zanilu

I would also add to the list the 5: Accumlated curd or dirt on the sukashi walls as a way of establishing a tsuba age. As for the rust another factor that have to be considered is that the composition of the iron used can vary between tsuba and tsuba, even among the same school, due to the iron processing method that were pre-industrial. Even today two batch of the same alloy are never exactly the same, the composition of an alloy is always given by ranges of components. @Curran it would be really interesting and instructive if you can elaborate with examples. A small essay would be wonderful, if you forgive my impudent request... Luca

If I have not already overspent on a Wahida tsuba I would jump on it even though I am not collecting Higo tosogu... Like you Curran I am wondering why it has not gone yet... Luca

Hera are some of mine Tosho, cherry and plum blossoms Umetada, plum blossoms. Katchushi , kukurizaru under the rain Nobuie, Tortoise shell pattern with sakura. Nobuie, gourds, arabesque, clumps of bamboo leaves, and tortoise shell pattern on themimi I hope you enjoy them. Regards Luca

Never use vinegar when patinated copper alloys and brass are involved you can destroy the patina for good! You very quite lucky that you recovered the patina at all. In most cases it is lost forever In general never apply chemicals at all. Regards Luca

Emil do not worry about not mentioning the dealer. I think most of was able to recognize the dealer by the style of the pictures alone... More so after you posting the "certificate". For the tsuba to me it seems to me a post Edo, maybe late Meiji to early Showa, not a fake per se. Regards Luca

Two birds (those with the circular heads) taking shelter from rain on a pine tree?

You are probably right Piers! Since any Christian iconography have to be disguised for obvious reasons, it is probable we will never know. If we can see the reference to Christian religion also will any Bakufu official, if well idden it will be also for us! Regards Luca

Thank you for the clarification!

If I have to bet I will go for Heianjo Zogan more than Yoshiro... Even though Onin or one of the Shoami branch could not be discarded. Brass hira zogan was done by many. Attribution often can be a mess... Sometimes even NBTHK have done "strange" attribution... Regards Luca

Thank you for the information @Yumso. I looked briefly into it but I can not understand how 1 and 2 can be related! Can you elaborate a little bit more?

Thank you both Piers and Moriarty. I will check both possibilities. Luca

Dear NMB members, I have recently acquired a small tsuba, measuring 67 mm x 64 mm. While it appears to be Heianjo Zogan, I believe further study is needed to confirm its classification. The seller suggested that the design might be a hidden Christian motif, given the presence of two distinct figures amidst the arabesque patterns. But I have some doubts about that. One of the figures seems to be riding a horse - though I am not entirely sure, as this impression changes depending on how I view it - while the other figure appears to have a raised hand. Both figures seem to be wearing a billowing scarf around their shoulders and heads, which reminds me of the depictions of certain gods, such as Benzaiten, in Japanese art. Unfortunately, Japanese folklore and iconography are areas where my knowledge is quite limited, and I realize this is something I need to improve upon. I would greatly appreciate any insights or guidance you can provide in identifying the theme of this tsuba. Best regards, Luca

If you look at the very first picture posted, it seems to me that the depression between the lobes goes well with your thumb and index fingers to hold the tsuba when the sword is in the saya. Just an observation from the Iaido practitioner point of view. Luca

I have received an email from Ford patreon channel. The message was from Isabella, unfortunately I do not think it wad a fake, I wish it was... Luca

I do not know if I am entitled to do this post but from Patreon I learned of the passing away of Ford Hallam! (https://www.patreon....315&utm_medium=email) I am sad about is departure! He was a great artist and artisan and will be greatly missed!

I always use "Metal Craft" to avoid any misunderstanding and deflect overzealous custom reaction... Regards Luca

Yes Jake. It is. The inlay is suemon zogan it brassi is not level with the iron surface but it is protruding from the surface. Regards Luca

My NBTHK papered Ono tsuba. Dimensions 71.3 mm x 71.0 mm, thickness at seppa-dai 4.5 mm, at mimi 7.5 mm. Regards Luca

50+

Thank you David. This cover the omote side, on the hura there are squirrels and what looks like some kind of water melon on trellis. Regards Luca

Hello everyone, I would like to share one of my latest acquisitions with you. Dimensions: 78.6 mm x 80.3 mm, thickness 3.1 mm at the mimi and 3.2 mm at the seppa-dai. Initially, when I saw it on Yahoo Japan, my first hypothesis was that it was a Heianjo Zogan tsuba with suemon-zogan brass inlay. However, upon receiving it, I noticed a silver-like coating covering parts of the brass inlay. It appears that this silvery layer originally covered the entire inlay but has been abraded over time, now remaining only in the lower, more protected regions. Interestingly, some silver can also be found on the copper seki-gane, which on one side also shows traces of black lacquer. It seems that silver was a later addition, possibly applied via mercury gilding, which has worn off from the higher points over time. I would highly appreciate your opinions on this. It can be still attributed to Heainjo Zogan in spite of the silver addition or its presence points for a different attribution? How will you describe the decoration that looks like squirrel with gapes and melons in trellis? Which is the correct way to describe it in Japanese? Best regards, Luca

Yes You are right Piers. The second one say Heianjo zogan my mistake! For that one my assumption is that this is due to the lack of the mon that have probalby fallen off. But this only adds to my confusion! Comparing the first one with the others I see no particular differences that can justify the attribution! I have added only a few of those I found! Regards Luca

That's exactly my point Dale. We have a lot of attribution from NBTHK of these kind of pieces, all mumei, to Yoshiro and then this one attributed to Heianjo! Attached are the papers for a few of them from my database. The question is why this piece have a different attribution? Regards Luca

Dear All I have seen this tsuba for sale on Yahoo Japan. To me it looks clearly as a Kaga Yoshiro piece but it comes with an NBTHK paper to Heianjo Zogan! What am I missing? Do you see any particular reason for the attribution? Regards Luca

The largest in my collection: Edo period Katsushi 105.0 mm x 100.0 mm , thickness at seppa dai 2.5 mm, at mimi 3.3 mm. Edo period (Early?) Heianjo Zogan 102.5 mm x 102.3 mm, thickness at seppa dai 4.2 mm, at mimi 4.0 mm. Regards Luca