Tsuba Masterwork

[Eric H]

For the appreciation of a masterwork...though not in my possession

 

Eric

[Ford Hallam]

Hi Eric,

 

great piece and good pics. Thanks

 

Apart from the mei; Myoju, why is this a great masterpiece then?

 

As an aside, I'd point out some interesting similarities with certain Higo artists too....

 

regards,

 

Ford

[paulb]

I have to confess when I see this described as a masterwork it makes me realise why I focus on swords. I am sure this is my failing but I can see nothing in this that attracts. The design is "clunky" the textrue of the iron course and from the image the colour looks poor as well.

I am sure I am being sacrilegious but I wonder if it lacked the mei what most people reaction would be. It has feeling of "the emperors new clothes" about it.

Please enlighten this ignorant non-fittings person. Why is this thought to be so good?

thanks

paul

[cabowen]

I enjoy the interplay between the rustic and the refined; the tension it creates is very dynamic.

[sanjuro]

Like Paul I sometimes struggle to see the greatness in some tsuba that are vaunted as masterpieces. Yes I know what I should be looking for and I can more often than not, appreciate the quality of the material. Design however, and the elements of it, the tension between geometric shapes as this one demonstrates coupled with the delicacy of the fine inlay work, sometimes leaves me cold and wondering what I am missing. This tsuba, and I mean no offense to the tsubako or those who appreciate his work, does not 'do' anything for me. To be honest, only a few tsuba 'do' anything for me. Though I respect others who can see in tsuba what I cannot, I wish I could myself develop an appreciation of the finer points of tsuba as an art form.

Books that I have read on the subject ( Yes there have been a few) have not filled this black hole in my appreciation of tsuba. Perhaps I am just not a tsuba type person. I do however continue to strive for an appreciation.

[Mark Green]

Hi Gang,

To me, it looks like a whole lot is missing from this tsuba. Much of the inlay is gone, making me wonder how much more inlay there was. A lot of the texture does not look man-made. It looks like age and rust may have taken it's toll.

The mei looks much crisper then the tsuba on the whole.

Is this a known, papered?, Myoju?

I have never seen it before. But that doesn't mean anything.

But I have seen quite a few known, Myoju tsuba, and this one looks kinda simple for him.

So, I'm wondering as well, what would make this a master work of such a master.

 

Perhaps Ford would fill us in, as I know this is one of his favorites.

[christianmalterre]

Well,

 

Eric is for certain right in his personal attribution and evaluation in an "Masterwork" in fact.

Umetada works are actually disneglected for quite unappropriate reason-Point 1

Umetada works are in construction of forge and metallurgical characteristics in many cases quite equal to the early Owari-Point 2 (Reson? (known-so no need to reintroduce)

The sole problem with Umetada is the politics-that is all.

Me,too i would attribute this very Tsuba to the better if not much better ones and do fully agree with Eric.

 

(Just by the way- Ford:-it seems me they do not really understand your´s little remarks quite well,Not?

Keith:-do not worry please-just Keep Going!-nothing to neglect till yet.)

 

Christian

[Steve Waszak]

Agreed. Masterwork. The subtleties this tsuba exhibits are exceedingly impressive, from the nuances involving its overall shape to the various relational details concerning the placement of the sukashi, the dimensions of the sukashi, the finish of the metal (I don't think it's as degraded as it appears; I think much of this is deliberate), and the "unfinished" aspect of the zogan. The contrast between the rather formal, upper-class tastes expressed via the tsuba's shape, sukashi, and perimeter work near the mimi (note that this bori/design also extends onto the mimi itself), on the one hand, with the "weathered" metal of the surface and the "missing" inlay, on the other, allows this tsuba to achieve a loftiness of aesthetic expression achieved by few others. I will agree that the photos could be better, but its qualities still shine through even these less-than-ideal images.

 

Incidentally, as Umetada Myoju was a celebrated artist/smith in his own time, working in Kyoto, and given that his reputation never sagged after his passing, it seems unlikely that any of his works would be allowed to rot away in some untended tansu. This consideration, then, lends credence to the reading of this tsuba, in its current state, as presenting the aesthetic it currently does (more or less).

 

Thanks for presenting this, Eric...

 

Cheers,

 

Steve

[paulb]

Thanks to everyone for your views and explanations as to why this work is considered a masterpiece. I think the references which appeared in several post describing the "natural" appearance of the metal is where I am struggling.

last year at a UK meeting of members ofthe NBTHK we were given a fantastic prsentation about Higo tsuba (apologies to the speaker but I have lost thier contact details and name) One of the pieces he used to illustrate a particular work had a large flaw in the plate from the original forging. He went to great lengths to explain how the presence of this naturally occuring fault enhanced the beauty of the piece.

This is where I have a problem. For now nearly 30 years I have scrutinised swords looking at the perfection of the surface. Any fault as a result of the forging or poor treatment was and is detrimental to the piece and if a result of manufacture reflects badly on the skill of the smith. I could not imagine ever looking at a hole in a blade and thinking it added to the aesthetic charm.

I appreciate that there are issues relating to functionality faults in blades weakening their performance etc but on a pure appreciation of the aesthetic there is a complete contadiction in what is accepteble, even desirable in a tsuba of this nature and a top quality sword.

Dont misunderstand me, I greatly enjoy many more natural and flowing sukashi designs and the quality of good iron. It is just in the more extreme areas (Yagu is another example) I find the roughness of the material and flatness of the composition is beyond my ability to appreciate.

[Lorenzo]

A good tsuba, but I really don't get why you call it a masterpiece :?

[christianmalterre]

Paul,

 

thank you!this is an excellent post-to be very honest-i think you will not get an appropriate answer ever.

Reson is how and why you look and what you personally do have for importance in an object.

You may be an just interested,an specialised collector on one single school,an dealer,an curator or restaurator with special focus/so each one of those has got and will have other partially parallel,partially contrary interests.

What do you think?

 

Christian

[estcrh]

For now nearly 30 years I have scrutinised swords looking at the perfection of the surface. Any fault as a result of the forging or poor treatment was and is detrimental to the piece and if a result of manufacture reflects badly on the skill of the smith. I could not imagine ever looking at a hole in a blade and thinking it added to the aesthetic charm.

What a wonderful statement..I have been trying to do the exact opposite...accept the fact that there is no such thing as perfection and that flaws (in both people and objects) are not only natural but needed and that the lack of a flaw is unreal and only an illusion.

[Ford Hallam]

Paul,

 

it might help to consider that the aesthetics that would more reasonable apply in relation to tsuba, specific genre and schools, is very different to that which informs appreciation of blades. I get the prize for stating the blindingly obvious...I know :D

 

In reference to Umetada, and I made an oblique reference to Higo which only Christian seems to have twigged , the predominant aesthetic taste is derived, I believe, from ceramics, or pottery.

 

This translates as a focus on the material qualities inherent in the metals, a striving to "uncover" an authentic and un-contrived surface and the willingness to accept what the process and the material gives you.

 

As regard this particular tsuba, while I have studied Myoju's work quite intensely recently, from a purely aesthetic and technical point of view, I can't say I am particularly impressed by this one. I'll post a couple of similar, iron, examples that bear a similar mei, for comparison.

 

regards,

 

ford

[paulb]

Hi Eric,

Damn and there was me believing I was perfect for 50+ years :D

I fully agree that all things contain imperfection, what I should have more accurately said is that I look at blades trying to find imperfections. The difference being if I find them in a blade I do not regard them as a cause for celebration.

I know I have a very long way to go in trying to better understand his subject, but I am trying and I hope it is more useful to ask the question rather than remain in ignorance.

 

Ford,

Thank you for the ceramic explanation it was very helpful. I look forward to seeing other examples

[estcrh]

Paul, I have found that as I get older and as my eyesight gets worse my ability to spot flaws is the only thing that has improved? Like you I also have recently been trying to understand subjects that I previously had taken for granted, there is always room to learn something new.

[cabowen]

I would agree that the aesthetics of tsuba appreciation are more akin to pottery in general and tea ware in particular, as well as all other traditional arts with roots in the wabi-sabi aesthetic. Flaws in blades are judged as they are in tools; manufacturing faults are seen as hindering the performance and function. With lives at risk, the functionality takes precedence.

 

The natural patination and corrosion are of the utmost important, along with the flaws that have occurred "naturally", because it gives the piece what the Japanese call "aji"- flavor, or character in this case. The wabi-sabi aesthetic is all about natural decay, imperfection, and organic form and process. It is about entropy with grace.

 

It is like zen art, sumi-e, and haiku: the universe in a cup of tea. The few lines that allow us to complete the picture in our minds, or the few words that speak volumes. From the simple imperfections, the patina, we get the "taste", a "flavor" and we are reminded of the human condition, of our ancestors, of the evanescence of life. It is a stimulant of the senses, of the mind....

[Mark Green]

I wonder, Are there any pictures of the other side???

 

Steve, it seemed to me like you were suggesting that the inlay was in that unfinished state on purpose. Is that what you were alluding to?

 

And, I'm more than sure, that if this tsuba had come to the west after WW2, it could have sat in some damp basement for 50+ years. Adding quite a bit to it's character Regardless of who made it. I have seen it happen quite a bit.

 

Do we call all tsuba made by 'the' M-man as Masterworks? Even those he made early, and may be wrecked by age or misuse?

Personally. I think this tsuba is very nice. I would love to have seen it in it's prime. Still very pleasing to look at.

But, in my opinion, this one is way down the line of masterworks for Myoju.

Thanks for posting Eric. Please see if the other side is pictured somewhere, if you will.

Mark G

[christianmalterre]

Mark,

 

just have an look to Japan-it is online since several months already-Seiyudo

 

Cheers

 

Christian

[Mark Green]

Thanks Chris,

I found it.

 

http://www.seiyudo.com/TU-08081.htm#

 

http://www.seiyudo.com/TU-08081.htm

 

Wow big crack, and split in the seppa. It has sure seen better days.

Just goes to show what kind of cash, good old Myoju will bring.

 

Talented fella!!!

[Martin]

Here is the link: http://www.seiyudo.com/TU-08081.htm

 

++++ okay, Mark was faster ;o) ++++

[Ford Hallam]

hmmmm....interesting, only hozon

[Soshin]

I would just like to say that after looking at more photos of the tsuba on the seiyudo.com website I find it wonderful and only a little outside my price range. Just kidding more like way outside of my price range... :lol: Thanks for sharing and the interesting discussion.

 

 

 

Yours truly,

David S. (Soshin)

[Steve Waszak]

Steve, it seemed to me like you were suggesting that the inlay was in that unfinished state on purpose. Is that what you were alluding to?

 

Hi Mark,

 

Oh yes, this is not all that unusual, actually. To deliberately "leave out" inlay in spots is to pursue that wabi-sabi aesthetic, something akin to potters deliberately gouging the foot (or lip) of a tea bowl. Myoju was known as a master of inlay, at least on a par with the ko-Shoami. I find it unlikely, though not impossible, of course, that so much zogan would have "fallen out" of the tsuba... Just my opinion, of course... ;o)

 

Cheers,

 

Steve

 

P.S. Ford, a piece's having attained "only" Hozon status doesn't mean that's all it merits; it simply means it hasn't been submitted for higher papers, no? Or am I wrong about that?

[Markus]

I find it unlikely, though not impossible, of course, that so much zogan would have "fallen out" of the tsuba.

 

I strongly assume that there was originally more zôgan on this one. The aesthetical concept of

this interpretation was already introcuded by the Ko-Shôami group. It is based on a contrast of

round (the shape of the tsuba), angular (the masume), and round (the tsuka/saya) when worn.

This concept got later a lyrical name when adopted by the Higo artists, namely "sugimori-hôen"

(杉森方円), meaning about "cedar forst in an square" (see pic below). Otherwise it is just called

"masume" (枡目), "measure" or "square".

 

 

 

Or take a look at this link, a nice example for a typical Higo-koshirae:

http://www.choshuya.co.jp/sale/sword/10 ... nemoto.htm

[Steve Waszak]

I would agree: more zogan, but not necessarily zogan everywhere we see the carving "to be inlaid."

 

Steve

[Markus]

Yep, surely not a perfect zôgan design.

 

For the purpose of comparison, two other Umetada-tsuba

with the round-square-round concept. Both are signed

"Umetada" to the right, and "Myôju" to the left of the seppa-dai.

Please take a look at the raimon-zôgan along the rim. Its hard

to say of there was such a zôgan on the piece in question or

if this part was accentuated only by carvings?

 

[Steve Waszak]

Great images, Markus. Thanks for posting these... So hard to say without having the pieces in hand, and even then... Actually, if these were works of the mid-Muromachi, I'd be more confident of this loss of zogan actually being purely loss of zogan; but because Myoju was a Momoyama artist, the question becomes clouded, as the Tea aesthetic was so ascendent then. The power of the unfinished statement was a fairly major aesthetic ideal in those times... Thanks again for posting these images, Markus... )

 

Cheers,

 

Steve

[Grey Doffin]

Speaking of squares within circles and purposely missing inlay, this is an unsigned tsuba I recently picked up. There is no evidence that inlay is missing; I believe it was made this way. I'm sure that if the squares were complete I'd like it less.

Grey

[Steve Waszak]

Cool tsuba, Grey. Thanks for posting. Any attribution?

 

Cheers,

 

Steve

[Ford Hallam]

I would agree that the aesthetics of tsuba appreciation are more akin to pottery in general and tea ware in particular, as well as all other traditional arts with roots in the wabi-sabi aesthetic.

 

Just to clarify, ( note the underlined qualifier) We're not speaking of all tsuba but specifically those that are expressive of the philosophy of Tea.

 

I would also suggest that much of the work of Umetada Myoju, in soft metal and featuring his characteristic painterly inlay, is not influenced by tea ware but the somewhat some of the more flamboyant painting schools.

 

There is also some question, in some circles, as to whether the tsuba that bear his mei are in fact by the same hand that made the swords. Personally, I see the greatest similarity in his inlay designs with the paintings of Ogata Korin. The problem with this link is that Korin lived from 1658 - 1716 while Umetada Myoju apparently lived from 1558-1631.

 

For myself I find some very suggestive stylistic and technical traits in this work and that of certain Higo masters. The Early Higo masters were coming to the fore at the same time Ogata Korin was active. It's also interesting to me to note that the use of enamel is associated with the Hirata, albeit the later generations, and we also see a few remarkably similar tsuba with enamel that are signed by the Myoju. Could the legendary tsuba -shi known as Umetada Myoju really be a clever marketing ploy by an early Higo artist? Providing " bits of the true cross" where there was a demand.

 

If I then also consider the various tsuba ascribed to Miyamoto Musashi (1584–1645)....well, other than tradition there is no real evidence that Musashi made tsuba and the works could all, far more plausibly, be attributed to one or other of the more, well documented, Higo tsuba-shi.