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Everything posted by MauroP

  1. The comma-shaped sukashi should be a magatama (曲玉), a bead with religious significance and one of the three Imperial Regalia of Japan.
  2. Here the relevant entry for Musashi abumi. See also https://ja.wikipedia.org/wiki/むさしあぶみ. Unfortunately I'm unable to find a reference in a Western language.
  3. Hi Grev, the subject of Akasaka tsuba is 武 蔵 鐙 - Musashi abumi. The Stirrups of Musashi refers to a book reporting the Great fire of Meireki in 1657 (according to "Tsuba - Kodōgu Gadai Jiten" by Numata Kenji).
  4. Hi, another "tsuba in tsuba" piece, attribution to Kanayama (from https://eirakudo.shop/tosogu/tsuba/detail/323113)
  5. Hi Ali, welcome in the forum. You are correct, the paper is a sort of certification of authenticity. Nonetheless I respectfully suggest that 280 bucks for an almost undecorated tsuba (and you have also to pay for taxes) is not exactly a bargain...
  6. That's my library, but the books in it were acquired quite randomly... https://www.dropbox.com/s/1o3db7r4le9hytq/Japan %26 nihonto-related library.pdf?dl=0
  7. "Tsuba - Kodogu Gadai Jiten" is possibly the best reference book for subjects from Japanese artistic tradition in tōsōgu, and quite easy to find. Unfortunately it's written in Japanese. I tryed to compile an index. See here: https://www.militaria.co.za/nmb/topic/31049-tsuba-kodogu-gadai-jiten/#comment-317709
  8. Hi Mark, I think the tsuba doesn't look so bad, it could even be a ko-kinkō piece, though unmatched to a saya with kogatana slot.
  9. Another example of Heianjō-zōgan tsuba with shakudō gan-kin.
  10. @Thomas Sinclair In my database I've recorded 7 tachi-kanagushi tsuba; 3 out 7 can be oriented according to their decoration, and all are edge up (as in katana mounting). In 5 tsuba attributed to tachishi (is the same as tachi-kanagushi or not?) the only one that can be surely oriented is also edge up. So what's the meaning of such attributions is still unclear for me...
  11. Here below some examples of vertical nanako tsuba. No.1 papered as tachi-kanagushi, the others as ko-kinkō. No.2 has a sanmai construction. Unfortunately no ko-Mino example to show.
  12. The kanji read Otsuryūken Miboku Hamano. More than one artist signed that way.
  13. Here a tsuba (縄暖簾図透 - nawanoren no zu sukashi) attributed by NBTHK to Inshū Suruga school.
  14. Pretty sure that most sanmai tsuba were not produced with repoussé technique. Here below an example of an unusual large tsuba whose shakudō plates show lack of decoration pattern near the border. That's a proof that the plates were produced in standard dimension and then adapted to the "core" plate. Nontheless that kind of tsuba should be old enough to deserve a ko-kinkō attribution.
  15. About No. 217: the tsuba below is described as shi-hō warabide sukashi (四方蕨手透 - openwork of fern sprouts in four directions)
  16. MauroP

    Kaga Yoshirō

    Ben fatto Luca! I just had a look and found it a very promising paper; surely I'm going to read it thoroughly.
  17. The kin'in (the golden seal is not exactly a kaō) is consistent with Seiryuken Eiju.
  18. In my records I count 6 mumei tsuba with Hikone attribution and just one reported as Sōten (and 7 more signed Sōten). So, if unsigned, the tsuba usually takes a paper with Hikone written in it.
  19. I think unlikely the occurrence of iron casted tsuba in Edo times, but their production should be as early as the early Meiji period. Here below a surely casted tsuba from the Powerhouse Museum in Sydney, collected by the Reverend Julian Tenison-Woods in 1886 (unless a faulty record from the museum).
  20. Maybe a theme related to Satō Tadanobu?
  21. MauroP

    Genuine tsuba?

    In my opinion it looks a perfectly legit tsuba, possibly Aizu-Shõami, maybe with a partially worn out gilding of the inlays.
  22. MauroP

    Why not Shoami?

    Hi Glen, completely agree. So why not to find a way to express in a kanteisho the unavoidable degree of uncertainty in attribution?
  23. MauroP

    Why not Shoami?

    Hi Grev, you have submitted two nice tsuba, but their attribution to Shōami school can't be surely granted (of couse nobody of us wants to challenge a NBTHK paper). Here below a tsuba papered as Kyō-sukashi with a design pattern similar to your no. 1. Simply the Shōami school is hard to delimit... Here my Shōami tsuba (at least occording to a NBTHK kanteisho) which I like the best. Bye
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