Leather Tachi Tsuba

[Justin Grant]

I was browsing some links on this site and was taken to a site that had a collection of tsuba, one being a leather tachi style and very nice (in my opinion). The site referenced this as a Momoyama to early Edo piece, but the research I have been able to look up reference them as mid to late Edo. Being a novice, I am looking for opinions. I love the look, just not sure on the timeline.

 

http://www.yamabushiantiques.com/BM_Ner ... 0Tsuba.htm

[John A Stuart]

This site of Jim Gilbert will fill in most questions, Justin. http://home.earthlink.net/~jggilbert/nerikawa.htm John

[Justin Grant]

John-

 

Thank you for the link. Still leaves me to question the time issue on this one. I would gather from the article that most all were lost to time, so for this one to survive would be odd.

 

HUMMMMM

[cspage]

Justin, I'm sure it would be fine to e-mail Boris Markasin and pose the question to him. He is friendly and receptive to questions. I have purchased tsuba from Boris and I just had a "conversation" with him this morning about another tsuba. He was most helpful.

 

Colin

[John A Stuart]

I am not sure how a date for the tsuba at Yamabushi was derived, but, there are always revivals of particular types of tousogu and koshirae as satisfies the whims of the customer. This may be one such and why most seen are made during the Edojidai. John

[Justin Grant]

Hi Colin-

 

I have e-mailed, but no response yet. Just checking my facts before I have a detailed conversation.

 

Thanks!

 

me

[ottou812]

I have seen one in almost pristine condition by one seller. I almost bought it.

[bridgeofdreams]

Justin,

 

Having known Boris for some time, it ought to be pointed out that he is a scientist by training and approaches these studies with the same critical eye and rigorous methodology. He has published several articles on kodogu that take this empirical approach to the subject matter in a way not usually seen in even some of the best writing on the subject.

 

I don't know anything about this nerikawa tsuba, but I suspect Boris has very specific reasons for dating it as he does. This might have something to do with provenance, something that's not discussed much in Nihonto-related circles, but can have great importance in establishing authenticity.

 

I do know that in listing my own items for consignment sale, Boris dated a kozuka at least a couple of hundred years newer than Bob Haynes had, and he had very good reasons for doing so.

 

 

Craig

[sanjuro]

A comment above expressed the opinion that most Neri tsuba had been lost to time. Whilst that is largely true, Neri tsuba were far from fragile. Boris himself owns a sword which came from the bottom of a lake in Japan and dates back to the late heian period or early Kamakura. The blade is rusted horribly but there is a Neri tsuba still mounted on the blade complete with its fukurin. Totally complete and with its lacquer amazingly well preserved and intact.

These were a very popular tsuba for excellent reasons. They were lite, cheap and withstood heavy service. The Kitsunegasaki sword, the O Tenta sword also have Neri tsuba.

[Carlo Giuseppe Tacchini]

Having known Boris for some time, it ought to be pointed out that he is a scientist by training and approaches these studies with the same critical eye and rigorous methodology. ...OMISSIS...but I suspect Boris has very specific reasons for dating it as he does.

 

I second Craig here. Boris arrived to put one of his swords under a special x-ray machine to

study it. Can't wait to know more about it.

 

Mistakes occurs, but Boris is usually cautious and accurate.

[george trotter]

Hi all,

I cannot comment specifically on the nerikawa tsuba itself, but can add a comment on them being lost to time. Having spent 13 years with a Maritime Musem and 26 years actively associated with materials conservators I can say the following with some certainty ...the reason a lacquered leather tsuba survived intact after centuries in a (fresh water?) lake is probably that the lacquer was pristine when it sank...no cracks or chips to allow the slow ingress of water to the leather. It is well-known that lacquerware recoverd from centuries old lake and ocean shipwrecks is often "perfect". Because there are no cracks or breakages in the lacquered trays,boxes etc, no water can get in to attack the wood inside. Perhaps a strong reason so few nerikawa tsuba have survived "on the land" is that they have more opportunity to be chipped and cracked in everyday use, which allows rain/humidity to enter the interior?

Lacqerware recovered from salt water must still be appraised for salt penetration (it can enter glass and fireglazed ceramics too)...if not extracted the material, including lacquer I would imagine, can see the growth of salt crystals in the atmosphere and so slowly "flake to death".

regards,

Geo.

[BMarkhasin]

Hello everyone,

 

I joined so I could reply to this posting and clarify a couple of points. I had received Justin's email and I hope answered adequately, but let me reiterate as there is a paucity of information the subject of Nerikawa tsuba in any language. Actually Jim's article on Oyamazumi Jinja collection is the only one I am aware of illustrating a selection of old neri tsuba.

 

Age dating nerikawa tsuba is very problematic because there is not a documented history or traceable progression of technique or material useage in this group. The only real way to do it is radiocarbon dating. However, we can ask a series of questions and narrow down the possibilities.

 

From a historical perspective, neritsuba were utilized (we can deduce) quite frequently in antiquity, and their use diminished gradually as economics of production, styles and culture changed through the Muromachi and Momoyama periods. By the Edo period, neri tsuba can no longer be considered a common feature in amongst tosogu, although their production continued in a limited capacity - likely by special order. This leaves us with a paucity of extant examples since neri tsuba being totally organic in composition tend to deteriorate with time, and their popularity was largely confined to the pre-Edo.

 

Extant Edo neri tsuba tend to date to the late Edo through Meiji periods, and in terms of production were often the domain of lacquerers who used them as an alternate medium to exhibit their skills. They tend to be (from a lacquer perspective) detailed and show a great skill in execution. They are often crisp and retain most of the lacquer which is often in excellent condition and can exhibit a wide range of colours and techniques. Pre Edo neri tsuba exhibit the prevailing aesthetics of the time. Thus they tend to be austere in colour, traditional in form and far more limited in ornamentation... just like the contemporary uchigatana or tachi koshirae they adorned. As with many old lacquers, the colour has begun to change (lets call it patination for lack of a better word). Black lacquer tends to patinate to a taupe or brownish hue. Brown lacquer will patinate to a chocolate or slightly reddish brown hue (this is just a range, so don't hold me to it strictly), etc...

 

Although this can't be applied as a rule, older neritsuba tend to be composed of 4-6 relatively thin layers (I think I initially wrote 3-5 layers, but that was a long time ago and I should update it). I also have my suspicions that the type of leather used was different in antiquity - ie. leathers resistent to swelling or contraction for servicable tsuba.

 

The above are tangible factors to consider. There is also a good deal of intangible 'gut feel' to the dating of these tsuba. You have to be exposed to the old and new to develop an eye. Visits to jinja is critical, as is physically handling old pieces, and this is unfortunately not in most people's ability. These things need to 'feel' right for the period and fit into the collective styles and aesthetics for their suggested periods of manufacture.

 

In the case of the specific tsuba mentioned, the lacquer has begun to change hue, the tsuba is quite robust and generally austere, with minimal lacquer complexity -- small brownish mon are present. The form is a classic style which is not itself particularly indicative of age, but becomes more common in the late Momoyama and Edo periods. It lacks the crispness of Edo work and suggests considerable age. The hitsu ana and plugs are later additions. The tsuba does not feel or look like Edo examples I have handled in the past. It also does not look or feel like Nanbokucho and Muromachi examples I have handled or seen in jinja collections.

 

SO... I assign a relatively broad date of latest Momoyama to early Edo ca. 17th c..... a defensible position. I hope this helps.

 

 

Finally, as a point of clarification, a reference was made to a tachi in my possession dating to the late Heian/ Kamakura period with a lacquered neri tsuba. The piece in question actually has an iron tsuba rusted to the tang.

 

Best Regards,

Boris Markhasin.

[John A Stuart]

Excellent reasoning Boris. Welcome and it is good to have a Calgarian aboard. John

[BMarkhasin]

Gents,

 

Here is a link to an ongoing auction featuring a nice late Edo period nerikawa tsuba. Note the deep black shiny lacquer, the high level of detailed craftsmanship and the crispness of the piece. It appears to be made of 2 possibly 3 thick layers.

PS - I hope it was ok to post an ongoing auction here....

 

http://cgi.ebay.com/KAWA-TSUBA-Edo-old- ... 19bb25b87d

 

Best Regards,

Boris

[Brian]

Boris,

Perfectly ok. We are one of the few forums that do allow auction discussions if they are in the spirit of education.

 

Brian

[sanjuro]

Hi Boris

 

Apologies for the mistake in my quoting the sword as having a Neri tsuba. For some reason I remembered it that way from quite some time ago. My apologies also the other forumites for inadvertently misleading them.

BTW, Its good to see you here Boris

[BMarkhasin]

Thanks for the welcome guys. Its nice to see some familiar names again.

Best,

Boris.