Speaking of cast tsuba...

[cspage]

Surely, this must be the epitome of cast tsuba? It's a large, heavy beast. The design is of some plant material as there appears to be some leaf veins visible, but what sort is beyond me. It is a bit crude and also quite aggressive in character, which seems antithical to the spirit of tsuba. Again, any thoughts are welcome. Thank you.

 

Colin

 

Width 79.5mm

Height 81mm

Thick at mimi 5.5mm

weight 123.7g

[Ford Hallam]

dang! that's an ugly baby

[Martin]

Hi Colin,

 

my I ask what makes you think this is a cast Tsuba?

 

Best,

[docliss]

Colin’s tsuba is vaguely reminiscent of an ikenie tsuba but, with what appear to be stems crossing at the bottom and — as he suggests — kebori veining, it is probably a leaf of some sort. I am confident that one of our knowledgeable members will identify its source.

 

The rounded appearance of the motif, with a lack of crisp carving; and the featureless appearance of the seppa-dai, where even the chisel marks are smooth, all lead me to agree with Colin that it has probably been cast.

 

John L.

[kusunokimasahige]

Also compare the roughness of the metal with a carved one... not even with polishing you can make a ast tsuba look good...... Also check the remains of the bubbles/airpockets on the entire tsuba.

 

KM

[Rich T]

without detailed images, it is always a little hard to tell, but I do not think this is cast. Has anyone not heard of Maru Bori or round carving. Common in Kyo Shoami work amongst others (what others you ask ? I am trying to think )

 

I see no evidence of casting here though. I see some pitting damage I think. I think this is or would be classified as a Shoami tsuba with the maru mimi and mirrored design.

 

Agree with Ford also, put a bag over it's head................

 

m2cw

 

Rich

[cspage]

Well, now. It seems we have a conflict of opinions. Goody. What sort of detail do you want to see, Rich? I'll give it my best shot with my limited abilities.

[Rich T]

Well, now. It seems we have a conflict of opinions. Goody. What sort of detail do you want to see, Rich? I'll give it my best shot with my limited abilities.

 

close in focus shots of the inside walls of the sukashi, and close up also of the mimi, and any surface detail (rust or otherwise) worth looking at.

 

Cheers

 

Rich

[cspage]

Will do. Thanks.

 

Colin

[cspage]

Here are some closeups of the tsuba in mention. I wish I could take better shots, but resources are limited. If these shed any light on the subject, please fire away. It does look pretty rough and tumble, though. I welcome any comments. Thanks.

 

Colin

[docliss]

Dear Richard

 

With regard to marubori, some writers define it as carving ‘in the round’, but that should not be interpreted as ‘rounded’, but rather as being three dimensional.

 

Regards, John L.

[John A Stuart]

Hi All, I get the feeling from the new pics, that this has been cast and then some some subsequent cold work done. The taganeato seem post casting, the huchi should have had more work. John

[IanB]

All, I see no evidence whatsoever of casting. There is no evidence of flashing on any of the edges, no sign of shrinking of the metal on the flat surfaces of the seppa dai and there is a copper sekigane at the upper end of the nakago ana. Yes it is big and heavy and has been rather corroded during its life. It may have been designed to balance a sword by bringing the weight more towards the hilt. As for the design, it looks to me like a kamon. And yes, after getting off my backside and looking I have found the kamon in my 'Every Boys handy pocket book of Kamon' (in reality Eiyu tachi no Kamon)), it is of two holly leaves (hiiragi). Unfortunately the book simply states that it represents the outside of each leaf and does not mention the family.

Ian Bottomley

[kusunokimasahige]

After seeing the close up pic i also must say that it looks more like a real one having been rusty for a very long time... i see no lost wax method traces, and no tell tale casting anymore.

 

The only spot bothering me still is one of the attachment points of the leaf to the part which holds the sword blade.

 

 

KM

[Ford Hallam]

It's a tricky one...that for sure :D

 

I'm with Ian and Rich on this one. I also see no obvious clues that suggest casting. As John Stuart pointed out, I also think the rounder punch marks around the nakago ana are "after the fact". My guess would be quite recent, to allow fitting to a remounted sword. There appears to be some recent filing having been done in the nakago-ana that would support that idea.

 

It may be completely subjective but I get a subtle sense of some sort of layering in the inner faces of the cut out areas. This has suffered some serious corrosion in the past but has been quite thoroughly cleaned of loose rust...I can see some patches of bare metal too, so I suspect some sort of chemical treatment was perhaps used. It actually makes me think of badly rusted steel that has been scrubbed with a wire brush.

 

Still butt ugly though

 

regards,

 

Ford

[SSt]

Just a comment on the theme.

 

Holly (hiiragi 柊)

From at least as early as the Heian period until very recent times, holly was primarily associated with the exorcism of demons in Japan being hung over the doorway while the exorcism ritual known as tsuina (追儺 Driving away the evil influences) was performed.

- Dower, Elements of Japanese Design.

 

Which may explain why some of you find it "aggressive, ugly and requiring a bag" - it seems to be serving its intended purpose!

 

A tsuba that has spent most of in life in storage, only coming out for the New Year ceremonies?

I also see no evidence of casting. Old corrosion, layered construction evident on the "leaf edges", yet quite clean in the area of the mimi.

[Martin]

Hi all,

 

well I am glad that others also doubt a casting job here...

So my eyes still seem to work... :D

 

To be honest I have actually seen far more 'scary' and worse designs than this one....

 

Best,

[cspage]

Well, this has all been most interesting and enlightening. The poor ol’ beast has been redeemed, somewhat, according to the opinions and knowledge expressed here. No one can blame a tsuba for its tribulations, but one can appreciated its survival. The projected “atmosphere” of its design may be in excellent keeping with cultural intents and while we are not really expecting disquieting energy from a tsuba, one that successfully pulls it off could be appreciated for what it is. Ugliness can sometimes be beautiful, and if not beautiful, at least less ugly if considered from a different angle.

I have learned a lot from a topic that I thought would be open and shut, but became much more. Obviously I have a lot more to learn. Thank you all.

 

Colin

[cspage]

I stumbled on an old Christie's auction site and lo and behold, check out the center tsuba. It is described thusly:

 

"Edo period (17th/19th century)

A large tsuba pierced and carved with two leaves, opposed, the veins inlaid in brass and the stalks in copper, early Shoami work, 8.75cm."

 

the Beresford Jones Collection of Japanese

7 June 2000

London, King Street

 

http://www.christies.com/LotFinder/lot_ ... 99396&sid=

 

Obviously a higher class version.

 

Colin

[Ford Hallam]

Colin,

 

that's a coincidence ...I stumbled on exactly that piece in the same catalogue today too

[cspage]

I guess I'm going to have to get out the ol' loupe again and see if I can spot remnants of inlay or copper, although I doubt it's there. All the proportions, etc., seem to be quite similar. Perhaps mine just led a more unfortunate life, or was created as a poor man's substitute for the higher end version. At least it's not alone in the world, there are relatives.

(I don't know where all this anthropomorphizing came from)

 

Colin

[Rich T]

and remember that not all cast tsuba are bad, it's a bit of a stigma like Shoami or Bungo. There were many early soft metal tsuba that were cast that are pretty cool. Like this for example.

 

Kagami-shi, mid Muromachi period.

 

cheers

 

Rich