought another last night.

 

Love #4 on the list. I sometimes forget about the cant of the nakago ana and the kogai ana.

 

[Japan2112]

Good comments by Fred. he has taught everybody a lot over the years. Grey has the book Fred refers to for sale on line - Chic Sukashi Akasaka Tsuba by the Sano Museum.

 

Not early (ko) Akasaka is my thought and I agree with what Curran suggests the NBTHK would say - Akasaka.

Maybe from the Tadashige atelier (1780 or so) by its tribute to the Higo design of plum branch and moon, thickness of< 2 bu, and shape (tate maru gata). - a Tadanori looking seppa daii?

 

Below is an image taken from a 1995 article authored by Bill Miller for the Florida Token Kai regarding similarities between Higo Hayashi and Akasaka works.

 

Nice tsuba.

 

[Spartancrest]

A modern take on the design, images are copyright - unfortunately.

https://www.kinkoshi.com/stories-in-steel?lightbox=dataItem-ipeq8ea8