Justin

Attached is a worksheet I found from the NTHK judging at Tampa in 2012. A long time ago I know, but it shows the information that was recorded. Thanks everyone for your contribution to this thread. I have found it very interesting. Last question, do you believe papers increase the value of a tsuba? Does this value exceed the price of the shinsa submission/pass fee? I know that you can submit for Hozon and Tokubetsu Hozon at the same time, which makes it more useful from a resale point of view (if you piece receives Tokubetsu Hozon that is). With so many fakes out there, a paper can provide an element of security for a lot of people I guess.

Thanks Curran. Very interesting. I am shocked that the shinsa team don’t check a tsuba against their records before judging it. I would have thought they would have a database or spreadsheet with some dimensions, motif and other details and do a quick search to see if it had been submitted before. Surely this would be the first step to ensure consistency?

I know some collectors have been on NTHK judging panels, e.g. Jim Gilbert and Gordon Robson. Have they mentioned the method of attribution?

Going back to my original question, does anyone have insight into how the shinsa team approach judging an unsigned tsuba? For example: Do they use a check sheet with measurements, mimi type, seppa-dai shape, motif, etc.? Do they use reference books or refer to a database that they have? Is it just their skills and experience that determine the attribution? Does each judge get a vote and majority wins? Do they debate the attribution? What if there are different opinions? How do they resolve it?

Thanks for the feedback. I personally value the work the NBTHK do. I have papers for 90% of my collection and the vast majority of these attributions are accurate (in my opinion). Even when I received a surprise attribution, after doing a bit of research I can see how they made their decision. Hundreds of items are submitted to the NBTHK shinsa every month and I don’t think people would do that if they didn’t think the service was worthwhile. In the end we are paying for someone to give and opinion. It could be a positive outcome or a negative one, but in the end it is just someone’s opinion. For me it is worth the small fee and I learn something from time to time.

Wow!! What a great article. You have put alot of work into that. Well done. I should write something similar up for some of my pieces. You have inspired me Luca Congrats on picking up the fuchi-kashira set. Very nice!

Mei example from Baur Collection.

Hi Luca, A really nice set of fuchi-kashira. Well done! The general workmanship is great, especially the nanako. I also really like the design of the shitodome. There were two generations of Nagamine 永峯. The first was born around 1690 and the second around 1715. Ayanokoji is the area of Kyoto where these two artists lived. They mostly made F-K in the Soten style. You might be able to determine which generation made them by looking the kao in published examples. From what I can see in Hawley's, published examples appear in the Red Cross book (pg. 190, #1257) and the Baur Collection (pg. 434, #380). I'll have a look a both books tomorrow and see if we can determine which generation made your F-K (likely the first generation in my opinion).

I was wondering if anyone has direct experience with the NBTHK shinsa team when it comes to judging authenticity/attribution for unsigned tsuba. I am interested in their methods. For example, do they just study a piece and use their knowledge and experience to assign an attribution or is there more science to it? They obviously discuss it amongst each other and come up with a collective attribution, however do they refer to references or is it just based on seeing many examples and understanding differences, e.g. size, Mimi, seppa-dai shape, design motifs, file marks, hammer marks, etc. If anyone has first-hand experience watching a shinsa team in action, then I would be most interested in your observations.

These are wood sorrel leaves (three heart-shaped leaves). Their flowers have five petals.

Here’s a rabbit and waves tsuba from my collection. Choshu school. I like how the rabbits appear to be leaping through the waves.

Nice work Lukas Any plans for stands for tsuba or other fittings (especially kozuka)?

I’ll take the mushrooms Marius. Can you please email me at orrjust (at) gmail.com. My NMB inbox is full and I can seem to delete enough to use it.

I remember seeing this at your house many years ago Peter. The photos don't do it justice. It is a lovely tsuba. If I had the money, I'd be all over this.

Thanks Luca. I noticed this tsuba for sale with a paper from 2016. This says Yoshiro. i see my tsuba as more ‘Yoshiro’ compared to this one. Perhaps NBTHK has had a change of policy and only assign Heianjo Zogan now?

Hi everyone, Hope you’re having a great day. i submitted the below tsuba to shinsa recently and it received Tokubetsu Hozon with a ‘Heianjo Zogan’ attribution. I thought it might come back as Yoshiro (or more optimistically Yoshiro Naomasa). https://tosogucollec...heianjo-zogan-tsuba/ I know Yoshiro is a branch of Heianjo, however would there be a reason the NBTHK stopped at just Heianjo? Thanks in advance for any feedback. Justin

Hoping someone can assist to translate this TH paper. Thanks in advance.

Arigatou gozaimasu Moriyama san.

Can anyone read the two characters after Goto on this old green paper. Thanks for your help.

Hi Piers, Hope you’re well. Unfortunately I cannot see the link. I receive an error. Can you please repost this. Thanks

Not exactly upcycling, more re-purposing an old printer’s cabinet and adding a display box to the top. Now all I have to do is fill it up 😊

Thanks very much Gentlemen.

Also this one. Any idea of the title? Thanks

Does anyone know the name of this book?

Hi Dale, I have this book and pages 246 and 248 are missing from my copy too. Must be a printing/numbering error. Cheers Justin