Sendai tsuba

[Ron STL]

This iron tsuba is a favorite of mine but I've been puzzled as to what group to put it in. At the recent Chicago NTHK/NPO shinsa it reached a pleasing 76 pts attributed to simply "den Sendai" late Edo. This call puzzles me in that I can't find anything on iron tsuba ko working specifically in the town of Sendai. I'm at a loss at this time to locate information on where to look for further information. Hopefully someone here can point me in the right direction.

Thanks. Ron STL

[Bugyotsuji]

Biwa leaves, grape vines and bamboo?

 

I am going out on a limb here, but I have an interesting 'armour' tsuba signed Kiyochika. 7.9 x 7.9 cm.

Later I discovered that Kiyochika is listed for Sendai. During the subsequent shallow research on it, someone mentioned a book devoted to... Sendai tsuba (?) or tsuba workmanship(?), but I never followed up on that and now the information has gone walkies.

(One of my Tanegashima is from Sendai too, so there must have been a healthy iron industry there.)

 

 

[Dan tsuba]

Hello all!

 

Were they casting tsuba in Sendai?

 

I don’t know.  The first tsuba listed in this thread appears (to me) to be sand cast with obvious casting flaws.  Notice the “casting flaw” in the first picture to the left of the nakago-ana on the seppa dai.  Also notice some possible casting “flaws” in the mimi.

 

In the first post it states that the tsuba went through “shinsa” and was attributed to “late Edo”.

 

My thoughts are sand cast, hand worked (?) Edo period cast iron tsuba. from the Sendai province?

 

Just my opinion!

 

With respect,

Dan

[1kinko]

Nope, that “casting flaw” to the left of the nagako ana is just blade compression on soft iron. The Sendai region did have iron sand and, as I recall, ore, and several iron foundries that produced cast iron pots.

[rematron]

For what it’s worth, to me the tsuba posted by Ron looks forged and carved. The detail of the foliage is crisp and precise.  The edges of the nakago-ana, mimi, and hitsu-ana are sharp. The mimi has a different smoother texture than the hira which leads me to believe that the hira was textured like it is to add depth and character. The flat surfaces of the foliage in general are even smoother than the mimi but there are a large amount of finely carved details to add realism to the the leaves and branches: enough to add a rough appearance to the whole of the relief so that these three different textures of the tsuba are congruent yet differentiated.  The high contrast of the soft metal inlays further subdues the subtlety of the three different textures of the iron. 

[Bazza]

Nice tsuba, at least oi loiks it.  BUT, what is that little lump just at the end of the branch on the rhs of the first photo???  Tekkotsu???

 

BaZZa.

 

[GRC]

I would like to second Ron's observations on this one.

The branches and leaves are way too detailed and crisp compared to other cast tsuba. Same with the crisp outlines of the raised mimi, the hitsu-ana, and even the tegane-ato.

 

Bazz, that oddity looks like a "delamination". It's got a clear seam line along the left side of the "bubble" which looks like a layer of the plate has lifted but has not yet completely broken away.

I don't think you'd see that combination of side by side features in a casting fault.

 

I think the rough area along the left side of the nakago-ana is probably also a delamination, where the top layer broke free and left a rough crater-like area. It would also likely that this "chip" lifted off when someone widened the nakago-ana (leaving that raised lip along the sides).

Casting faults tend to leave smooth voids or raised lumps in locations that don't align with tsuba's patterning. 

 

That's my 2 cents 

[Brian]

I don't know why we are even talking about this. There is nothing cast looking about this tsuba. Nothing even remotely plausible. The whole sand-cast thing is nonsense. So now we start questioning every legit tsuba owned by advanced collectors who were collecting before we were even born?
Give it a rest ppl. We don't need this "sky is falling" reaction every time, and we certainly don't need things being judged to be something we haven't even proven existed in any great quantity. This is a decent and legit tsuba.

[Ron STL]

Thanks for the thoughts on this "Sendai" tsuba. First, with tsuba in hand there is nothing indicating this tsuba has been cast, to my eye. Originally, I thought the raised branch and leaves were done by sukedashi but looking closely (detai) it might be possible (but difficult?) the leaves and branches were "set into" the plate. I see no outlining of the raised decorations to support this, just that odd "plate" appearance at end of the one branch. The gold would be a heavy nunome zogan. What I have attached is the worksheet details which I have yet to get translated, so maybe this is a good time for that. As for any "bones" showing in the plate, I see none. That pesty "dent-whatever" remains a puzzle, but it definitely does not appear as a blister or loose forging. 

 

Meanwhile, I'll try and check up on Kiyochika from Sendai and see if he was connected to a specific group working in Sendai. Books tend to list schools of tsuba ko but I've found none indexed to places other than the classic Owari, Kyoto, etc. groups. Will look forward to what else might solve this conundrum of mine. 

 

Thanks guys, Ron STL 

[GRC]

Ron, I hope you get the info you’re looking for 

Thanks for sharing.

[ROKUJURO]

It is obvious that the iron around the NAKAGO ANA has been moved a bit and it shows the typical ductility of wrought iron. Not possible with cast iron.

[rematron]

For my own contribution to this thread, I was simply offering a rebuttal to the posted opinion that the tsuba Ron posted was cast.  It was simply a response to something I didn’t agree with.  I surely hope that the term “cast iron” isn’t thrown into the conversation of tsuba as much as the term “gimei” is tossed into the nihonto posts.  But when it is, you can bet that it won’t stop there. The opinion that this tsuba was cast was definitely going to be addressed by at least one if not many members. 
 

Ron, I think it’s a lovely tsuba. Thank you for posting it. 

[Bugyotsuji]

The section of paperwork that you have posted, Ron, does not mention Sendai. The hand-writing is sometimes messy and confusing but generally it goes:

Mumei

3 sizes

Marugata

Ryo-bitsu (both hitsu ana)

Budo Karakusa (grape vine arabesque)

('Budo', = alludes to martial arts)

Tetsu migaki ji 

Suki nokoshi mimi (not-cut-out/away edge)

Usu-nikubori kin nunome zogan　(bas-relief carving with nunome zogan inlay/applique)

 

(Italics are my comments)

 

 

[Bugyotsuji]

If it provides any hints, in the Kokin Kinko Zenshū it says:

 

Kiyochika

Rikuzen

Sendai Ju Kiyochika

Tsuba-Kō

Keireki, jidai fumei (lineage, period unknown)

 

 

[Bugyotsuji]

Interestingly, this book notes other Rikuzen Sendai 清 Kiyo- smiths including 

two generations of Kiyosada 清定, the first of whom was a Zōgan-Kō

inlay artisan, who died in Tenmei 5.

[Dan tsuba]

Hello all!

 

So my friends, once again, I was incorrect in my opinion about this tsuba being cast!  Although, it was stated in this thread that –

 

“There is nothing cast looking about this tsuba. Nothing even remotely plausible. The whole sand-cast thing is nonsense.” And also…... “and we certainly don't need things being judged to be something we haven't even proven existed in any great quantity.”

 

Now, was that individual talking about the tsuba shown in this thread or all tsuba?  Since I don’t know (and if the individual was only referring to the tsuba shown in this thread- then I do apologize for listing the below reference), I will refer members to a page from Dr. Lissenden’s research paper “The Namban group of Japanese sword guards: a reappraisal" Lissenden, John Philip- found at the below link-

 

http://etheses.dur.ac.uk/4129/1/4129_1648.pdf

 

(Written in 2002, it is my opinion that this research paper is a “must read” for all collectors of tsuba- p.130 to 138 is a great read concerning cast iron tsuba for those that are interested in this subject).

 

I list only specific parts of p. 130 below (Dr. Lissenden does go on to describe the process, and other points, further on this and other pages).-

 

“The method of casting that concerns us here is the 'cire perdue', or 'lost form',

technique. Feddersen describes this process, whereby a replica of the required

object is created in beeswax. 2 5 2”

 

“Protruding wax bars are attached to the wax replica, which is then encased in a

cast consisting of successive layers of fine, foundry sand, the ends of these bars being

left protruding beyond the cast. The wax is melted out, the attached bars creating a

variable number of air vents, the number of which depends upon the intricacy of the

piece being cast. Molten metal is poured into the space left by the wax, while the air is

expelled through these vents. When the sand mould is broken, a highly detailed replica

of the wax model is thus obtained.

This method is capable of producing a finished object of such decorative detail

that very little hand finishing is required. Only the removal of the protruding metal bars

resulting from the vent holes, and such refinements as inlay and polishing, are necessary.

Unfortunately the production of a model in beeswax, preparatory to the casting

process, is a work-intensive and highly skilled job. Moreover, the wax model needs to

be remade each time, being necessarily destroyed by the process. This drawback can,

however, be readily overcome by the production of a matrix, which may be of a more

easily worked material such as wood. Such a matrix can be repeatedly used and requires

no special skills for its production. By pressing warm pieces of wax onto this sample

image, a negative matrix may be created and, by repeating this process, a positive

impression obtained from this.  In such a manner, the two faces of a tsuba could then

be joined together and used to create a wax replica of the original.

Because of the high output and the low production costs of this group of tsuba,

it is probable that such a method as this was the one used for the production of many

Namban tsuba.

2 5 2 Feddersen (1962), Japanese Decorative Art, p. 95.”

                                                                                                                                                130

 

As I stated above, Dr. Lissenden’s research thesis is a great read (a “must read” – in my opinion) and has been used and stated several times throughout the years in various threads on this forum.

 

I re-visited the paper recently (after 4 years) and found new and interesting areas of study.  The research paper has a 12-page Bibliography and a 6-page Appendix.

 

With respect,

Dan

[Brian]

I guess you missed the days where Dr John was a MEMBER here and participated regularly?
Also, you specifically referred to sand cast.

[Dan tsuba]

Yes, unfortunately I was not a member when Dr. Lissenden was on the forum (may he rest in peace).

 

Also, the lost form (or lost wax) method and sand casting are probably different methods (I am still learning about this fantastic hobby!).  But either method (I think) does subject the piece to coming into contact with the sand used to hold the wax mold (after it is melted) or the mold made into the sand itself.

 

Anyway, my friend

The adventure continues!

 

With respect,

Dan

[Ron STL]

Yes, I used to correspond with Dr. Lisenden because of an interest in namban, and did buy his book on namban. Always sad to lose a scholar. 

 

Earlier, Piers mentioned not seeing anything on the worksheet mentioning Sendai. Here is what that is called out. As to my tsuba, I will look further into these other Sendai tsubako to see what can be learned. Meanwhile I suppose the tsuba will remain late Edo, made by an unknown Sendai tsubako. Hope everyone enjoyed this thread. I will get the descriptions written in script translated in full. That's why we have Markus around. 

Thanks again, Ron STL

[MauroP]

Signatures: 無銘  -  mumei
Tsukurikomi: 丸形両?  -  maru-gata ryō-?
Shitazi: 鉄磨地鋤残耳  -  tetsu-migaki-ji sukinokoshi-mimi
Zugara: 葡萄唐草  -  budō karakusa
Hori: 薄肉刻り 金布目象嵌  -  usuniku-kokuri kin-nunome-zōgan

 

[Ron STL]

Thanks Mauro and also Piers for this info and kanji. Will help make a file for this Sendai tsuba.

Ron STL