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Tanto54

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Posts posted by Tanto54

  1. Hi Dale, do some research on kenukigata-tachi (tweezer handled tachi).  They have this same "slot" in their tsuka for a very practical reason (hint: resonance).  I think that the weapon that you posted is a combination jutte and helmet breaker and it would have no problem causing a concussion or denting/poking a hole through 99% of Samurai helmets big enough to reach and damage the skull (without breaking the weapon).  Remember that helmets are actually very thin metal...

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  2. Doesn't this have some small "positive" bubbles of gold (on the front and back) that indicate recent, modern, investing casting methods, and isn't that porosity on the back which is another indicator of casting rather than uchidashi?

     

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  3. Wow Bob - that’s a GOAT kozuka (one of the Greatest Of All Times!).  It is a magnificent masterpiece of sculpture on a small scale and, in my opinion, on the same level as the best works of the top sculptors in history.  The leaves carved into the body of the kozuka above the fox’s head and her feet are spellbinding.  Only a true master could cut those that way without leaving the “hesitation” marks that we see on most katakiri and kebori carving.  Every part is just perfect - once again, it amazes me how the artist can convey so much power in such a small space.  So many different carving techniques on a single item and each masterfully done!  Your kozuka makes it clear why Haruaki Hogen was considered one of the three great modern masters along with Goto Ichijo and Kano Natsuo.  I’ve posted a better photo of the tsuba that Dale posted above from the Kano Natsuo School, and it’s fairly clear to me that yours is far better. 

     

    As you know, Fox (Kitsune) are seen as shapeshifters in both China and Japan.  Some are considered benevolent, but many are malevolent - causing everything from minor mischief to great destruction and even death. The good Foxes are usually related to Inari - God of the Rice Harvest (e.g., the Fox who helped Munechika forge his famous sword), and there are also tales of Foxes who rewarded people for doing good (in some cases becoming their Wives and even bearing them Children).  In other cases, the Fox masquerading as a woman merely represents a cunning, seductive and evil nature.  Much like the Witch Trials of the Western World, until fairly recently, in China and Japan they actually killed women accused of being shapeshifting Foxes.  Tosogu will often depict a Fox with certain clues like a paint brush in the Fox’s mouth, a drum, flaming jewel, etc. to indicate a particular story.  Your kozuka probably depicts the story of Tamamo no Mae.  She was the most famous and reviled of the Fox shapeshifters having enchanted and destroyed the kings of three different countries before coming to Japan and seducing the Emperor causing him to be deathly ill.  She was eventually exposed and chased into the Nasu Marshes where she was killed.  The wonderfully evil stance and expression of your Fox, as well at the marshy setting makes me believe that Haruaki Hogen was probably thinking about her when making your kozuka.

     

    Finally, the Japanese have a word for the kind of human face we see reflected in the water on your kozuka (which they found to be very attractive): “kitsune-gao” (fox-face) and means people with close eyes, high cheekbones and and thin eyebrows.  I’ve included some photos of Foxes in human form from the Anime Pom Poko which illustrate this kind of face.

     

    Bob, thank you so much for sharing your wonderful collection with us over the past few years!  It has certainly been the highlight of the tosogu section.  I hope that your collection continues to grow and that you will continue to share it with us whenever possible.
     

     

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  4. Item 314 - the Ichiryu Mitsuyoshi Carp Tsuba - what a great tsuba for your first!  The ebay aspect adds so much to the treasure hunt beginning of your collecting experiences. So many of us bought fake replicas swords or tourist tsuba as our first acquisition and thought that they were treasures (until we learned better).  In your case, you got a very nice tsuba that was a commission piece for someone close and highly regarded.  Not only is it a beautiful tsuba with excellent workmanship, it has also been mounted and carried on a sword.

     

    The artist is Ichiryu Mitsuyoshi (early 1800’s Haynes 05566 & 05562).  The commission is for a Uruno-kun.  “Kun” is an honorific like “San” that you use at the end of someone’s name; however, “Kun” is more informal and is common among friends (usually by the senior to the junior).  Therefore, we can see that Mitsuyoshi probably made this for a good friend.  Haynes says that Mitsuyoshi is from Mito in Hitachi and interestingly, the name “Uruno” is a name that derived from the Mito area of Japan.

     

    When signing the tsuba on the back side, Mitsuyoshi has had some fun!  Notice the “-“ mark above the kogai hitsu-ana.  It is the kanji “Ichi” - the first part of his School/Family name of “Ichiryu".  In the “in-mei” (gold seal under his mei on the back side), Mitsuyoshi has written two characters that mean willow tree and are pronounced "ryu” like the second part of his School/Family name “Ichi-ryu”) and the character “Yo” (meaning “presented”).  So if you take the (1) “Ichi” above the kogai hitsu-ana, (2) the “Ryu” and “Yo” in the in-mei gold seal, (3) his mei, and (4) the dedication to Uruno-Kun on the front, THEN it means: Ichiryu Mitsuyoshi presented this to his good friend Uruno-kun. 
     

     

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  5. With regard to the person depicted on Tsuba No.  313, I received a very nice response from the Homma Museum, but unfortunately they did not have anything that would show what Homma Mitsumichi (4th Generation) looked like.  They kindly checked for other family members likenesses from around this time period and confirmed that it did not look like Homma Mitsuoka (3rd Generation).  I will keep trying to find a likeness of Homma Mitsumichi (4th Generation) and will let you know if I find anything.  In the interim, I’ve been looking at other things that might help us identify the person (and confirm whether it is Homma Mitsumichi or not).  Often, we can use the mon on a kimono on tosogu to help us identify the person or at least their clan. However, in the case of this tsuba, I do not believe that the patterns on his kimono are mon.  I believe that they are stylized Kiku (Chrysanthemum) like those used in Yokikotokiku kimono design (a combination of an Axe, Koto and Kiku - which is word play for something like “hearing good news”).  This was a very popular design in the Edo Period (see photos).  Therefore, we probably cannot use that to help identify the gentleman.  The style of Ikebana being employed on the tsuba is distinctive so if we can identify the Ikebana School, we may be able to use that to help confirm the person’s identity (i.e., did the Homma family practice that style of Ikebana?).  Are there any Ikebana experts here on NMB who can identify which Ikebana School arranged flowers in this style?
     

     

     

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  6. I agree with Ford that this tsuba is probably a portrait of an actual person.  From a Western perspective, it’s natural to think it could be a self-portrait of the artist, but that’s not very common on tosogu.  In addition, the tsuba was made in 1843 and Ikkin’s dates are 1812 - 1863, so he would have been around 31 years old at the time the tsuba was made.  The man on the tsuba is approximately 55-70 years old, so it can't be Ikkin.  As you may know, Ikkin was one of Goto Ichijo’s best students and studied with him from 1828 - 1838 when he received the kanji “ichi” (the first part of Ikkin) from Goto Ichijo.  At that time, Ikkin went to work for the Sakai Daimyo at Tsurugaoka in Dewa’s Shonai province (Sakata Town).  He commuted back and forth between Edo (Tokyo) and Sakata.  Ikkin was famous for drinking too much, and it is even said that Goto Ichijo tried to intervene to get him to quit drinking and wasting his talents.  Ikkin II’s (Ikkin’s son’s) work and mei is just like his father’s and and it is said that much of the known Ikkin work is actually by the Son.  However, in the case of this tsuba, it is dated before the Son started using the Ikkin name around 1864.  While much of Ikkin’s work was for the Sakai Daimyo and family he did do work for others.  The gentleman portrayed on your tsuba is probably a Businessman instead of a Bushi; therefore, it would not be the retired Sakai Daimyo Sakai Tadakata (who would have been about the right age in 1843 when the tsuba was made).  The eyeglasses (rare at the time), pursuit of Ikebana, hat and the fur collar shows that he is a rich and cultured businessman (probably semi-retired).   The richest and most influential business family in that town was probably the Homma family who regularly hosted the Sakai Daimyo and even the Emperor when he was in the area.  The Homma family was famous for its artistic connections including the arts of Ikebana (their ancestral home has even been converted into a present day art museum).  Homma Mitsumichi (4th Generation) would be about the right age for the gentleman on your tsuba in 1843, and I believe that there is a good chance that he is the person depicted on your tsuba.  I have written to the Homma Museum to see if they have a photo of Mitsumichi or can confirm the identity of the person depicted on your tsuba.  I’ll let you know what they say in a later post.
     

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  7. Dear Bob - That Carp Sekibun fuchigashira is really outstanding!  

     

    As you may know, there were 4 generations of Sekibun (part of the Katsurano School), but only the 1st and 2nd signed with "Yurakusai".  The 1st Sekibun (1790-1875) went to Edo early in life but left to refine his craft in Kyoto (studying with the Hamano School).  By the way, “Yurakusai” basically means something like going to Kyoto to “study” but it can also mean “mess around” (sounds a little like when some of us went off to school…)  Later he was hired by the Sakai family in Dewa Shonai.  Haynes says that the quality of the first two generations are about the same, but they have small differences in their mei.  Based on the quality alone, I’m sure yours is shoshin, and based on the mei, I’m thinking that yours is the 2nd Master (1838-1912).  The 1st Sekibun studied with the famous calligrapher Kameda Bosai to learn how to do his very distinctive sosho mei (one of the most recognizable don’t you think?).  In his later years, he often included his age on his work up to age 86 when he passed away!  I hope I can still hold (much less use) a chisel when I am that age…  The 3rd Sekibun studied under the 2nd Sekibun and then studied with the great Kano Natsuo.  His work is often confused with Natsuo’s which shows just how good this school is.

     

    While the Sekibun school is most famous for its tigers, your Carp is certainly a masterpiece.  I think that the artist intends to celebrate the Carp itself instead of using it as a symbol of perseverance like most carps we see on tosogu jumping the waterfalls to become dragons.  In addition to perseverance, the Carp also symbolizes good fortune, longevity, success and prosperity.  I love how this artist can convey so much meaning and energy on such a small “canvas” (and even though much of the two Carp are “out of frame”).  

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  8. Dear Bob,

    Your instincts about this kozuka were exactly correct!  You said it “symbolized fidelity” and it seemed to have a “special significance for Noriyuki” giving “an impression or atmosphere of reverence and respect.”  I found some amazing research that supports your conclusions.

     

    Noriyuki II’s parents died when he was still a teenager.  In Sesko’s “Toso-Kinko Schools” book he writes that Noriyuki II’s Mother died in Autumn and that his Father (Noriyuki I also a tosogu maker) forbade his many students from working each year on the anniversary of her death (15th day of the 8th Lunar Month).  His Father (Noriyuki I) followed her in death a few years later also dying in same month.  Note that Noriyuki writes in his poignant mei on your kozuka that it was a “drizzly” atmosphere “in Autumn” (the anniversary of their deaths).  I’ve seen many Noriyuki II mei and none of them have long or poetic mei like this kozuka (usually just a name and date).  

     

    As you said, in Japanese culture a pair of Mandarin Ducks symbolize marital fidelity.  Around 1700’s when your kozuka was made, this reference was common and would have been clearly understood by everyone.  I have to believe that your feeling that the ducks on your kozuka are on a shared journey is exactly what Noriyuki II intended and he was thinking of his parents when he carved it.

     

    The location mentioned on your kozuka “at the foot of Toeizan Temple Mountain in the Negishi District” is now the location of Ueno Park in Tokyo.  Toeizan Temple is also known as Kaneiji temple (small parts of which still exist today).  The Hamano family graves are at Eikyu-ji in that area.  At the foot of the mountain is a pond (that is still in Ueno Park) called Shinobazu Pond (see woodblock print) that was famous for its ducks in early times.

     

    As Noriyuki II’s workshop was quite far away from that location, I can easily imagine that he was visiting his Parents’ graves on the anniversary of their death saw a pair of Mandarin Ducks on Shinobazu Pond that made him think of his parents’ devotion and so he decided to commemorate it on this kozuka. 

     

    You also mentioned the incredible detail and carving mastery on this kozuka that is difficult to see without magnification.  When Shozui (the Hamano School Founder and teacher of Noriyuki I) died, they found several shelves full of different powered spectacles in his workshop.  Remember that at that time, spectacles were very rare and expensive in Japan.  I imagine that Noriyuki II may have also owned a pair or two - it certain shows on this magnificent kozuka!

     

    You can see the Temple roof just above the tree tops (center right) in this wood block.

     

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  9. Dear Stephen K, I believe that you are correct.  Part of the mythology of Mount Horai (Penglai) is that the famous Eight Immortals meet with the Wizard Anqi Sheng for a banquet there.  On your tsuba, I see 9 figures - who are probably intended to be those individuals.

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  10. Thank you Barry - you are always so kind!

     

    You are welcome Jeremy, I think that the back of your tsuba probably represents the many "fairy caves" of Mount Horai.  I don't know much more about them, but here's a painting of Mount Horai that shows some of the caves (and they look like the one on your tsuba to me).

     

     

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  11. Dear Jeremy,

     

    Short Answer:  I believe that your tsuba is a depiction of Mount Hōrai (Mount Penglai) for several reasons including that the building at the top of the mountain on your tsuba has Chinese style architecture (see the sloping base circled in red? Also shown on the two paintings circled in red).  I also agree that the “half Torii Gate” is actually a type of nobori (banner and/or lantern holder - see painting of Mount Horai (third photo)

    with identical one at top circled in blue).  See Long Answer below (if interested...).

     

     

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    Longer Answer:  Haynes’ Index has about 8 guys signing Choshu Hagi ju Tomohisa.  Your mei does not match any of the known examples and a few of them (without known sample mei) didn’t work in the style of your tsuba, so that leaves only three possibilities.  All three of them worked in the early 1800’s.  Therefore, we should consider what an artist of that period would be trying to portray.  As I said in the other thread, most sansui (Chinese Landscape) tsuba that show a forested mountain with a temple/pagoda at the top are references to Mount Hōrai (Mount Penglai).  The temple/pagoda is almost always in a Chinese architectural style.  This was a very popular theme that illustrated ideas of heaven on earth and eternal life.  The location of the “mythical” island with Mount Hōrai/Penglai has been a subject of scholarly debate for centuries - with possibilities of Taiwan, Okinawa, Honshu Japan, etc.  In Japan, Mount Fuji is the top candidate even though there is a mountain actually called Mount Horai (with a famous temple Horai-ji).  The next best candidate is probably Dewa Sanzan (one of the most holy places in Japan).  As you know, tsuba are very small “canvases”, and while the makers often use paintings for inspiration, the images must be adapted to the smaller tsuba form.  Therefore, the artist will add clues to try to make their meaning clear.  While the mountains on your tsuba are very close to the mountains on the other tsuba, both depictions are somewhat “generic” style mountains.  The other tsuba emphasizes the three peaks (Dewa Sanzan) but yours has five peaks.  While a realistic depiction of Dewa Sanzan might show many peaks, most people think of it as the three holy peaks (so they expect to see that).   Therefore, I don’t think that the mountain peaks on your tsuba would be Dewa Sanzan).  In the wood block below, Dewa Sanzan may have many peaks, but the wood block also has a “Dewa Sanzan” title right on the print so the artist can do a more realistic portrayal and know that the viewer won’t be confused.  Your tsuba also emphasizes tall waterfalls and that are usually a feature of Horai tsuba (circled in black).  Dewa Sanzan does have a few small waterfalls (that are still used for Zen Monk training); however, the small waterfalls are not a well know feature of Dewa Sanzan, so they probably wouldn’t be included if it were supposed to be Dewa Sanzan instead of Mount Horai.

     

    As an aside, Mount Hōrai/Penglai is also associated with cranes, peaches, certain immortal sennin, a jeweled branch and other items.  Therefore, on original koshirae with Horai tsuba you will often find these other items on the fuchigashira, menuki, kozuka, etc.  Unfortunately many collectors do not know the connection and assume that the set is not matched and end up breaking them apart (a real shame…)

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  12. Bob, I believe that your commitment to commissioning the Katsuhira Tiger copy and the accompanying video has done more for tosogu than anything in the last 20 years!  So many of the collectors that I know either got their start, inspiration or at least a much deeper understanding of tosogu-making from this momentous project of yours - Thanks!  I also appreciate your dedication to sharing your collection with us over the past couple of years.  Can’t wait to hear more….

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  13. Some of the Takara Zukushi (lucky treasures): the kakuregasa (hat of invisibility), kanabukuro or kinchaku (endless treasure bag), kakure mino (cloak of invisibility) and hojyu (flaming jewel or treasure ball - grants any wish).  By depicting only some of the lucky treasures the maker is referring to a legend that only incorporates these treasures - can you figure it out?

     

     

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  14. Hey Bob, I was reading the inscription on your tsuba where Tomomasa was requested to copy an old painting by Cho Densu in making your Fudo Myoo Tsuba.  I started thinking that I’d like to see the original painting because it must be incredible too - so I did a little research.

     

    Cho Densu (also known as Kichizan Mincho 1352-1431 - see self-portrait below) was a famous Zen Priest and Painter.  Even 600 years later he is still considered one of the greatest painters of his time.  Several of his paintings are at Tofukuji Temple (where he trained as a monk) and are considered Important Cultural Properties.

     

    There is a very interesting story about Cho Densu that is directly related to your tsuba!  When he entered Tofukuji temple to become a priest at an early age, he was constantly in trouble with his Abbot for neglecting his religious studies and concentrating on painting instead.  Once after the Abbot returned from a long trip, he was very angry to discover that Cho Densu had been painting the whole time he was gone.  However, when he saw Cho Densu’s magnificent painting of Fudo Myoo, the Abbot was so impressed that he actually started encouraging Cho Densu to favor his artistic training over his religious duties.

     

    It is amazing to me that Cho Densu’s Fudo Myoo painting was so impressive that it continued to inspire people for hundreds of years thereafter.  Your tsuba would have been made about 200 years ago in the very early 1800’s about 400 years after Cho Densu did the painting.  Obviously Tomomasa’s customer was so impressed by the painting that he commissioned your masterpiece tsuba.

     

    Interestingly, the story about Cho Densu’s Fudo Myoo painting and its affect on his Abbot is also the subject of an old woodblock print - see photo below (which I am posting here under the Fair Use Doctrine for educational/research purposes).  You can see that the Abbot has just returned from his trip to catch Cho Densu painting the Fudo Myoo painting.  If you look closely, you can see how the depicted painting matches your tsuba.

     

    Note that Fudo Myoo is known as the Immovable One - a fierce protector of Buddhist Law.  He was very popular with Samurai.  His sword cuts through ignorance and his rope binds his enemies and those who block the way to enlightenment.  One fang faces up and the other down.  He is usually shown engulfed in fire (including small rings of fire around his nipples - ouch!!!) which symbolizes the purification of his mind by burning away all earthly desires.  He is also often depicted with a waterfall.

     

    Unfortunately, I was not able to locate the painting itself.  I could find several references to it in ancient Japanese records, but I could not find any recent references.  I fear that it may have been lost during some of the bombing in WWII.  I’ve written an inquiry to the Head Priest at Tofukuji Temple to see if they have any information about the painting, and I’ll let you know if I learn anything more.

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    Cho Densu copy.jpg

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  15. Dear Bob, that's a beautiful tsuba!  As you said, the artist is Tomomasa (Haynes 09949) with dates from 1800-1825.  He was a student of Yanagawa Naoharu and was the 2nd master of the Tanabe School.  His son (the 3rd master of the Tanabe School) used the same name and kanji, but the mei on your tsuba matches the father (2nd master) not the son.  Haynes says that unfortunately the artist of your tsuba died very young in the prime of his life.  Sesko’s Japanese Toso-Kinko Schools book says that the great Kano Natsuo said that Tomomasa would have reached the level of Yokoya Somin (one of the greatest tosogu makers of all time) if he had lived longer (VERY mighty praise!).  I can see what Natsuo is saying when I look at your tsuba!

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