Identify kao alone?

I have had this one for a while, and have never succeeded in identifying the kao on it.

I have been through Shosankenshu, but after a hundred kao, the mind boggles and starts seeing things.

Does this look familiar to anyone? The tsuba has (notwithstanding the patina damage at the seppa dai) a lovely and reflective patina which makes it hard to photograph. Very deep reflective mirror-like with a lovely coloration.

I doubt I would ever be able to repair the lost patina, as I am sure it is chemical based and not age patina like iron. I am not sure of the metal. One of the soft metal alloys, maybe shibuichi? (color blindness doesn't help in describing it :lol: )

Any info is much appreciated.

Brian

Brian -- you were on the right track. Joly's Shosankenshu is a great source for finding kao (kakihan) but as you say it is a bit tiring on the eyes. Aside from that you could go through Haynes which is three volumes! LOL

I really don't know of any other way to find the maker other than luck. You're probably just as well off enjoying the piece as is --- and leave the patina alone!

(I am beginning to think this 'restoration' thing is due to all the home improvement shows on TV)! LOL

Pete

Thanks Pete, that's what I was thinking too. Don't have Haynes yet, although it is high on my list to get next.

I was hoping, (since I think kao are often made up of a combination of kanji mixed together) that someone might have a clue.

Agreed on the restoration. In this case, I was thinking more of the very long term soft cloth/pocket carry/open air method used to promote natural patinas on iron, and not any artificial chemical patina. But this would not apply much on soft metal tsuba like this I think, since the coloration comes from treatment and not age?

Have no problem enjoying it as it is

Btw - the darker areas are just reflections while taking the photos. It is actually a very even color except for the middle where the wear is evident. It reflects objects like a mirror.

Regards,

Brian

Iron vs. soft metal -- two different schools of technique. What works for one has no effect on the other or possibly a disastrous one. In the case of shakudo handling can actually help darken the piece over time as the oils in your hands act as a patination agent, although from what I've been told this also depends on the time of fabrication of the piece as the alloys changed affecting this outcome. Different patination chemicals were used on different alloys of copper to yield the different colours. I am guessing this is a form of shibuichi with the mirror effect. Ford would be best to comment here as he knows the processes from his study and use.

I have gotten the feeling that there must be some form of kanji integration into kao but there's a lot of artistic license involved so it's way beyond my abilities to make any sense of it. I would also be interested in knowing more about this.

Pete

PS: It is best to never use any form of abrasion on soft metal, including diligent rubbing. The colour is very thin and you will be into the copper coloured base metal quickly. This can bee seen at the seppadai on many pieces. Just a word from someone who had to learn the hard way.

the " loss " of patina around the seppa dai area means the tsuba was actually used........I wouldn't fus%$# around with it if I were you.

milt the ronin

Very true Milt, good point.

Brian