zanilu

Dear all This little hamidashi tsuba just landed on my desk as an aside in a deal with a fellow collector. Dimensions 55.9 mm x 41.4 mm, thickness at seppa-dai 4.5 mm, at mimi 6.1 mm. It is made of concentric layer of copper and shakudo. Unfortunately there is significant delamination between the layers and the center of it is a little loose. It is decorated with a design of waves with very small gold drops, the ten zogan is very well executed. Without this defect it would have been a very nice piece. I have as few questions: The it can be classified as mokume-gane even though it just a made of concentric stripes of alternating metals? A tsuba with a similar layer arrangement in the collection of the Ashmolean collection is classified as mokumegane (https://jameelcentre.ashmolean.org/object/EAX.11192). Based on the design, workmanship and the use of mokumegane to which school it can be attributed? From a cursory research mokumegane was used by the Akita Shoami artist Shoami Dembei or by the Takahashi school (高橋派) a branch of the Edo Akao School. Any information is welcome, thank you in advance. Best Regards Luca

Ben fatto Manuel! Complimenti.

Fools are easily parted from their money...

Described as geese (karigane). Regards Luca

I will be wrong for sure, not my field of study, but since I am not scared to play the fool : #1 Nishigaki #2 Akasaka #3 Owari Ready to be corrected. Luca

This is in my collection. Papered Umetada (埋忠) by NBTHK. Dimensions 77.3 mm x 72.5 mm, thickness 2.8 mm at the seppa-dai, 7.5 mm at the mimi. All the best. Luca

I usually collect all the information on a school that I am interested in and at a certain point I feel the the need to put all toghter in a coherent form. From that to sharing it is a just a small step. Regards Luca

Having a particular fondness for brass-inlaid tsuba, I eventually added several pieces from the Washida school of fittings makers to my collection. This sparked my interest in learning more about the school and its production. Over time I gathered a fair amount of information and eventually decided to compile it into a single document, which you can find in the download section of the board: https://www.militaria.co.za/nmb/files/file/210-the-shōnai-washida-school/ I hope you enjoy reading it as much as I enjoyed putting it together. As I mentioned, given my particular weakness for brass inlay, the document is somewhat biased toward the work of Washida Mitsunaka! Just as an example of the Washida production here are the pieces from this school (or supposed to be from this school) in my collection: NBTHK Hozon to Washida. Dimensions 85.4 mm x 85.3 mm, thickness 3.9 at seppa dai, 4.2 at mimi. NBTHK Hozon to Washida. Dimensions 85.3mm x 79.2 mm, thickness 3.6 at seppa dai, 4.0 at mimi. Identical to tsuba attributed by NBTHK to Washida. Dimensions 87.2 mm x 82.2 mm, thickness 3.7 at seppa dai, 4.0 at mimi. Signed in kinzogan mei Kyozan Mitsunaka with Kao. Dimensions 87.2 mm x 77.6 mm, thickness 2.6 at seppa dai, 4.2 at mimi. Dimensions 83.5 mm x 78.6 mm, thickness 3.0 at seppa dai, 4.1 at mimi. Dimensions: 96.9 mm x 13.9 mm, thickness 4.7 mm. REgards Luca

WONDERFUL

Hi. I will not say. It was several years ago and highly dependent on the sword conditions so it is better if you contact Massimo directly. Regards Luca

Massimo Rossi polished my Yoshindo Yoshihara katana and he did an astonishing work! Regards Luca

To avoid problems with humidity I keep inside the box a small bag of silica gel that is changed periodically. Also in some cases I add the lip you mention but mainly to avoid loose inlay to snag into the fabric. But put in the perspective of providing ventilation it make sense, I have always thought them to be there to avoid friction between the tsuba and the fabric... I will add them routinely now. It is relatively easy to make them and since I am already removing the central support that goes in the nakago-ana to replace the usually present nails with wood pegs it will not be a great inconvenience. Regards Luca

No I am not. And that's my opinion.

Why you always use offense and slandering?

Tsuba are art objects and old artifact that deserve to be treated accordingly. Restoration shall be done properly with proper techniques and tools. Dealing with hundreds of years old artifacts put us in the position not of owner but of keeper. We have the responsibility of taking care of objects that will outlive us to pass them down to future generation. This sentence of yours, Dan, shows that you have completely misunderstood the heart of this hobby! I suggest you to read this thread: What it is said in this post for swords also applies to tosogu. You can call me a snob now, frankly speaking I do not care! Luca