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Showing results for tags 'tosogu'.
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This is a recently acquired Kanayama tsuba "study piece" costing just over $300 on a Jauce auction. It has a massive seppa-dai and large lump-type tekkotsu concentrated on the upper mimi clockwise between 7 o' clock and 1 o' clock (two are shown in pic). There is a slight dishing from mimi to seppa-dai. This is a genuine Kanayama, but has some unusual variant features. The motif on the left and right of the seppa-dai and forming the hitsu-ana is often referred to as "sea cucumber" (namako) and made famous by the tsuba of Miyamoto Musashi. However, I highly doubt that he was thinking of a deep sea creature to decorate a sword fitting when he adopted this abstract motif as part of the simple and symmetric composition commonly found in Kanayama tsuba. This tsuba is almost certainly a product of the Momoyama Period with a lively flow of curves in the composition that is mesmerizing and evocative of Wabi Tea and Zen Buddhist aesthetic principles including wabi, sabi, and mono no aware. For me it is also an especially powerful evocation of yugen (mystery). Beyond the tekkotsu there is variation in thickness going around the mimi and the seppa-dai, which exaggerates the rustic spirit of the overall effect. The surface has an unusual appearance comprised of an exaggerated and coarse cobblestones/craters (not sure if it can be described as tsuchime-ji) interrupting a beautiful yakite-shitate surface treatment. This seems to be an intentional aesthetic expression rather than reflecting any corrosion of the patina, which has a lovely color. There is an almost identical example of this tsuba in "Openwork Tsuba" by Kenichi Okubo, et al (page 192) that is more of a classical Kanayama tsuba in its features. The major differences are that the width of the motifs on either side is even less uniform in my tsuba, being thinner at the center so as to create almost the appearance of upper and lower lobes, it has a massive seppa-dai measuring 47 x 27 mm (reminiscent of Ko-Shoami), and it has an unusual linear gouged tagane pattern around the entire nakago-ana. It appears to have been mounted many times, which may attest to the aesthetic value placed on this tsuba. There are a few other similar pieces found on my Google search, but they are linked to NMB posts that apparently no longer exist. The major differences are whether there is a kogai hitsuana or if both are kozuka hitsuana, and whether the curved element that forms the hitsu-ana is joined to the mimi in a more round shape (relaxed), such as in my tsuba, or at a more acute angle (stiff) as in the reference piece below. Diameter: 76 mm Width: 5.7 (mimi), 5.0-5.3 mm (seppa-dai) Weight: 97 gm
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I bought this tsuba for 25$ on catawiki from Japan. Is this tsuba legit? What time period is it from? What school? https://drive.google...Jru_g1Xr?usp=sharing Photos are in the drive folder the file were to big to upload. I would be very happy if someone could help me.
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Hi, I am new here, and I would like to show/ask for opinion on the dawn of my collection. Those are my first aquisitions, I dont know much about them and would like to learn more from people who are capable of telling more than eye can see. And to add some information, all of them have Hozon token from NBTHK Tsuba no.1 Tsuba no.2 Tsuba no.3 Tsuba no.4 Thank you for any comments about my new pieces.
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There is a listing on Jauce of a nice classic paulownia design with hakogaki that my translator app can’t decipher. Kebori is weak, but composition is exactly like a 2nd generation Kanshiro. Hard to tell if smaller hits-ana for kogai is instead a reflection of Akasaka school or just the reflection of a composition/design element. Any thoughts? https://www.jauce.com/auction/h1143443304
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The gourd (hyotan 瓢箪) is my spirit vegetable it seems. As a motif in asian arts and crafts I have grown up with them. It is fitting then that a few Momoyama Period Kanayama tsuba currently in my small collection use the double hyotan (small upper half, larger lower half) as subtly recognizable motifs. Kanayama tsuba are generally described as being symmetrical and with patterns that are abstract, which I find to be especially true for Muromachi Period pieces. Those forged during the early Edo period are also rather stiff and more Tokugawa in their confirmatory sensibility. The Momoyama sensibility is “looser,” freer, with greater vitality and exuberance that is unique to this time and as informed by the aesthetic principles of Tea Ceremony. The two Kanayama tsuba reflect this sensibility and are carved in ji-sukashi. Hyotan have been long used in Japan as containers for sake, water, and flowers; regarded as lucky charms; gourd shapes appear as architectural motifs, cartouches for woodblock prints, and signatures of print artists; multiple gourds on a battle standard (sennari hyotan) is attributed to Toyotomi Hideyoshi who unified Japan in the late 16th century1; and gourds, as it turns out, are among those motifs found on sword guards (tsuba) mounted on katana or wakizashi. From the zen point of view, the hollow gourd denotes emptiness and seeking truth first through an inward gaze at the self.2 For bushi it may have served to ward off bad luck on the battlefield where the possibility of a deadly outcome was ever present. 1Symbols of Japan, Thematic Motifs in Art and Design, Baird, Merrily, Rizzoli International Publications, Inc, 1944 2Zen Painting and Calligraphy, 17th-20th Centuries Exhibition, Woodson, Yoko, Asian Art Museum of San Francisco, Chong-Moon Lee Center for Asian Art and Culture, 2001 Tsuba 1: When I first saw this gem, I almost missed the somewhat abstract hyotan motif that is actually integral to the composition. I thought they were buddhists beads. There are two double hyotan that form the hitsu-ana on either side, anchored on what appear to be stems. There are counter weights above and below. Tsuchime is enhanced in natural sunlight. The patina is a dark brown. It has enough globular tekkotsu on the rim to fuel a rocket to the moon. It is a nearly perfectly round murugata shape. 73.5 x 72.5 x 4.6 (4.9 at mimi) mm Tsuba #2 (please see next post below)
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Hello all, This might belong under Tosogu, administrator's choie. Looks like two blossoms with 12 petals... any thoughs?
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Two new additions to my collection. Both in the Thousand Monkeys or senbiki-zaru theme. The second tsuba seems to be a nicer example of the theme. Both tsuba are about 70 mm (2.8 inches) in diameter. The first one has a single hitsu-ana and is heavier. It doesen't show well in the photos, but all of the spaces between the monkeys is openwork. The second had two hitsu-ana and the eyes of the monkeys seem to have been accented in gold, but you have to look really closely to see it. The second one also has monkeys at the bottom that are playing a neck wrestling game called kunipiki. Kunipiki was a game where the opponents would put a loop of rope around their necks and then try to pull the other person over. I have found these examples online: Both tsuba also seem to have monkeys that are of the "See No, Speak No, and Hear No" variety.
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Afternoon gentlemen and women! I usually stay away from fittings as I lack experience in them, but I saw these in a German auction and picked all three up for 200 Euro. Call it a salve for not getting what I was really after in that auction. How'd I do? I thought at that price, I couldn't get burned much. And if I did, its an acceptable loss for what I got. I'd like to know what their motifs and apparent age are likely to be. I know that the solid brass(?) one is depicting Mt. Fuji and that's about it!
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Hello Group! My reading of the mei on this fuchi is 吉川 宗光 Yoshikawa Munemitsu. Is this correct? This goes along with my chicken menuki that I posted the origami for earlier this week. The kashira is the chicken's eggs. Thanks!
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Hello group! If i might beg the indulgence of anyone willing to help me with a translation again... I don't have these in my possession yet, but I am working on the translation of the origami for them. This is a set of menuki with a Hozon paper. They are shakudo chicken menuki. There are five characters (marked with ?) that I really don't have a clue about. The rest was sorted our via process of elimination, and trail and error with the kanji pages and Google Translate. This is what I have so far. Please help me with the missing information and please correct any errors that I may have made. Many thanks in advance! 鑑 定 書 * Kanteisho (Certificate of Appraisal) 一鶏図 目貫 *Hitosu (item) – Niwatori (chicken) – Zu (theme) Menuki 無銘 伝乗 赤銅地 ?? ??? *Mumei (unsigned) Denjo (attributed to the Denjo School) Shakudōji (bronze) ?? ??? 右は當協會に於て審査の結果保存刀装具と鑑定しこれを証する * Migi wa Atari kyōkai ni 於Te shinsa no kekka hozon tôsôgu to kantei shi kore o shōsuru (Examination by this organisation has resulted in the decision that the item to the right is a tosogu that is worthy of preservation (Rank = Hozon)) 平成十六年 二月 二十四日 * Heisei Jū-rokû (16) Nen (year) – Ni (2) Gatsu (month) - Ni-jû-yon (24) Nichi (day) (The 16th Year of Heisei, 2nd Month, 24th Day or February 24, 2004) 財團法人 日本美術刀剣保存協會 * Zaidan Hojin Nihon Bijutsu Token Hozon Kyokai (Financial Incorporated Foundation Japanese Art Swords Preservation Association (NBTHK))
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Dear all, I bought this tsuba a while ago. It has a nice bonji carved on it and I like it. It was dated by the seller as end of Edo but I rather think that it is a modern one. I am not a tsuba guy, I really don't know what to think about it and I need your help on this one.
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Dear all I have recently acquired a NBTHK Tokubetsu Hozon Yoshiro Zogan tsuba signed, as per NBTHK paper, "Hiroshima Ju Ginza Chosuke". According to the seller the signature is "Hiroshima Ju GINYA Chosuke". I was not able to find any reference or information about the "Ginza Chosuke", but some about the "Ginya Chosuke" on the Kinko Jiten by Wakamatsu Homatsu. A rough translation of it is (please pitch in if you have a better one): Chosuke Living in Nagasaki, Japan. Named Ginya Chosuke, carved in brass flat inlay on a round iron base in Yoshiro Zogan style. Early Edo period. So this "Ginya Chosuke" seems to be spot on for the tsuba. style However I would like to hear your opinion about the NBTHK and seller attribution. If any of you have information about "Ginza Chosuke" or additional information about "Ginya Chosuke" that you care to share I would be grateful. Best Regards Luca
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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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