Tim Evans

https://www.aoijapan...ira-mumeiunsigned-4/ This looks to be for wakizashi so it may be a little small for katana, especially the fuchi. Check the dimensions against your tsuka. Katana fuchi lengths are more like 37-40mm. The top of the kashira is a little bit dented or flattened. If copper, this can be reshaped by making a punch out of a hardwood dowel, then put the kashira down on a thin piece of closed cell foam and tap the dents out. You may not get it totally smooth, but at least the shape will look right. Alternatively, you can ask whoever is going to wrap the tsuka to fix it for you.

I think mounting a tsuba on a koshirae is a good idea. After all, that is what they were made for. I sometimes find that a tsuba that is not very interesting to look at in a box or in-hand really shows off well mounted. This happened recently with an Owari tsuba I had sitting around for several years, I slipped it on an old koshirae and discovered it really improved the overall look of the mount. I now have a higher opinion of it than I did before. Also, it is interesting to try different weight tsuba on iaito and learn how that affects the motion of the sword.

I saw above that you mentioned it was papered to Tanshu Sadamasa (papered by which organization?). The signed tanshu tsuba I have seen usually have fine grained iron, no tekkotsu, and the sukashi elements are usually rather thick. I like their designs but the iron is kinda bland and looks cut out from sheet iron plate rather than hand forged. However, just to consider an alternative, this tsuba looks like it has rather coarse grain hada and you mentioned the flattish, globular tekotsu, as well as being rather thick and kaku mimi. I don't normally kantei by photograph, but from what I can see I would suspect this is an Ohno tsuba. Is there tekkotsu or folding visible on the mimi?

Katakiri carving with a chisel usually results in a sharp cut, meaning that the cross section of the cut will look like a "V". Cast copies won't have that feature, the cross sections will look like a "U". Dirt or other coatings may disguise the sharp cut. This is difficult to tell from a photo sometimes so may need to enlarge or use a magnifying glass. Another tell on these reproductions is the extensive use of silver. Silver was usually used to pick out small details.

Age attribution on early, unsigned tsuba is a difficult subject because there is not a lot of hard evidence. The earliest signed pieces are from the Muromachi period, so these signed examples can be tied back to a known person. Even so, in some cases we do not know exactly when they worked. Some early tsuba are documented as being donated to shrines on a particular date, so that helps establish some data points. But, we may not know how old they were when that happened. There are also datable kozuka and kogai examples (we know which Goto masters made them and when they worked). Masayuki Sasano did much original research tying changes in style of kozuka and kogai to hitusana shapes and established a dating regime based on that research. His findings are in Tosogu no Kigen and Early Japanese Sword Guards, Sukashi Tsuba. Of course, later tsuba smiths copied earlier styles sometimes so hitsuana shape is not definitive for date; the other aspects of the tsuba, such as proportion, construction, decoration and oxidation need to be taken into account. The best way to learn is to look at a lot of tsuba in-hand with some personal guidance. Going to a sword show and asking questions from more experienced collectors is a way to do that. Preparation for doing this study is a collection of reference books to build up a visual knowledge of ages, styles and characteristics. A few comments on the images in this thread. You asked about if the rectangular hole crossing the nakoana can be a dating element. Chinese tsuba, or kagonami, were first imported into Japan probably by the Portuguese mid to late 1500's, so the appearance of that feature dates from that time period. If this is seen on older tsuba then it was added later. There are a few tsuba with really big center holes shown above. I think these were modified to fit on a wooden sword (bokuto or bokken) and was a fad among the kenjutsu practitioners probably in the 19th and early 20th centuries.

I think you mean the nakagoana? These holes are usually rectangular. The purpose is to mount it on a non-Japanese sword, usually Chinese or European.

There is an article in the Downloads area called A BRIEF OVERVIEW OF Japanese SWORD MOUNTS OF THE LATE MUROMACHI THROUGH EDO PERIODS. The specific books on koshirae in the biliography are these: Ogasawara, Nobuo. Uchigatana (no) Koshirae. Tokyo, Japan: Tokyo National Museum, 1987. Okubo, Kenichi. Zukan Toso no Subete. Tokyo, Japan: Kogei, 1970. Suzuki, Katei. Nihonto no Koshirae . Tokyo, Japan: Tokuma Shoten, 1964. There are also several coffee table type books that illustrate the mid to late Edo, really pretty, Kinko koshirae primarily made for merchants.

This odd surface looks like it may be from this Japanese tsuba smith. His site is worth checking periodically so you know what the reproductions look like. See the top left image for the odd surface. http://tsubaryuken.com/sono2.html

When I was first starting out, a more advanced collector mentioned that he thought kanayama tsuba (and other types of tea influenced tsuba) were "400 year old abstract expressionist sculptures". By which he meant the process of making was visible and not completely finished. I found that a remarkable idea that the Japanese had developed an advanced aesthetic language that visually paralleled what was happening in the 1950's New York art scene.

I had a near identical set at one time, very thin solid gold. These were NBTHK papered to Kyo Kinko, Edo period.

Good observation. Similar ideas are discussed in the Nihonto Koza, Volume VI, as translated by Afu, in the section called Token Kinko Gaisetsu by Kuwabara Yojiro. He is using Goto fittings as an example, but I think these presentation trends apply generally to other sword fittings as well. The pertinent section starts at page 357 and discusses three changes over time: Formal Period (pre-Edo), Stylistic Period (early Edo), and Realistic Period (mid to late Edo). Another motif classification system relates to the rank and use of images. These are Formal, Semi-formal, and Informal. The tea-ish treatment of the plate would indicate the tsuba was used on an informal koshirae. I agree the design elements are drawer handles. In regard to Sasano’s ideas about the monkey dolls design, I think he was mistaken, and this sukashi image depicts a deteriorated mushroom. The small hole is the stem, and the bigger hole is the flopped over head. It may refer to Buddhist ideas about impermanence, change, and process. See a Higo kinko example below.

Hi Dan, Tsuba are a fascinating subject, and after looking at them for over 40 years, I still see forms I have not seen before. Because of the wide variety, there are any number of valid ways to form a collection, such as a “one of everything” collection, collecting certain images, collecting certain artists, signatures or regional works, unusual shapes, etc. However, I think a common characteristic of a satisfactory collection is a drive to find quality examples, and I would recommend the beginning tsuba collector learn how to evaluate a tsuba for quality charictaristics. Quality tsuba are not necessarily expensive and I think it is possible to build a quality collection without a big outlay, but doing so requires a good eye, knowledge, and patience. One reference work on tsuba quality that I think is valuable was written by Dr. Torigoye in Tsuba: An Aesthetic Study. I have attached a copy of that essay below. There was also an article by me titled "Assessing Quality in Iron Tsuba" in the downloads section but it appears to be missing, so I have asked Brian to repost it. Dr.T.doc

Cleaning corrosion off tsuba represents an element of risk because it is not possible to tell if the patina and/or base plate is damaged underneath (probably should assume some). If it is extensive, then you may need to have a professional address the damage and repatination. The first step is to decide if this tsuba is valuable enough to require paying a professional to restore it. Verdigis is usually a copper chloride or copper sulfate compound That said, if you decide to clean the verdigis your self, I have had some success with the following approach: Step 1 is to soak briefly in alcohol to remove any accumulated oils from handling. Step 2 is to soak in room temperature DISTILLED water. Distilled water should be just H2O with no dissolved minerals or chemicals such as chlorine Distilled water is commonly available in the US because it is used in steam irons. Not sure if available in Japan The verdigis can dissolve in the distilled water, so it will need to be changed every few days The process is slow, it may take weeks or months depending on how extensive is the corrosion. That also makes it controllable so you can stop doing it when an acceptable level of reduction is reached You are just soaking it in water so that should not otherwise damage the tsuba. That is assuming that the black color has not been touched up using ink or paint, which might come off with either the alcohol or water Your mileage may vary

Some brief notes about kogai Age – As with most pre-Edo fittings, there are no known signed examples, so dating is speculative based on a few intact jidai koshirae examples. However, there is a classification called Jidai kogai that are dated frequently Muromachi - Nambokucho periods Terms: Kanagu = tsuba, seppa, habaki, fuchigashira, metal saya fittings if any Kodogu = kogai, menuki, kozuka Mitokoromono = a kodogu set with all three pieces made with a unified theme Iebori = house carvers. Worked as retainers to Daimyo Machibori = street carvers. Independent metal workers who sold to anybody There were different ranks of Samurai There were also members of Buke clans who were not Samurai but who were allowed to carry swords Non-Buke people also were sometimes allowed swords. Generally restricted to the shorter lengths Koshirae and kogai (based on review of existing illustrated examples) Tachi – Have kanagu, but no kodogu (except menuki) Katana and uchigatana– Usually both kozuka and kogai or, neither. Some rare exceptions with either one or the other Wakizashi – Usually kozuka only or, neither. Also rare exceptions, usually from late Edo period Tanto – Usually both kozuka and kogai or, neither. Hira-zukuri blades may also have been mounted as ko-wakizashi and have kozuka only I have not found a definitive explanation for the kogai. Although kogai are thought to be a grooming tool, it is also thought to have functioned as a Buke rank identifier. This could explain why it was mounted in the saya so it was visible The theory is that kogai were allowed only to upper rank Samurai and Daimyo and forbidden to low rank Buke and common people It is thought that kogai were made primarily by Iebori workers for Daimyo and their higher ranking retainers. Frequently made as mitokoromono Kogai, as noted above, were mostly mounted on upper class Samurai katana and tanto koshirae Lower class Buke and commoners primarily wore wakizashi koshirae, no kogai Edo period machibori koshirae, which can be very luxurious and high end, are generally kozuka only wakizashi koshirae, with some exceptions for Daimyo quality koshirae More information on koshirae in general, and a reference book list can be found in the NMB archive in an article by me, titled, A Brief overview of Japanese Sword mounts of the late Muromachi through Edo periods

Same pattern tsuba is on page 459 of Higo Kinko Taikan, signed Tani of Hishu. This one does not show much age so either it is way overcleaned and repatinated or else a modern copy.

Small cast bronze tsuba of ascending and descending dragons. These are usually classed as kagamishi, but who knows who made them. Dating on these early cast tsuba is speculative, but this one was tagged as Nambokucho period in the 2019 KTK catalog. Photo credit: RKG. Tim

Hi Peter, Unfortunately I don't own it. It was on a Niten koshirae I should have bought but did not. Including a few more images that I saved (note they put the tsuba on backwards!) I do have this tsuba signed Masa Kata (Probably Satsuma, about 1800). This is on a later Niten koshirae, the blade is dated 1781. The one you posted looks European influenced as well. Is it brass? Tim

This one looks European inspired to me but not sure if a maker/school can be identified. Cup shaped. Tim Evans

Hi Ford, I agree with your comments on Koren's book, which is why I did not mention it by name in the post above nor in the recommended reading list in my post of 16 September 2018. These contemporary books and magazine articles on Japanese aesthetics demonstrate that the popular meaning of these words changes over time, so, some caution or skepticism is required. If we are discussing the influence of cha-no-yu on sword fittings then delving into what the Muromachi-through-Edo Period Buke thought about it is the correct approach. The books by Michael Cooper, such as Rodrigues the Interpreter: An Early Jesuit in Japan and China would be an excellent start. I was mostly attempting to answer Steve's question about when "wabisabi" becomes a chic, trendy, hipster buzzword, both nationally and internationally. Tim Evans

I think I first encountered "wabi-sabi" in a book by Leonard Koren, published in 1994. I do not recall seeing it in anything written in or translated to English prior to that, so I assume Koren probably picked it up from the Japanese he was consulting with when he was researching the book. So, probably a late 20th century origin? And yes I do find it rather kawaii. Interesting that the thread still has legs Tim Evans

This device or something very close to it is identified as a mon In Chapplear's book, Mon the Japanese Family Crest on page 96 with the following entries: Name - Kurosu Clans who used it - Shimazaki and Tsuji No entry in Papinot for Shimazaki, but has the following to say about Tsuji: "Samurai family of the Hiroshima clan (Aki). Made noble after the Restoration - Now Baron".

A picture of the tsuba is in this book. Bushi no Issho: Sukashi Tsuba by The Sanno Museum. Number 5, page 14. http://www.japaneseswordbooksandtsuba.com/store/books/b513-bushi-no-issho-sukashi-tsuba-sanno-museum Tim Evans

Thanks for the post Steve, that is a good example. Here is another that I published in the 2017 KTK catalog that I think demonstrates intentional sabi. The description in part... "The nunome decoration is a thickly applied, very high karat gold and is suggestive of the gold lacquer repairs seen on cracked tea bowls. The purpose of the gold nunome is to invoke a sense of sabi. The fan papers sukashi (gigami) design was used as a mon by several Daimyo, but also recalls the artistic pastime of painting the fan paper before mounting on the fan ribs". Although the gold nunome looks random and sparse, it is all there. These are not the remnants of a flaked off decoration.

"Impermanence or permanence, depending on your point of view?" That is very Buddhist. Very nice tsuba.

The design is a shippo pattern, which refers to "seven precious things". It was used as a kamon by several families. Based on the one image, I agree that that the smith intentionally made the tsuba in a rustic/sabi expression, which is considered to be informal. The presentation of the design, however is formal, so the overall synthesis is semi-formal. A good book on kamon is useful in deciphering these designs. One I like is Mon - The Japanese Family Crest by Kei Kaneda Chapplear.