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Showing results for tags 'tsuba'.
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This subject has been discussed previously as far back as 2011, but just a short update on the growing number of these "tsuba" to use a word very loosely. I have added an often neglected view showing the bottom edge where the giveaway casting marks are often found. Collectors should be made aware of these often high priced 'Paper weights'. I continue to collect images of these things as they continue to pop up, there are a few right now on auction sites so have a real close look when you buy.
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Purchased from N.M.B 'For Sale' section offered by Leporello earlier this year and very pleased to now own it. There are three blade cuts on the mimi and I am very aware that it can only be conjecture that they were received in a battle but I am happy to think so. Complements an old, early blade (?1400s) I have in shin gunto mounts with three or four battle scars also. I haven't come across commentary on such scars here before ? Maker is possibly Yamashiro Kaneie ? Roger j
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Hello fellow collectors and enthusiasts. I am happy to announce a new addition to my collection, and I would ask for your help in identifying this beautiful blade. The blade feels heavy in the hand, and could use a new polish. I have done some research, and to me it appears to be a WW2 blade, with older fittings. The blade itself is reminiscent of later works by Chounsai Emura, a famous prison warden turned bladesmith during WW2. The hamon style is choji-midare with mixed in gunome-midare, which fits his style. Haagari nakago also fits the style. Emura tended to sign his blades, and this one does not have a signature, so I do believe this to be the work of one of his convicts, but perhaps an expert here could tell a different story. The hamon is The kissaki is ko-kissaki, and sharpened in the traditional way. The blade feels heavy in the hand, and will most definitely survive a new polish, I am now trying to figure out if it is worth polishing or not. The blade dimensions are: Nagasa: 22.25 Inches Curvature: 0.5 Inches The fittings that came with the blade are mixed, sa-me has fake ray-skin with older looking bronze menuki, with matching futchi, with an older looking Goto school tsuba with shi shi and peonies inlaid in a silverish/gold inlay. Traditional nanako-ji (fish egg) background. The blade and the tsuba may not match in age, but habaki looks original. Please any further help with identifying this blade would go a long way. Thank you all in advance! Warm Regards, Gordon S
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Here is a tsuba purchased earlier this year from the NMB For Sale section off Tom (LEPORELLO). It is not big being only 64 x 60 x 4 and I would have liked a katana sized example but for all that think that this one is a great piece in showing the great skill of the brass wire inlay artisan. I am interested in the opinions of other members here about these thoughts which are about these great skills and the ability to chisel such fine, convoluted channels, twisting and turning to create this design and then to inlay the fine brass wire into such twisting channels. Pretty amazing work for mine ? And their regularity and evenness is impressive. The patience and skill producing well executed nanako is of course possibly the ultimate. There are so many ways to appreciate the artistry and history of tosogu. Roger j
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Hello friends, I recently acquired this Tsuba that is said to be from the Akita Shaomi school, but that is not 100%. Any guesses from those who have seen Tsuba similar to this? The signature was auto-translated to Eshu Hikone Ju Mogarashi Soten Se. Also, I have been reading alot of your great posts on cleaning, soap vs oil vs wax, what kind of brushes, soft metal vs iron, etc, and it is that later that I need some advice with. Is this "soft metal"? How would you best clean and preserve this? The antique dealer said to wipe the rust with a soft cloth, but not the black rust. You are a great group of people and I am happy to join the community! I am in Nagano. Tom
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Hi I thought I'd find this shape quit easily but I didn't I looked through my books on mon but found nothing I can describe it as a double diamond but I'd like to be more accurate Can anyone help? Grev
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To (only) people who know what they're talking about: I am currently getting fittings together for my katana in shirasaya. I recently purchased a tsuba from the ebay seller Koushuya. This was after almost a year of searching for the tsuba that felt just right. I ended up going with this one, and I am very happy with the purchase. Apparently it's an antique from the Edo period. But I don't really care about that. I just really like how it looks.......makes me feel good. My first question: Should I leave this thing alone and fit it to my katana as is, or should I do something about the rust that looks like it might be eating away at the sukashi? My second question: If I should do something about the rust, what should I do/how should I do it? I don't want to damage/alter this thing (beyond necessarily removing rust) if I can help it. I really like it. Here are some pics:
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I am not sure if I am navigating this site correctly but I have a question. Does anyone know when the next Shinsa will be held in the New York metropolitan area? I have a small collection of Tsuba's that I have had for decades and I am considering submitting them to the Shinsa to possibly getting papered. Thank you.,
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Hi I'm struggling with the smiths name Choshu Hagi 長州i 萩 ju 住 Smith 中智光 Naka/U tomo mitsu Best I can do I can put an image on this post but I'm sure the kanji is correct
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Here are four tanto tsuba - nothing exciting but for me, a representative few. They didn't cost much individually but my good friend who appears on this NMB and only bothers with very good quality Nihonto questions whether a good bottle of whisky mightn't be a better deal than one of these ? Obviously he has a point. I haven't included measurements but 6cm is the largest diameter amongst them. Roger j
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Hi, Recent new addition, possibly Kyo Shoami (style), fishing boat with nets and plant of some description (?) dimensions below: Height - 79mm Width - 77.5mm Mimi - 3.8mm Seppa Dai - 3.2mm What has me a little concerned about the tsuba is the off set position of the hitsu. I'm familiar with hitsu of different sizes, irregular shapes and some that look a little off centre as well but not as much as this one. Looks to have been mounted at some point. Appreciate your thoughts.
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Just doing a trawl on the 'net' and came across this little snippet from 2014 https://www.minelab.com/consumer/success-stories/old-Japanese-samurai-tsuba This is something we won't get to do here! "Stop the presses" - this is unbelievable - I only down loaded my latest book last night to Blurb and it arrived at 1.20 pm today! Now that is not service that's witchcraft ! ['Additional Early Articles for Tsuba Study'] Now the proof read!
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Hi, I am trying to write a description for one of my tsuba, and am having trouble determining what the meaning of the decorations are. I think the piece is Jakushi work (though we'll never know for sure because its not signed - had to have been somebody in the Nagasaki area though). One side shows a rain dragon (thanks Gordon/others), and the other shows workers who are apparently planting rice. They seem to show the cloud the rain dragon is from wrapping around the piece, suggesting this is some kind of unified theme. So... is there a legend or standard name for this or is it just a "rain dragon/rice planting themed tsuba"? Apologies if you've already seen this - I've posted it in another forum or three as well. Thanks in advance, rkg
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Hi, recently I acquired a Tsuba with a somewhat unusual motiv, a giant snake and what seems to be a worshipper(?). I have no clue for the interpretation: the Internet and "Legend in Japanese Art", by Henri Joly is of no help (at least for me). Elements in the Tsuba are very similar to Soten, but the snake is foreign, so it seems. Usually snakes are hostile in Japanese legends, but this one seems almost friendly? Can anyone help? Sincerely Hans
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Hi, I posted in the Translation Assistant last night the mei of this tsuba and thanks to Steve M for completing the translation. 江府住 - Kōfu-jū 逸平義久 - Itsuhira Yoshihisa I've now taken some images (hopefully they have come out okay?) of the whole tsuba which I think depicts fishing in springtime, going by a bit of research on Japanese/Chinese landscape prints. Assuming late Edo period. I can't find any information on the maker, any insight from the forum would be welcome. Found a couple of similar variations of this theme but unsigned. There doesn't seem to much in the way of literature on Kofu tsuba, but hopefully someone can point me in the right direction? Also interested in if this is the makers full name? Used to seeing two character signatures. Fishing in springtime, Ike - no - Taiga (1747) Tsuba dimensions: Height: 77mm Width: 71mm Mimi: 4.1mm Seppa dai: 4.4mm Thanks Colin
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Hi, Recent addition, I'll post some further pictures shortly. I can translate the Kofu ju but the rest I can only get the last character Hisa. Was expecting Masahisa but doesn't look like that. Any help from the couple of images attached would be appreciated. Many thanks Colin
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Several months ago I released a two volume book "Public Domain Tsuba in the Metropolitan Museum" - within that book there is an unusual example of a Kawari-gata guard that appeared to have originally had a maru rim, now removed. I have just come across the full example for comparison. You can clearly see they are the same design and the 85mm example has a fairly robust rim [mimi]. The Museums example though decorative would be impractical for use, the finer elements being easily cut off and a risk of catching on any lose clothing.
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Hello, I recently acquired this lovely kinko tsuba from Grey Doffin. The front depicts a chase in the clouds between a Samurai and a Demon that has stolen a treasure and the back the Samurai has caught the Demon and taken the treasure back. I was wondering if anyone has information about the folk tale depicted and any ideas which school it might be from? Tom
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I have come across this very interesting Blog site, that will either make you weep, or cheer the ingenuity of ultimate recycling. I like many collectors, like to display my collection but I don't know anyone who lives/lived within their collection as did Louis Comfort Tiffany. http://www.thehistoryblog.com/archives/59036 Please look at the images at the highest resolution, If you think your walls are covered by tsuba, you will be surprised how far earlier collectors outstrip us.
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Papered V's non-papered. Just what do you pay for? These two examples are selling right now, the disparity in price is a joke. That little yellow piece of paper must really be worth something because the objects themselves don't reflect the value for money. https://www.ebay.com.au/itm/Tosano-Kunijumyo-Chinkin-Toshio-Late-Edo-period-Certificate-attached/392858980313?hash=item5b78384fd9:g:B20AAOSwr5Fe~Twf https://www.jauce.com/auction/o404593427 I am thinking of buying the cheaper piece, it looks like the real thing - and I can always supply my own coloured paper.
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I often receive my tsuba purchases without a storage box. This may offend the purists but I refuse to spend more money than the guard is worth on what can be expensive kiri boxes and they dont exactly lend themselves to good display. I came across some clear jewellery cases that are both protective and inexpensive as well as designed for displaying both sides of an object. At first I thought the tsuba metal would 'sweat' being sealed up, but actually the cling film stops any moisture or dust getting in and I have seen no damage at all in four or five years. Various sizes and colours are available but unfortunately some of my really large guards don't fit. I send a link, but check out other related sites because I am not advertsing for any particular manufacturer. I realize this topic has been touched on before but perhaps some newer members are not aware. Also include some standard display boards I made myself. The odd shaped one is based on a Chinese gong shaped tsuba I wish I had (It's a bit too pale for my taste but my wife said she wouldn't let me put up another dark piece of wood!). https://www.ebay.com.au/itm/Clear-Jewelry-Suspended-Coins-Floating-Display-Case-Stand-Holder-Box-Easy-Use/352092267124?ssPageName=STRK%3AMEBIDX%3AIT&_trksid=p2057872.m2749.l2649
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I found this very interesting article from a book on Rudyard Kipling's travels through Asia at the end of the 19th century, and would like to share it. From Sea to Sea : Letters of Travel by Rudyard Kipling Publication date 1900 Talk to every one you meet, if they show the least disposition to talk to you, and you will gather, as I have done, a host of stories that will be of use to you hereafter. Unfortunately, they are not all fit for publication. When I tore myself away from the distractions of the outer world, and was just sitting down to write seriously on the Future of Japan, there entered a fascinating man, with heaps of money, who had collected Indian and Japanese curios all his life, and was now come to this country to get some old books which his collection lacked. Can you imagine a more pleasant life than his wanderings over the earth, with untold special knowledge to back each signature of his cheque-book ? In five minutes he had carried me far away from the clattering, fidgety folk around, to a quiet world where men meditated for three weeks over a bronze, and scoured all Japan for a sword-guard designed by a great artist and — were horribly cheated in the end. 'Who is the best artist in Japan now ' I asked. 'He died in Tokio, last Friday, poor fellow, and there is no one to take his place. His name was K.., and as a general rule he could never be persuaded to work unless he was drunk. He did his best pictures when he was drunk.' 'Ému. Artists are never drunk.' 'Quite right. I'll show you a sword-guard that he designed. All the best artists out here do a lot of designing. K... used to fritter away his time on designs for old friends. Had he stuck to pictures he could have made twice as much. But he never turned out pot-boilers. When you go to Tokio, make it your business to get two little books of his called Drunken Sketches — pictures that he did when he was — ému. There is enough dash and go in them to fill half a dozen studios. An English artist studied under him for some time. But K...'s touch was not communicable, though he might have taught his pupil something about technique. Have you ever come across one of K...'s crows ? You could tell it anywhere. He could put all the wicked thoughts that ever came into the mind of a crow — and a crow is first cousin to the Devil — on a piece of paper six inches square, with a brush of Indian ink and two turns of his wrist. Look at the sword-guard I spoke of. How is that for feeling ?' On a circular piece of iron four inches in diameter and pierced by the pole for the tang of the blade, poor K..., who died last Friday, had sketched the figure of a coolie trying to fold up a cloth which was bellying to a merry breeze — not a cold wind, but a sportive summer gust. The coolie was enjoying the performance, and so was the cloth. It would all be folded up in another minute and the coolie would go on his way with a grin. This thing had K... conceived, and the faithful workman executed, with the lightest touches of the graver, to the end that it might lie in a collector's cabinet in London. 'Wah ! wah !' I said, and returned it reverently. 'It would kill a man who could do that to live after his touch had gone. Well for him he died — but I wish I had seen him.' Is it a reasonable guess that the mysterious K.... is none other than Kano Natsuo? [The book being published in 1900, and taking time to write and get printed - the death of Kano Natsuo in 1898 would certainly fit the timing.]
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This example is just a follow up to the small Heianjo ttsuba posted about a week ago. The reason is to illustrate the trouble and effort some inlay craftsmen or women would go to in creating accurately, regular channel widths, depths and designs- even over the mimi from one side to the other for goodness sake. These are not necessarily appealing to everry collector but they are certainly intriguing designs. The pattern here is 'sayagata-mon' I believe Ford called it and to my way of thinking it is a monument to the skills of the Tsuba making fraternity. More so for mine, if we accept that the plate may be Momoyama or early Edo. Just another of the many,many facets of Japanese Tsuba craftsmanship as well as it's great artistic pieces. Roger d.
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Purchased in 2012 as bronze plate, a small amount of surface oxidation could be seen. Could I ask for clarification of maker and smith please and an idea of the condition of the heron or is it an egret ? Other than the amount of damage to the bird- (flattened body, marked beak), the rest looks O.K to such as me ? 80 x 75 x 4.6 at rim Masamune the maker I think ? thanks in anticipation Roger Dundas
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Greetings everyone - I’m posting a tsuba I purchased back in March, and just received yesterday due to major COVID related shipping delays in Japan. It’s pretty solid piece and I admire the subtle work on the surface which appears to be a dragon and possibly clouds? I imagine it was more prominent before time and rust degrade the metal.
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