zanilu

Dear all I am struggling with the translation of the mei found on this tsuba in the collection of the Victoria and Albert Museum (accession number M.203-1921). The museum states simply "signed made by Hakamaya Saburodayu of Okayama in Bizen province". My best effort came up with: 備前(岡)山住(人)三郎大(夫)作之 Bizen (Oka)yama Ju (Nin) Saburodai(yu) Saku Kore In red between brackets the uncertain missing pieces Any help is more than welcome. Best regards Luca

Here it is Piers Luca ■刀装具 鉄地 お椀形（西洋剣形）変わり形大鍔 It may be the shape that I underwent influence in a hilt of a saber. 大きさ 縦 約99.8ミリ 横 約97.8ミリ 厚さ 約2.０〜 2.3ミリ 重さ 約 １２６g お取引に関して

You can be right Dale I was just curious. Also the other items on sale have the same iron color. Maybe it is only the lightning that the seller used for taking the pictures but who knows. Luca

Jesse thickness is 2.3 mm. I updated the original post. Regards Luca

Dear all A few days ago I have seen this tsuba for sale on Yahoo Japan. I do not know exactly what to think about it. An old utilitarian tsuba, maybe tosho but without sukashi? A modern made piece? It is fairly large 99.8 mm x 97.8 mm, thickness 2.0-2.3 mm. Your opinion is welcome. Regards Luca

That is my same hope Glen. Luca

Nice piece David. I have a similar one, even though not so nice, in my collection. I have found several similar pieces all given Heianjo. Regards Luca

The attribution of FT-0097 goes to Heinajo. Glen you were right! Regards Luca

Glen Here are the papers for my tsuba with the best translation I was able to provide (if you have comments please do not hesitate) 鑑定書 Kanteisho Certificate of Appraisal 一つ 芭蕉葉文鐔 Hitotsu Bashōba Mon Tsuba One Banana leaf composition tsuba 無銘 (正阿弥) Mumei Shōami Without Signature Shōami 鉄地 変形 鋤出彫 Tetsu-Ji Kawari-gata Sukidashi-bori Iron Ground Irregular Shape Sukidashi-bori 右は當協會に於て審査の結果特別 保存刀装具と鑑定しこれを証する Migi Wa Tō-Kyōkai Ni Oite Shinsa No Kekka, Tokubetsu Hozon-Tōsōgu To Kantei-Shi Kore O Shō-Suru Examination by this organization has resulted in the decision that the item to the right is a sword fitting that is extrodinary worthy of preservation 昭和 五十年 四月 三十日 Shōwa Gojūnen Shitsu Sanjūnichi Shōwa, 50th Year, 4th Month, 30th Day (30th April 1975) 財團法人日本美術刀劍保存協會 Zaidan-Hōjin Nihon Bijutsu Tōken Hozon Kyōkai The Society for Preservation of Japanese Art Swords [. . . ] 殿 [. . . ] Tono [. . . ] Mr. 鑑定書 Kanteisho Certificate 一つ 露玉透し芭蕉の鐔 Hitotsu Tsuyutama Sukashi Bashō no Ha Tsuba One Dew Drop Sukashi Japanese Banana Leaf Tsuba 銘無銘 (塚田直鏡) Mei Mumei (Tsukada Naoaki) Signature Without Signature Tsukada Naoaki 変り丸冊土 両櫃(鉛埋) 芭蕉葉の 高肉彫露玉透し Kawari maru-satsu tsuchi Ryō hitsu (namari uma) Bashōba no takanikubori tsuyutama tōshi Irregular shape body Two hitsu-ana (lead plugged) Japanese banana leaf high relief carved dew drops transparency 右は審社に於て審査の結果上二作 と鑑定｜認定書を交付する Migi Wa Shin-Sha Ni Oite Shinsa No Kekka Kamini-Saku To Kantei Nintei-sho O Kōfu Suru Examination by this organization has resulted in the decision to the issue of a certificate for the item on the right 昭和 五十一年 三月 七日 Shōwa Gojūichinen Sandtsu Sanjūnichi Shōwa, 51st Year, 3rd Month, 7th Day (7th March 1976) 刀苑社審査委員會委員長村上孝介 Toen Sha Shina-i Kai In Chō Murakami Kosuke Chairman of the Judging Committee of Toensha Murakami Kosuke [. . . ] 殿 [. . . ] Tono [. . . ] Mr. The Toen Sha certificate seems to identify the sukashi as dew drops ... Regards Luca

Here is another one, and a large one too. Dimensions: 102 mm x 96.4 mm, thickness 3.5 mm at seppa-dai, 5.0 mm at mimi. NBTHK Kisho certificate and Toen Sha certificate. Regards Luca

Dear All This one came at hand for the weekly rotation of the tsuba on display. Could be considered controversial? Maybe... FT-0097 papered NBTHK Hozon but I am not telling you straight away to which school to foster some discussion. Dimensions 89.4 mm x 89.3 mm, thk 2.3 mm at seppa-dai, 4.5 mm at mimi. Regards Luca

Dear Curran Thank you for your considerations. I started this post to learn something new about Onin and Heianjo, and so it is. I will ponder on your considerations. Regards Luca

FT-0133

FT-0086

FT-0078

Dear All Back home finally. I took some closeup picture of the tsuba in question (FT-0133) and some others in my collection with a cheap usb microscope. The magnification is about 50x. The first, FT-0078, is a Onin tsuba dimensions 84.0 mm x 8seatseatseat5.0 mm, thk 2.2 mm at seppa-dai. The second one, FT-0086, is a Heianjo Zogan tsuba (NBTHK Hozon) dimensions 85.9 mm x 85.3 mm, thk 3.7 mm at seppa dai. The third one is FT-0133, i.e. the tsuba with two papers we discussed so far. I have to admit that I do no see many differences between the inlay of the Onin (FT-0078) and the Heinajo (FT-0086). Maybe the Onin shows a deeper groove on the boundary of the large suemon inlays (see the closeup of the missing inlay seat) compared to the Heianjo. This difference could be also due to the amount of lacquer filling the groove. The presence of the groove is barely discernible on FT-0133 compared to the other two. Also the Onin seems to show a sort of saw-teeth around the sides of the arabesque vines but maybe it was just my imagination. @Curranwhat does your more keen eye can see? Regards Luca

Glen Nice examples! I have similar ones in my database and those were the reason of the doubt I have between Onin and Heianjo. The Onin pieces look to me more busy in the arrangement of the inlay with very small free space while on my tsuba the inlays are more spaced and less crowded. The thickness of the plate have to be considered. Maybe we are really dealing with a transitional piece falling into an overlap zone between Onin and Heianjo... More considerations are needed... Regards Luca

Dear All. Thanks for your comments. Curran I will look into your inlay suggestion as soon as possible, I am about to leave for a business trip and I will be back next week. Roger. My "small" comment was referred to the fact that most Onin with that design are usually larger that this tsuba. That's all. Nothing more implied. Dale, interesting example indeed. Regards Luca

Dear All I have recently acquired this tsuba on Yahoo Japan. Dimensions 76.3 mm x 73.1 mm, thickness at seppa dai 3.9 mm and at mimi 4.4 mm. It was advertised as Onin and an NTB paper, with such an attribution dated back to 1998 if my translation is correct, was shown among the auction pictures. Surprisingly it arrived also with a 1990 NBTHK Hozon paper attribution to Heianjo Zogan. I have to admit that having it in hand with the its small size and "high" thickness I am leaning for the NBTHK attribution to Heianjo Zogan. The design of the inlay even though Onin in appearance it does not look right. The shape of the "flower's like" things, the flowers proper, the spiral and the cross are strange for Onin. Also the ten zogan dots are rather large for Onin, I think and the sen zogan surrounding the seppa dai and enclosing the hira shows, if looked with a magnifier traces of rope inlay (nawame zogan). Also the iron looks like the easily corroded one typically associated with Heianjo Zogan tsuba. I would like to have your opinion about the attribution, which one is the most fitting? And if Heianjo Zogan where would you put it, early or late Edo? Regards Luca

Here is one in my collection papered by NBTHK as Saotome. Dimensions 92.9 mm x 89.5 mm Regards Luca

Yes Jean I went through NMB searching for verdigris and found some Ford post about it. Putting toghether Ford, yours and Dale and Sinclair advices I have decided that the better course was to limit myself to brushing the tsuba with a soft toothbrush and a mild soap. The verdigris seems to be stable I will monitor it in the next month. Thank you all for the advices. Regards Luca

I have just realized that there are some discussion about verdigris in other posts here on NMB. My bad I was to hasty and didn't do my research properly. Sorry for bothering you guys Brian if you want to delete the post is ok to me! Luca

Dear All I have recently acquired from a fellow member this yamagane/copper tsuba: There is some spots of verdigris here and there. If it was rust on iron I would soak it with choji oil and then scrape it gently with ivory, bone and antlers splinters. With copper alloys I am not sure of the best way to proceed. There is some simple procedure that I can follow to improve the appearance without damaging the underlying patina while removing the verdigris or it is better to let it be as it is? It is safe to try removing the verdigris with a piece of soft wood (like a toothpick)? Some choiji oil could help? If the verdigris is not stable applying renaissance wax could be an option to stabilize it? Thank you in advance for all your suggestions. Regards Luca

Jaron Have you tried abebooks.com? https://www.abebooks.com/servlet/SearchResults?sts=t&cm_sp=SearchF-_-home-_-Results&an=Kokan Nagayama Regards Luca

Hi Mark I had the same impressions as yours. Yoshioka is know for his dragon on the edge but the style of the dragon didn't match at all. This is the reason why I was generic in my original post. Regards Luca