Iaido dude

The Soryu one pretty clearly never had a kogai hitsu-ana because the walls of the diamond are solid when they attach to the seppa-dai. So, there are some variations.

Thanks for your comments, gentlemen. I remember seeing a tsuba that was being sold as in excellent condition when it was clear that one of the hitsu-ana had been repaired and was still slightly deformed. It would also have been better left alone with its well earned battle scar.

I know there is a tsubako either in the US or Europe who has been winnning competitions in Japan. I'll have to dig around. I recently purchased a saya chisel made by the swordsmith Walter Sorrells on the west coast. He produces swords on commission. I'm pretty sure he makes his own tsuba. Jean, you've got me thinking now about the whole patination issue.

Hi Ray. I don’t have Sasano in front of me, but recalled something similar. The listing shows the identical tsuba composition attributed to Sasano’s Japanese 1st edition, although the walls of the central diamonds are indeed a bit heavier as you noted. I am not so much a purist as to think all antiques should be restored for aesthetic value. Indeed, vintage watches lose value if the dial is redone. There is a beauty to the history of an old object, especially when looking at products that purposefully express wabi and sabi. Important chawan with crack repairs may increase with value, both aesthetically and in terms of monetary value. Rather, I am always interested in how excellent restoration in the right hands may bring objects back to a former glory. The absent hitsu-ana throws off the balance visually, which is a distraction for me. I know there are metal workers out there who create contemporary tsuba in a traditional style. I wonder…

This Owari tsuba is rare and well-known from Sasano’s gold book and other references. Sadly, the Kozuka hitsu-ana is missing (which explains the relatively low price), and which begs the question of whether it can be repaired/restored. Anyone have any experience with this kind of scenario? https://www.jauce.com/auction/c1183203600

It’s 10% for item above $800. No tariff up to $800, I believe.

These command very competitive pricing among his fans.

Tariff is 10% for value >$800. de minimus tax exemption still applies except for China.

Here is another work of his currently on Jauce. Starting bid ¥135,000. His skill and artistry are unquestionable.

A different variation.

Curran, no need to apologize. I intentionally and half facetiously steered in the direction of mei, which may or may not necessarily allow for more precise attribution. Thank you for sharing the incredible Juyo Yamakichibei and giving a preview of the Saotome (a category I know virtually nothing about). Congratulations on both accounts! My understanding and also based on your exchange with Steve, is that the later generation Saotome lineage is not entirely clear because of the high degree of variation of the mei for Iyetada (2nd generation), suggesting that at least several tsubako were using the same mei. Then, again, we have to fall back on inductive methods to go back to details that we can observe in hand to tease out the work of a specific tsubako or workshop producing tsuba in the Saotome style. Rather than despair, I see this challenge as the source of joy and stimulation for those who are up to the task and who can, at the end of the day, be "ok" with uncertainty so that producing a sound argument is both convincing and satisfying--and is "good enough" for the time-being!

I'm thinking of selling one of my kidneys to finance a collection of Juyo pieces with mei (Yamakichibei, Nobuie, and Kanaie). That would certainly simplify attribution assuming a thorough ability to attribute authentic mei.

I also mount genuine tsuba on my practice swords (Ono kuruma I showed is on my iaito) when the tsuba holds a meaning for me that can inspire and inform my practice, as I believe they also served this symbolic function for the samurai warrior class. However, the “fake” tsuba is well-replicated and has the weight (116 gm) expected of steel rather than alloy, which gives the balance I desire. I don’t think it was made to be a paper weight. More importantly, it does have multiple meanings for me that can serve the function of pairing with my well-made razor sharp folded blade with double bohi for cutting practice that was made in China and cost only $125: 1) The sword is only an instrument; even the dullest and most unimpressive and plain can cut true, but only commensurate with the swordsman’s skill; 2) The spiritual aspect of swordsmanship emphasizes “cutting” through the illusions of the false/fake ego; 3) The bamboo theme for all of the sword fittings symbolizes resilience (ability to spring back) in the face of adversity, which is especially emphasized in Yagyu Shinkage Ryu swordsmanship and expressed in the composition of some of the Yagyu tsuba; I’m carving the saya, tsuka, and buffalo horn koiguchi and karugata in the traditional way with a specially made saya chisel. My progress will be documented in a separate post. The completed sword will have a very personal meaning for me.

I actually agree with you, Tim. I wouldn’t have invoked Christianity as associated with this tsuba if not for the attribution in the article. it isn’t clear how they base their attribution other than by form. I’ve also seen many such attributions that don’t even make convincing pictorial sense. Steve Waszak also pointed out to me that in all likelihood it represents a mon. I just wanted to see how far my imagination might take me even if not historically correct.

Here's a great demonstration of a genuine Akasaka tsuba (later generation copy of well-known work by 2nd hereditary master) and modern replicas for an iaito of a bamboo theme. The first two are advertised honestly. Is the third one genuine or replica? The seller seems to imply it is a genuine "period" tsuba. All three are currently offered on Jauce. https://www.jauce.com/auction/l1183545952 https://www.jauce.com/auction/o1183581334 https://www.jauce.com/auction/q1177510480

It really is a splitting image of what Okun posted. Still a bit strange to see effort go towards producing a fake of a relatively unknown Yagyu/Ohno unless it is in fact the link to Christianity that has a market. The post where I found the article was by a sword enthusiast who described replicas of this tsuba based on an identical example from a seller in Europe. So, there is likely at least a small following of such enthusiasts. I count myself among them! The Jauce auction details about the museum and article that featured this tsuba had me sucked into a narrative that overrode any suspicion I may have had for a fake. It came in a custom fitted box! I simply dropped my guard. So the sad truth is that fakes are out there all too often. Maybe it was even originally sold as a replica that was resold down the line with the belief that the tsuba was genuine. The cast tsuba was reproduced down to minute details of the sekigane. However, there is no sekigane on the ura (left out) and there are no chisel marks inside the walls of the sukashi. I just finished filing down the nakago-ana to fit my blade. It’s just steel throughout. No genuine sekigane.

I also thought of Yagyu. The style of the bamboo joints reminds me of Yagyu, but not the bracken sprouts.

The consolation for me is that high quality modern reproductions from Tozando or other Japanese iaito manufacturers are $90-110. This one is also the right theme (bamboo) to match the other modern sterling silver fittings that will go on the katana.

The”sekigane” don’t extend to the ura.

Thanks, gentlemen. I looked more closely at the “sekigane,” which are clearly just a part of this cast fake or modern reproduction. The joke’s on me. The pics on Jauce should have given it away. My eyes were clouded by my focus on the form at the expense of other details and features. First time for everything! Maybe the real deal is still out there somewhere… This one will go on the new katana I am making from scratch starting with just a blade and habaki. Right size and right fit.

Beautiful, Curran. I’ve long admired this Ono composition. I think there are quite a few that have been misattributed to other Owari schools. They are among the most monstrous iron sukashi tsuba I have been able to appreciate in hand.

This papered Ohno sold previously on nihonto.com (it doesn't seem to be on the site anymore).

My latest acquisition has arrived and it's a beauty. I think this Ohno tsuba may be a so-called hidden Christian tsuba because one with an identical composition is in the small tsuba collection of a Japanese museum dedicated to documenting the early history of Christianity in Japan. It was featured in a newspaper article in the Asahi Shimbun on "Hidden Christian Tsuba" (see the tsuba on right lower corner). My write up on the speculation that this tsuba contains Christian iconography hidden within Buddhist iconography and a few pics follow. I had the good fortune of being the only bidder willing to spend $112 for a truly wonderful Ohno in amazing condition and imbued with meaning. Height 71.2 mm, width 69.5 mm, thickness 7-7.6 mm at mimi (6.6-6.8 at seppa-dai), weight 116 gm. Compare with my Ohno kuruma tsuba (Momoyama Period).

Congratulations, Okun. Marvelous and mysterious.