Jump to content

Search the Community

Showing results for tags 'tsuba'.

  • Search By Tags

    Type tags separated by commas.
  • Search By Author

Content Type


  • NMB General Japanese Discussion
    • Forum Technical Details and Maintenance
    • General Nihonto Related Discussion
    • Translation Assistance
    • Auctions and Online Sales or Sellers
  • Nihonto Discussion
    • Nihonto
    • Tosogu
  • Related Subjects
    • Katchu
    • Military Swords of Japan
    • Tanegashima / Teppo / Hinawajū
    • Other Japanese Arts
  • Events and Nihonto Related News
    • Sword Shows, Events, Community News and Legislation Issues
  • Commercial Listings
    • Dealer Showcase
    • For Sale or Trade
    • Wanted to Buy
    • Sold Archive

Product Groups

There are no results to display.


  • Free Nihonto Books
  • Nihonto E-Books For Sale
  • Member Articles
  • General Articles
  • Files


  • Care and Maintenance
  • Buying and Selling
  • Blade Restoration
  • How and Why?
  • Translating Mei

Find results in...

Find results that contain...

Date Created

  • Start


Last Updated

  • Start


Filter by number of...


  • Start





Website URL








  1. Dear all I would like to part with a nice early Tempo/Tembo/Tenpo tsuba. The kokuin stamp used to create the surface pattern has a kiri design. The quality of the iron is good and the lamination can be seen in the nagako and hitsu-ana. Finally, the tsuba has a Sukidashi-mimi. If you want to learn more about Tempo tsuba, there is a well written article about Tempo Tsuba by Malcolm E. Cox available in the Download Section. Dimensions: Tsuba: 8.09 cm x 8.16 cm x 0.3 cm Nakago-ana: 3.36 cm x 1.01 cm (widest point) Asking price: EUR 170.00 Shipping costs including tracking and insurance are: Germany EUR 6.99 EU EUR 16.49 UK EUR 26.99 Worldwide EUR 47.99 Best Chris
  2. I just wanted to share this quick photo of a new tsuba I picked up for my birthday. I haven't had a chance to photograph it and this photo was taken by the previous owner. The iron feels very nice in hand and design motif a classic one with an interesting variation. I will take some of my own photos later. Feel free to discuss it politely.
  3. This tsuba has somehow ended up in my small and somewhat scattered collection from a distant past (25 years ago??) while I was living in Singapore and before I started collecting early sukashi tsuba at the beginning of this year. I just had David help out with the mei translation. Haynes H05405.0. Based on death before 1781 (An Ei), this tsubako appears to be a contemporary of the 7th (Shigehide) and 8th (Yoshihisa) generation of the Umetada Kyoto School. The writing on the white stickies are from the previous owner (there is another one on underside of lid). There is a carved and overlaid scene of two figures at 4:00 with landscape elements beneath clouds on omote. The tree and rocks wrap around to the ura. There are two kogai hitsu-ana of differing sizes. 74 mm (perfectly round), 4.7 mm, 4.0 at mimi. Comes in newish paulownia box. $350 (or best offer)
  4. Hello! Tsuba - bamboo tree. 1000 euros. Material is iron Mei/signature: 東都住貞恒 Toto Ju Sadatsune, Period/era: Edo, Certificate: None, Measures: 7.8 cm x 7.3 cm x 0.40 cm. Location: Germany, Berlin. Payment via PayPal or in person in Berlin. Alexander
  5. Hello together, I recently received a katana which seems to be "shuffled" together. None of the parts seem to match each other. The tsuba has a signature, but I can hardly imagine that this is Japanese at all. Does anybody have an idea what this could mean or be? Best regards Roland
  6. Here is an iron plate with mei showing Tadamitsu (from Yamashiro Province??). Would be wonderful if one of our members can provide the full translation. "Tadamitsu" appears on left side of seppa dai flanked by two characters. Yamashiro appears on right side. Tadamitsu seems to be variously associated with the Akasaka and Higo schools, but this is not a sukashi tsuba so it seems doubtful to me. I can't otherwise identify this specific smith from Yamashiro Province. The hand written label was added by prior owner presumably. This tsuba has somehow ended up in my small and somewhat scattered collection from a distant past (25 years ago??) while I was living in Singapore and before I started collecting sukashi tsuba at the beginning of this year. I am looking to sell this piece. There is a scene of two figures at 4:00 with landscape elements beneath clouds on omote. The tree and rocks wrap around to the ura. There are two kogai hitsu-ana of differing sizes. 74 mm (perfectly round), 4.7 mm, 4.0 at mimi.
  7. 1) Tsuba - Akasaka School Japan, Original https://www.ebay.de/itm/176263757878 Antik. Edo. Original aus Japan. School: probably early Akasaka 3rd Gen. Age: Edo Period / Region: Tokio Dimension: Size 66,8 mm x 70,4 mm x 6,2 mm (6,2/6,6), 65,9 g 2) Tsuba - Japan, Original https://www.ebay.de/itm/176263758854 Antik. Edo. Original aus Japan. School: reminds me of Tochihata. Age: pre-Edo Period Dimension: Size 62,3 mm x 63,0 mm x 5,1 mm (5,0), 55,1 g 3) Tsuba - Karigane - wild geese, Akasaka motive Japan, Original https://www.ebay.de/itm/176263759358 The Tsuba is made in the "Sukashi" technique, potentially made with a chisel and filing during Edo Period. The motive represents Karigane (Geese) in Flight, which is a typical Akasaka Motive. The patination and color of steel is typical for these authentic historic pieces. School: probably later Akasaka Age: Edo Period / Region: Tokio Dimension: Size 66,8 mm x 70 mm x 6,0 mm (6,3), 87 g
  8. 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)
  9. Dear members, I am offering here a tsuba that is rarely seen in this combination. Mount Fuji with pine trees at the base ( not identical on both sides, but with variations) and the material is suaka, with plenty of leftover urushi. Beautiful color. Photos are made in the morning sun. Kokinko tsuba, suaka, Momoyama/ early Edo 66mm x 66mm. Relatively thick at 5.5mm, 123 gr. Price: 1800 € (excl. package and posting)
  10. Raising $ for my Kanayama/Owari Fund. This is a love daisho with plum branch and blossom theme in copper, silver, gold, shakudo inlay/overlay. $650 including shipping in US (ask for quote for international). Links to similar examples with various attribution to Ko-Nara or Umetada. https://www.worthpoi...-guard-ume-tsuba-for https://www.ngv.vic....llection/work/54298/ Katana: 73.2, 68.6, 4.5, 4.0 mimi Wakizashi: 69, 62.8, 4.0, 3.2 mimi
  11. Back before the world went Covid, in 2019 Leon Kr posted a thread http://www.militaria.co.za/nmb/topic/30455-help-needed-with-mei/ That he never really got a straight answer to. I believe because at the time it was dismissed as 'oh no not another cast copy'. Well having just stumbled upon it, I thought to clarify a rather muddy topic. I am normally on the look out for mass produced copies and have posted a few threads on this subject - however this time I would like to show a collection of mass individual pieces 'utsushi' I would guess. From my research there are quiet a range of metals used in their construction but they tend to have three distinct features either a full signature. A partial signature. Or are not signed. The design is always the same but I have yet to see any, that are an exact copy of another. The signatures according to the various owners or sellers usually state to be 'Toshimasa' - Then it gets mixed up - Kofu ju Toshimasa, Kofu jyu Toshimasa, Sumu Toshimasa and the book by the members of the 'Japanese sword society of New York' 1966 describe the maker as 'Mitsunobu (Bushu {Musashi} Province) yet apart from the last, the Kanji is all the same? Toshimasa had several designs, Leon Kr's 'Waves and Birds' also becomes 'Waves and Maple leaves'. Then there is the Dragon - Rain dragon, Smooth dragon, Serpentine dragon, Water dragon, Kissing dragon - no one knows and does it really matter! The point is they are not cast copies. ps. There were several 'Toshimasa' including a father and son - take your pick because your guess is as good as anyone elses!
  12. Maybe someone here on the forum can help me with identifying this Kao mark or the maker on this particular Tsuba that I have recently added to my collection. YES its a little rough and it could do with being restored as the silver has some major wear to it is some places. The Tsuba looks like it was previously mounted at one point or another in its life. more so i am just curious to see what some of the members here say about its origins. The theme is of Uba and one of the Twin Pines but that is just my interpretation of it. Possible Kao Mark could be Kazunori (139 Joly's) but I have my doubts as I cant find any other Kao similar to or matching this one to verify it
  13. 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.]
  14. Hello everyone on the Tanegashima / Teppo / Hinawaju discussion form. This is my first post on this group. I was reviewing the handwritten notes about a new tsuba I added to my collection at the Baltimore Antique Arms show last month whose subject is a pistol and its accessories. I was able to see some nice antique Japanese pistols while at the show and this likely influenced me to get this tsuba. The notes made by the previous owner are below. Here is the tsuba. Here is a composite of both sides to show both the pistol and all its accessories. Any additional information about the pistol would be helpful as it might make dating this unsigned tsuba easier. Thank you.
  15. I picked this tsuba up for my collection at the 2024 Baltimore Antique Arms show last month. It is the current focus of my tsuba study. Rare musket pistol and target theme in excellent condition. Feel free to discuss it politely.
  16. My latest acquisition is a tsuba with hakogaki by Satō Kanzan. Despite my effort I'm unable to sort out one of the kanji describing the tsuba, so I'm unsure about a matching between the tsuba and its kiribaki. The date of the appraisal is also unclear to me. Here below my partial transcription: 大五郎 - Daigorō 孔▢文透鐔 - ???-mon sukashi tsuba 丸形鉄地透彫 - maru-gata tetsu-ji sukashibori 無銘 大五郎- mumei Daigorō 昭和▢▢年夏- Shōwa ??? 寒山誌 - Kanzan shirusu (+kaō) Thanks all.
  17. Hi, A nice recent purchase from Grev (Kissakai) which didn't have the school identified. After some research I'm leaning towards Sado Island school, Sado Sanzaemon (1711 - 1735). There's a similar Kyo-sukashi style, with the rope mimi identified as a Sado Island example in Haynes catalogue #5, page 40/41, lot 127, image at below. I also think the carvings around the hitsu-ana on my tsuba are some form of bean pod? Thoughts welcome, thanks. The tsuba dimensions: H - 69.5mm W - 64mm Mimi thk - 4.85mm Seppa dai thk - 4.65mm
  18. Hi everyone! I am an eighth-grade student at the International School of Prague. Recently, our Social Studies class introduced a new project known as the Curator Challenge. Each of us received an undisclosed artefact from the Lobkowicz family collections. Our objective is to identify our assigned artefact and contemplate its placement in a museum exhibit. Additionally, we're tasked with delving into its historical context by researching its origins, purpose, and societal significance. This entails understanding who crafted it, why it was made, its intended use, and how it reflects the beliefs and practices of its era. Ultimately, we'll write an essay analyzing the historical importance of the artefact and its implications on the societal values of its time. To excel in this task, our group must collaborate effectively as museum curators. Our group was allocated what we believe to be a tsuba. So far we know that: Dejima (Japanese for “exit island"), was an artificial island off Nagasaki that served as a trading post for the Dutch (1641–1854). For 220 years, it was the central conduit for foreign trade and cultural exchange with Japan during the isolationist Edo period (1600–1869), and the only Japanese territory open to Westerners. Until the mid-19th century, the Dutch were the only Westerners with exclusive access to Japanese goods, and, to a lesser extent, society and culture. We believe our tsuba is from the Edo Period and that it was brought over to Amsterdam by the Dutch East India Company. We know is often considered the first truly multinational corporation. From the 17th to the 18th century, VOC acted on behalf of European governments. Their initial goal was to develop trade links for prized items. In 1610, VOC gained a foothold in Batavia (Indonesia / Dutch East Indies) and conquered most of the island of Ceylon (Sri Lanka) by 1640, establishing the stronghold of Galle. As Cape Town (South Africa) was only founded in 1652 we know that our tsuba can’t have travelled to Europe from before that date. Cape Town was a crucial stage for the long Europe-Asia voyage. Different designs symbolise different things. A tsuba is like a crest or coat of arms of a family. A family would have several tsubas that are the same. It is the most decorated part of the Japanese sword, usually bearing engravings of the clan coats of arms or crests, and occasionally purely ornamental motifs that often elevate the tsuba to the condition of genuine works of art. It is the most decorated part of the Japanese sword, usually bearing engravings of the clan coats of arms or crests, and occasionally purely ornamental motifs that often elevate the tsuba to the condition of genuine works of art. Many tsubas are signed by the maker on the seppa-dai (the area around the nakago ana). When mounted, the tsuba seppa-dai is covered by seppa (metal spacers) and the signature (mei) is not visible. According to Trukatana, during the Edo period, the Tsuba was a symbol of cultural identity as it represented the warrior spirit as well as artistic sensibilities and craftsmanship. Those are all parts of Japan's cultural identity. Furthermore, as per the University of Michigan Museum of Art, family crests were important in samurai classes. That is important because the Tsuba showed the owner's political connections, bloodline, and marriage relationships. Therefore, they would represent one’s social status or value. A Tsuba can highlight naturalistic scenes, and secular stories, which are tales that are not directly directed to religion. Additionally, this object can give an insight into religious symbolism which shows someone's beliefs. Now as it stands, we are trying to figure out where the tsuba originated IN Japan as well as where the tsuba was after it arrived in Amsterdam. We are looking into "cabinets of curiosities", which were collections of objects whose categorical boundaries were (in the Renaissance) yet to be defined, and trying to see whether our tsuba was in one of them. So far, we have not had any piece of our timeline after it would have landed in Amsterdam. We would like to know whether there are any clues or paths we could go down to figure this out. We are also trying to find out where it originated. As of now, we are looking at the designs on the tsuba as well as the writing on the side. So far, none of it has been of much help as we can't seem to find geographical clues. However, we are trying to find out whether it might have belonged to a prominent Japanese family. If you have ideas or clues we could go down to figure out anything related to origins, makers, the people it belonged to, or a timeline of its travels, please feel free to reply or guide me to another post on here. Below are photos of both sides and the writing, (sorry for the link but they wouldn't all fit here) Thank you so much Hannah https://drive.google...cTflsiyq?usp=sharing
  19. I am looking for Kanayama and Owari tsuba from the late Muromachi to early Edo period (approximately 1575-1610). I have seen some nice early sukashi guards in this category posted on NMB in the past. I am also interested in original Oribe tea cups/bowls from the Momoyama period. Thanks.
  20. I am researching for educational purposes only a new iron tsuba I picked up at the 2023 DTI show in Tokyo last November. Does anyone have any old photos or scans of R. E. Haynes Auction Catalog #7, Sept. 25, 1983, pg. 48-49? It would be a tremendous help to my research. Thank you very much in advance. Let me know if you have any questions or concerns.
  21. Raising $ for my Kanayama/Owari fund. This brass Shonai kaku-maru-gata tsuba with some elements of copper-colored metal overlay is similar to several currently on eBay except that a moon replaces the geese and there are stars. Nanako appears to be worn on the front, well preserved on the back. $900 including shipping in the US (request quote for international shipping). 69.3, 63.5, 5.1 with fukurin Similar on eBay: https://www.ebay.com/itm/285565279191 https://www.ebay.com/itm/144831048303
  22. Raising $ for my Kanayama/Owari Fund. Offered are a few nice iron plates with high relief bird motifs and silver and gold colored mixed metal inlays/overlays. Excellent condition. $350 or best offer each including shipping in US (request quote for international shipping). Tsuba #1 Crane over waves. Very fine detail of feathers over top of wings. 72.7, 69.2, 4.7, 3.3 mimi Tsuba #2 Millet amidst reeds or cat tails. Rendering of millet was apparently challenging for artisans of this period. 71.6, 67.4, 4.4, Fukurin rim cover.
  23. Dear All, I have a table booked at the Birmingham Antique Arms Fair this coming Sunday. I have some swords, tsuba, books, a yari and a sword chest to sell. Prices will be competitive and I'm open to a degree of haggling so please swing by to try to snag a bargain. Alternatively, just drop by and introduce yourselves. I'll add a list of items and prices shortly and if anyone would like further details or photographs please PM me. Hope that's OK with the mods...and as I'm using the forum to plug my sale, a donation will be made. Thanks in advance for looking.
  24. Hi all, So, I know even less about tosogu than I do about blades. I'd like to know about this tsuba. Age / era, relative quality, etc. Any relevant - as at some point, it's a field of collecting I'm interested in. To me, it doesn't appear especially high-end, but obviously there's some effort that's gone into the decorations (plum blossoms I believe).
  25. Hello everyone, I'm looking to part ways with some very nice pieces from my Tsuba collection. While some have already found new homes, I'd like to share a few more interesting pieces with you. So, treat yourselves, perhaps with an early season gift. More images are available upon request. If you have any questions or would like to make offers, please feel free to PM me. A donation to the forum will be made upon sale. Thank you for your interest. Hannes 1. Higo, Den Kamiyoshi, Kagecho Sukashi (Butterflies), Late Edo Period, 75 x 80 x 3 mm, EUR 680 plus shipping The Tsuba is a beautiful piece with a monumental expression in the tradition of Fukanobu Kamiyoshi (1786 – 1851). The design is an adaptation of the Ko Shoami Tsuba that was mounted on the famous Kazen Koshirae. As is common with this design, the seppadai is enlarged and bigger than the tsuka diameter, showcasing the eyes of the butterflies when mounted. The placement of the Tagane is also true to form, although in my opinion, not as precisely positioned as I would expect from Fukanobu's work. Therefore, it is priced as student (Den) work. A similar Design can be found in Works of Hayashi & Kamiyoshi, Nr. 229 on page 315. Polished iron, dark patina, and in great condition! The Tsuba comes with a box. 2. Higo, Den Kamiyoshi, Distand Pine-Tree, Late Edo Period, 80 x 80 x 4.5 mm, EUR 480 plus shipping The design is an abstract interpretation of a distant Pine-Tree, where the rim is artistically included as a part of the design. It is a beautiful, organic, irregular shape. This design is also well known throughout the Hayashi Schools. A similar Design can be found in the Higo Kinko Taikan, Nr. 356 on page 357. Very good, dense, polished iron, perfect black patina with a great wet look. Flawless condition! Tsuba without a box. 3. Higo, Nishigaki, Sakura Blossom, Edo Period, NBTHK Hozon, 69 x 73 x 4-3 mm, EUR 1.450 plus shipping An exquisite Sukashi Tsuba - in my opinion a Nishigaki Kanshiro or Kampei Tsuba. This remarkable work showcases a truly elegant motif of falling Sakura blossom. It is a very elegant and outstanding piece, that is hard to part with. Layer construction is visible in the sukashi. It has a nice black/brown/violet patina. The overall condition is great. The Tsuba comes with a quality box and NBTHK Hozon papers (Higo). A comparable work can be found in Works of Kanshiro Nishigaki, Nr. 133 on page 156. 6. Inshu No Ju Suruga, Ornamental Plants, Edo Period, 75 x 78 x 3.6 mm, EUR 580 plus shipping It is a typical work of the Suruga School. From 1632 onwards, the Suruga masters signed as Inshu no ju Suruga as seen on this example. Also, the distinct sekigane are typical. It features ume-gane in gold, usually made with gilded copper; the deep engraving suggests the use of a heavy gold sheet or solid gold (but you will never know without removing them, which would be a shame). The condition is great, it features a dark, black patina; the nunome zogan is fully intact and enriches the design as intended centuries ago. The Tsuba comes with a box. Very similar examples can be found in the Ashmolean Museum (http://jameelcentre.ashmolean.org/). 7. Higo, Jingo, Rain Dragon, Edo Period, NBTHK Hozon, EUR 1.100 plus shipping This work is a representation of the later Jingo schools. It is adorned with a finely carved dragon in striking, fully intact silver and gold nunome. On the reverse side, the Buddhist motif vajra is featured, also highly detailed in silver inlay. This piece showcases the artistry in its finely formed iron plate in the elegant mokko gata shape, displaying a chocolate brown patina with fully intact inlays. It is a wonderful work! I bought this some years back from Fred Weissberg (https://nihonto.com/). The Tsuba comes with a box and NBTHK Hozon papers (Kodai Higo). 8. Higo, Jingo, Futatsu Biki or Hikiryo Mon (Two Lines), Edo Period, 72 x 76 x 4.5-2 mm, EUR 340 plus shipping Featuring a very elegant design of Futatsu Biki or Hikiryo Mon (Two Lines), a design native to many Higo schools. This particular example belongs to the late Jingo school. The Tsuba shows an exquisite dark, black patina, with remnants of silver inlay still visible in some spots. Tsuba without a box. A comparable Tsuba can be found in Works of Hirata & Shimizu, Nr. 55 and 88 on page 202 and 233.
  • Create New...