Jump to content

Tomotsugu

ottou812

By ottou812
in Tosogu

 Share

Recommended Posts

ottou812 Collaborator

ottou812

Posted
Posted

As this tsuba is part of my collection, I'm trying to find out more about the artist Tomotsugu as all of the information I have is from the seller. The tsuba looks like it was never mounted or used. I'm also in the process of increasing my fittings book collection as I study them. The pictures are from the seller as my scanner couldn't have provided the same quality images.

post-1708-14196775945432_thumb.jpg

post-1708-14196775953395_thumb.jpg

John A Stuart

John A Stuart

Posted
Posted

I am not sure, but, this may be by the Tomotsugu that lived in Kanazawa in Kaga province. I think so because of the reminiscence of Kaga katchushi style inlay. If right, he is of the Tsuji family 17th century. I am not sure if this tsuba should be classed as Kaga Yoshiro zogan or Kaga zogan Heianjo tsuba. I would be interested in other opinions. John

Ford Hallam Grand Master

Ford Hallam

Posted
Posted

I think this is the work of a student of Tahei Yonemitsu, click the name to see some of his work, if you're interested. :)

 

So, imo, it's a contemporary Higo piece with classic ni-ju- karahusa nunomezogan. The ryo-hitsu are also Higo. The metal surface is quite unusual, very reminiscent of various contemporary attempts to simulate older steel textures.

 

ford

John A Stuart

John A Stuart

Posted
Posted

The rim of this tsuba did remind me of Higo tsuba although I hadn't seen that incised ring before. So, modern??!! The Kaga Yoshiro zogan tsuba had flush inlay and the surface of the steel made me think it showed age and was why they had been raised. That and there are small areas that seemed to have missing inlay. This tsuba is meant then to mimic an older tsuba? The karakusa design does look like Yonemitsu. I blew up the pics and the surface does indeed look contrived. No fair, as he cries foul!! John

Ford Hallam Grand Master

Ford Hallam

Posted
Posted

Hi John,

 

hey, this is only my opinion but the decoration is nunome, of that I'm certain. To be honest I feel the overall concept of this piece is a bit of a jumble. It seems to me to a bit of an odd marriage in terms of the actual plate and that incised rim ( which does look quite "brutal", the Higoesque ryo-hitsu and then the fine karakusa. The texture of the steel itself is decidedly "contrived".

 

I'll be surprised if we can't locate this maker in lists of Gendai tsuba-ko

Curran Grand Master

Curran

Posted
Posted

I thought as Ford did, that it was extremely good contemporary work. I didn't know he was a student of Yonemitsu. That would explain it.

 

Nice tsuba. Funds wanting at the moment, but I wouldn't mind owning it at another time.

Ford Hallam Grand Master

Ford Hallam

Posted
Posted

Hi Curran,

 

I don't know for certain this man was a student of Yonemitsu but there are specific ways on learns these sorts of techniques in Japan today. The most common is at various art institutions like the Tokyo School of Art. What students don't learn in these sorts of settings though is any specific tradition in terms of design and style.

 

There are also at least 3 basic variations of nunome technique in terms of how the ground is cut. This effects the sort of decoration that is likely. These factors relate to the sort of ground metal ( steel, shibuichi, brass etc) and the material to be applied; gold, silver, wire or sheet. Modern institutions tend to teach a fairly basic technique and the application is left to the imagination of the student.

 

That this tsuba is so close in style (the ni-ju-karakusa) to the Higo style, and particularly that of Yonemitsu Mitsumasa (Tahei) strongly suggests the maker learned his technique in a more traditional setting. The largest group of artisans working in this Higo tradition today is headed by Shiraki Mitsutora. Their productions are no longer sword related although these artisans still have a great fondness for tsuba and I've seen a number of "one-offs" made essentially for personal satisfaction. Here's a link to their website

 

I'm not certain of the link, if any, between Shiraki Mitsutora and Yonemitsu Mitsumasa but it's close knit community either way.

Ford Hallam Grand Master

Ford Hallam

Posted
Posted

If the seller knows nothing about the artist what makes you think he may be right about it being late Edo?

Do I gather then that it possibly being late Edo would be more desirable than if it were made in 1970 ? ( for example)

 

 

It might also be worth looking at some late Edo Higo works to get an idea of what they looked like.

ottou812 Collaborator

ottou812

Posted
  • Author
Posted

Do I gather then that it possibly being late Edo would be more desirable than if it were made in 1970 ? ( for example)

 

Nope. Just trying to pin down a period that this artist worked as so far no one has ideas who exactly this Tomotsugu was.

Curran Grand Master

Curran

Posted
Posted

Ford,

 

Thank you for the breakdown of your reasoning. The plate and the precision definitely made me think of Yonemitsu's work, though I've only seen three or four. I've wanted to own one.

It has been told to me that Yonemitsu produced very few tsuba. Perhaps as low as 30 or 40.

 

Ottou812 (it isn't posting your name on my screen)-

If you or anyone you know well is an NBTHK member, you would probably do best to write to the NBTHK and inquire about the signature. A polite letter would probably yield much better insight at less cost than shinsa. I've done so on a tsuba or two in years past.

 

In terms of what your seller may or may not know about the tsuba, to be very honest... I think it probably has more notoriety and monetary value as a Yonemitsu or skilled student of Yonemitsu work than it does as a late Edo Higo work. If the seller believed it to be late Edo Higo work, then that is his/her minor mistake in your favor.

 

This is just my opinion. The technical rendering of the tsuba and the signature itself both make me think 20th century of a skilled tsuba artist.

 

Curran

  • 4 weeks later...
Soshin Grand Master

Soshin

Posted
Posted

Dear raven2,

 

I fully agree. Even if it is of a modern production it is still a wonderful tsuba that I myself would love to add to my collection. At sometime in the near future I would like to add some quality tsuba from the Meiji, Taisho, Showa, and Heisei periods. Thank you for sharing and having a wonderful discussion. :thanks:

 

 

 

Yours truly,

David S. (Soshin)

  • 3 months later...
This thread is quite old. Please consider starting a new thread rather than reviving this one, unless your post is really relevant and adds to the topic..

Join the conversation

You can post now and register later. If you have an account, sign in now to post with your account.

Guest
Reply to this topic...

×   Pasted as rich text.   Paste as plain text instead

  Only 75 emoji are allowed.

×   Your link has been automatically embedded.   Display as a link instead

×   Your previous content has been restored.   Clear editor

×   You cannot paste images directly. Upload or insert images from URL.

Loading...
×
 Share
Go to topic listing
×
×
  • Create New...