WHY TWO??

[sanjuro]

A question if I may, and this from a comparative neophyte where tosogu are concerned.

 

I have noted that some tsuba, particularly those of the late Edo period and Meiji period are pierced by two hitsuana that are characteristically shaped to accomodate a kogai rather than one for a kozuka and one for kogai. Is this simply a decorative thing where the two piercings are matched but not intended to be used? The question arises because I cannot think why any one sword mounting would accomodate two kogai, there being no apparent reason to carry a duplicate. I also note that this peculiarity does not seem to occur in older tsuba.

 

Explanations would be most welcome.

[John A Stuart]

That is just about the gist of it. Convention. John

[sanjuro]

LOL. Rather disappointingly simple.......... I dont quite know why, but given the general complexity of things nihonto, for some reason I was imagining a more complicated explanation. Thanks John.

[Soshin]

Hi Keith G.,

 

I only have one tsuba with two kogai hitsu-ana. I don't think it is late Edo Period more then likely a middle Edo Period from my opinion based upon the character of the iron and the rust on the insides of the sukashi. This doesn't rule out the fact that this could still be a general characteristic of a younger tsuba. Here is a photo of it for your reference. I do remember reading that this double kogai hitsu-ana is often seen in works of the Shoami schoool. Hope you find it helpful.

 

 

 

 

Yours truly,

David Stiles

[sanjuro]

David.

 

Most interesting thanks, and you confirm at least my impression that this is a feature of later tsuba rather than earlier ones. The question arose in my mind when comparing illustrations of tsuba that have hitsuana in determining how the hitsuana and the seppadai have evolved in shape and also relative positioning throughout the ages. Those illustrations I have consulted were indicative of the double kogai hitsuana being a later development. Johns observation of it being a convention plus yours confirming that it is apparently a later development as I suspected, explain it, but unfortunately do not shed light on what caused that development or created the convention. May be its one of those questions whose answer lies either in such a commonplace fact that it was never recorded, or it was simply something that just came about without a specific stimulation arising from usage.

[Soshin]

Hi Keith G.,

 

I do think the shape of the kogai and kozuka histsu ana can be used to help date a tsuba if they appear to me original to the tsuba. This appearance of originality is based upon the fact that they don't cut through or disrupt a design element. Here is a tsuba I have in my collection which I am dating to the Late Morumachi or Momoyama Periods (circa 1500-1615) with Ryohitsu-ana that were likely added not that skillfully sometime during the Edo Period. More information about the tsuba can be obtained from my website. The specific itomaki design has been rendered in Momoyama Period clothing and artwork. Henry W. can provide more information about that.

 

 

 

Yours truly,

David Stiles

[sanjuro]

Isnt it always the way of it that when you think you have a perfectly good hypothesis in the making, further information comes along that shoots it all to hell? I have had it pointed out to me by someone who knows infinitely more than I ever will about tsuba, that there are quite a few examples of twin kogaibitsu on tsuba prior to the Edo period. Notably works by Sadahiro, Nobuiye and Yamakichibei all of the Momoyama period exhibit this feature. So much for twin kogaibitsu being a feature of later tsuba. :?

[Soshin]

Hi Keith G.,

 

Good advice. Keep in mind that the first tsuba I posted was sold to me as a Momoyama Period tsuba. This was based upon the judgement of much more senior person then myself. I do know that the design is a very early one and have been observed in Ko-Katchushi tsuba that predates the Momoyama Period and lacks the double kogahitsu-ana.

 

 

 

Yours truly,

David Stiles