6 replies to this topic

[roger dundas]

I have seen two or three examples of this design, one on Shibuiswords- tsuba and one on NMB on September 27, 2006- a long while back..

 

70 x 69 x 4mm.

 

Late muromachi- early edo maybe, that's if the darn thing is for real which I believe/hope it is.

 

For all that , I'm pleased to have it if it is real.

 

Roger D

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[ROKUJURO]

Myochin period-shoami school or sukashi

Roger,

I don't quite understand your question. MYOCHIN is a school, not a period. SUKASHI is a design style featuring openwork on TSUBA.

[roger dundas]

Here is where I get a bit embarrassed about terminology and thanks for your response Jean . The period of the piece particularly is what interests me, the schools not so much because schools haven't been properly sorted into  my mind at this stage and maybe never will . As for workmanship, that can be a beautiful thing to admire but the discussion very recently involving Ford pointing out the features of outstanding work compared to the features of just good work was really interesting because if your ideals are highly refined then you have the benefit of recognizing and enjoying the very best but possibly not so much something less than the best ? I think Brian intimated this point.

I have to be careful here or I may be embarrassed again.

It is really the period of the tsuba I'm interested in, trusting that it is a true and reasonable example.

Roger.

[roger dundas]

I am just interested to know if I should be enjoying this piece which I do (one of the first bought) or look at it in some other way ?

I can 'cop' criticism of it or me (been practicing much of my life) but prefer it if done gently.

Seriously though, I would appreciate any information that someone might offer.

Thank you,

Roger D

[ROKUJURO]

Roger,

it is a difficult one, I think. Earlier schools are often related with (relative exact) time periods, while later ones are sometimes difficult to differentiate from each other. Design elements had spread around in the country and in the TSUBASHI workshops and were copied which makes an exact judgement much more difficult. 

In your TSUBA I see features like the SHINSHU droplets representing water spray on the waves. The way this is carried out reminds me a bit of ONIN TSUBA - not saying this could be related to that style but perhaps the artist had something like that in mind. The design - waves and a water wheel - is a common one and was used by many schools. The heavy corrosion does not make it easier to find an assessment, but my gut feeling and the fact that some of the brass inlays have fallen out leads me to believe that it is not an early TSUBA, so my guess is somewhere about 1750 or later 

This opinion is a bit bold, so I am happy to be corrected.by our experts.  

[roger dundas]

That was kind of you Jean to offer an opinion coupled with the reasons for same. Information formed from your own observations and considerations and I get access to it with minimal research on my part. This NMP is a wonderful invention. Again thanks- mind you I was hoping for an earlier period.

Never the less it seems to be the 'real thing'.?

 

Roger D

[ROKUJURO]

Roger,

I have no doubt your TSUBA is a genuine one. I want to add that the execution seems a bit rough which is very probably intentionally. The fine or even elegant design is in contrast to this which makes me believe that we have a later TSUBA here. This is just my uneducated opinion; it could as well be a revival piece or having been made by an apprentice of a renowned school, using the design of the master. 

To get a well founded assessment, please ask Ford Hallam.