Tsuba with this year's symbol :)

[andreYes]

Previous summer I've purchased (thank you again, Grey !) several tsuba from the collection of Skip Holbrook.

 

This one was tagged “Heianjo, rabbit & moon, Momoyama”

 

I've read the description of Heianjo Sukashi tsuba in couple of books, and it seems to me that the text description could conform to this tsuba.

On the other hand, all examples of Heianjo Sukashi tsuba I saw looks very different. They are usually more delicate, and sukashi design covers all the plate, not only a half...

 

I don't dare to dispute Mr.Holbrook attribution... Have anybody seen similar examples of Heianjo Sukashi tsuba?

 

By the way, I saw a tsuba with resembling design here - it is attributed to Shoami mid Edo.

[drbvac]

http://www.worthpoint.com/worthopedia/l ... ashi-tsuba

 

Heres are 4 that were up for auction for comparison

[mizuta]

Dont Heianjo have brass inlay?

Bernard

[Soshin]

Dont Heianjo have brass inlay?

Bernard

Hi Bernad,

The Heianjo Shinchu Zogan school does but Mr. Holbrook was referring to the old name for the Kyo Sukashi school which is Heianjo Sukashi.

I don't dare to dispute Mr.Holbrook attribution... Have anybody seen similar examples of Heianjo Sukashi tsuba?

Hi Andrey E.,

Having also purchase some tsuba from the same collection and I love each tsuba very much (thanks Grey) but I have revised about a little more then half of Mr. Holbrook original attributions. Your tsuba here I don't think is Kyo Sukashi school but maybe a nice Shoami work done with sukashi. I collect and like Shoami tsuba and have many in my collection. Thanks for sharing and discussing the nice tsuba.

 

 

 

Yours truly,

David S.

[Henry Wilson]

In my opinion that tsuba is so not Heianjo Sukashi. I would say Shoami personally.

 

Here is something I found from Tsuba Kodogu Kantei Nyumon by Wakayama Takeshi that I think was translated by the NCJSC.

KYO SUKASHI TSUBA

 

Kyo-Sukashi tsuba are open work tsuba manufactured mainly in Kyoto, Yamashiro province. Together with such groups as Owari and Akasaka, these tsuba are designated with the place name given first. There is one group of scholars who has separated the periods of manufacture into the designations "Heianjo-Sukashi” and “Kyo-Sukashi”. Although Heianjo-Sukashi are said to be one period older than Kyo-Sukashi, Heianjo and Heian-Kyo (Kyoto) have exactly the same meaning. Thus, the difference in using the name Heianjo-Sukashi or Kyo-Sukashi is nothing more than a slight nuance. At present, the general opinion is that the appearance of the sukashi technique seen in Kyo-Sukashi dates to around the Eisho and Tenbun eras (1504-1555). As opposed to the stout and rustic Owari-Sukashi tsuba, KyoSukashi tsuba are elegant and delicate. While the designs seen are always powerful expressions of refinement, they also elude attempts by the tsuba makers of other provinces to imitate them. We can thus infer the level of delicacy and elegance for which the Kyoto area is known. Moreover, we can see the type of strength these tsuba possess.

 

As for the style of workmanship, the jigane has excellent forging and the surface has a flat finish. There are also works with a hammered (tsuchime) surface and the chiseling is highly skilled with pieces that have tight and rounded carving. In comparison to Owari-Sukashi tsuba, the remarkable manner in which the refined workmanship has been accomplished can be seen in the steeply cut edges of the open work and the entire lack of useless connections between the rim and the designs and within the designs themselves. The hitsu-ana, in comparison to the width of those on Owari-Sukashi tsuba, have a tall shape, and a strong feature is the sharpness of their form. As for the mimi, the majority are slightly rounded, kaku (squared) that have a slightly narrow feeling. The designs include yatsuhashi (iris and bridges), water plantain, reeds, Japanese ginger, pampas grass, cherry blossoms, bamboo, pine trees, plum blossoms, paulownia, oak, willow, bamboo grass, maple, interlaced circles, commas, geese, family crests, waves and many other types of designs. There are no signed examples among KyoSukashi tsuba.

[andreYes]

David, Henry, thank you for opinions, and for interesting article!

 

If it is a Shoami tsuba, is it possible to determine what school it belongs to?

If its age (Momoyama) is the right guess, is it Ko-Shoami?

[Martin]

The elongated and narrow shape of the Hitsu-Ana could be an indicator of a certain age (Early to maybe Pre-Edo).

[andreYes]

Thank you, Martin!

 

 

One more question about an important attribution sign

Is it possible to tell about characteristics of iron by appearance (or by photo): soft or hard, quality of forging?

 

Concerning this particular tsuba, what do you think about the iron?

 

As I can see there is no tekkotsu, but several places on the ji makes me think about layering:

[Henry Wilson]

Personally the iron reminds me of what is seen on some Tosho tusba. The lines in the plate are probably fold marks where the plate has been worked. The metal looks quite good but to be honest I am not that keen on the motif.