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Ko-Tosho Tsuba...


Soshin

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Hi Everyone,

 

Here is the Ko-Tosho tsuba one of a lot of two tsuba I won at a local estate auction last weekend. The auction I won it at is discussed here at the on the NMB: http://www.militaria.co.za/nmb/viewtopic.php?f=3&t=14946. I had to remove some collection stickers and glue mixed with dirt and rust that were likely on it for the last 30+ years but the tsuba cleaned up nicely. I have also spent some time rubbing it a cotton cloth and using a old bone to clean off the active red rust. Here is the information about this tsuba from the action catalogue.

 

Together with a ko-tosho-style tsuba, late Muromachi period (16th century), the quatrefoil iron plate with a tsuchime surface and pierced with a geometric design, possibly depicting a stylized dragon.

 

Here is my detail measurements of the tsuba: 8.4 (Width) X 8.7 (Height) cm. The thickness at the rim is approximately 2.5 mm and the thickness at the rim is 3.0 mm. The tsuba display a wonderful hammer surface (tsuchime-ji) with many large granular iron bones (tekkotsu) along the rim and surface of the plate. The overall shape is uncommon for Tosho tsuba being a quatrefoil (mokko-gata). The shape of the rim I would describe as a rounded square in shape (kaku mimi koniku). The patina is characteristic blueish-black color intermix with deep browns often seen on Tosho tsuba.

The small openwork (ko-sukashi) is of a genji-mon or scent symbols used in Kodo for different chapters of novel Tale of Genji. Here is more information on Kodo: http://en.wikipedia.org/wiki/K%C5%8Dd%C5%8D. Looking at the tsuba from the omote side The genji-mon ko-sukashi looks to be for chapter 11 of the Tale of Genji. Looking from the ura side it looks like the symbol for chapter 23.

In terms of age I would say likely mid to late Muromachi Period. Please feel free to comment and questions are welcome. I am planning to do a write up about this tsuba for the JSSUS newsletter so any additional information or feedback will be helpful. :)

 

P.S. That reminds me I need to pay my membership fee for 2013. :o

 

 

 

Yours truly,

David Stiles

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Hi David

 

Thanks for sharing the tsuba. Looking at the pictures on my IPhone, two things that I notice are the rim and the fairly complex sukashi. They both hint at katchushi in my opinion. Also the Genji mon also makes me think the Edo period which in turn suggests that it is an Edo period revival peice.

 

Just some thoughts.

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Hi Henry W.,

 

After I measured the rim thickness and the fact that it was thicker then the seppa-dai with a small turn up does make me think Katchushi. If it is a Katchushi tsuba the ko-sukashi would not be considered too overally complex. The patina and tekkotsu along the rim makes me think if it is Edo Period it would be the early part or even possibly the Momoyama Period as the kozuka hitsu-ana has a early shape as well as the overall thinness of the plate. I am of the opinion that these works from Momoyama Period or early Edo Period are not revival pieces. The term revival makes me think late Edo Period but I could be wrong with such an association.

 

 

 

Yours truly,

David Stiles

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Hi David

 

Thank you for the reply. I personally feel that the ko sukashi of a Genji mon would not be found on a Ko Tosho tsuba.

 

Attached is a quote from Sasano. Early Japanese Sword Guards. p.9

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If we consider what Sasano has written, I am not sure what a low ranking foot soldier would spiritually get from a Genji Mon. I don't think that these warriors would be familiar with classical Heian period literature too.

 

I have done a bit of net trawling to try and find when Genji mon emerged. I found these pages;

http://www.viewingjapaneseprints.net/te ... #Genji-mon

 

http://www.viewingjapaneseprints.net/te ... oshi3.html

 

I get the impression, especially from the last link that it was late Edo period when the Genji symbols became popular. However I could be wrong and would appreciate iif someone would correct me if that is the case.

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Hi Henry,

 

Thank you so much for the links and the additional information it has been very helpful. Reflecting on Sasano words I would agree. I will get my copy of the book and reread that section. My tsuba is likely a really good late Edo Period revival Katchushi tsuba which just shows the skill of the tsubako skills in forging a thin iron plate with tsuchime-ji and tekkotsu. I don't collect tsuba based upon a specific time period and believe their are good quality antique pieces from all time pre-modern periods, groups, or schools. A example of this point is the following tsuba in my collection: http://dastiles1.wix.com/reflections-#!NTHKNPO-Kanteisho-Origami/zoom/c211q/imageuw2. I received positive feedback from the NTHK(NPO) and Chris B. after I submitted it for shinsa. I will still write the short newsletter article about it as I really like the tsuba. Is it alright if I use some of the information you have provided? I will site you and the NMB as the source of the information.

I will try to get take photographs of the second tsuba from the auction lot today and will start a new topic thread about it. :)

 

 

 

Yours truly,

David Stiles

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My tsuba is likely a really good late Edo Period revival Katchushi tsuba which just shows the skill of the tsubako skills in forging a thin iron plate with tsuchime-ji and tekkotsu.

 

David, what I am seeing is a highly rusted tsuba of little to no merit. Sorry.

 

PS: this is well worth watching: http://www.huffingtonpost.com/michael-s ... d%3D265337

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I think what we really need...very bady...(especially for us non-tsuba collectors) is a good article on deliberate surface hammering and treatment, vs corrosion over time from the elements, rust and water.

A rough surface doesn't indicate deliberate wabi/sabi..sometimes it is just corrosion. What is left isn't always tekkotso..sometimes it is just the left over from pitting.

No I don't know what applies here..which is why it would be really good to have someone write an article on this. It has been drummed into people so often to look for rustic hammer marks and "bones" that people invariably see these in any old looking surface. There is a ton of info to be learned on this topic, hopefully someone will rise to the challenge.

 

Brian

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Hi Pete K.,

 

Thanks for the earnest and trunthful feedback. You have really help deepen my understanding of tosogu. I purchase the auction lot because of the second tsuba which I hope to post shortly as a separate topic. In the end it was all just hopful think on my part that I had something special. :(

 

Hi Brian R.,

 

I don't consider myself a fittings or a sword man but I think you raise an important question that should be discussed. My objectivity went on bit of a winter vacation reading the lot description. On the bright side I have saved the tsuba from additional damage even if it isn't worth much.

 

 

 

Yours truly,

David Stiles

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David :)

 

speaking as an collector to you-speaking as an friend in collecting...

You do go to fast in selling!

(As i remind you just sold/offered an very nice and good Umetada-style Tsuba?)

Me,had kept it...

Your´s new acquisition here,is sorrowly even not worth to get in considderation against the other one...(Sorry-just mine very personal mind-hope you do not take it wrong)

 

You go to fast!

Please take your´s time!

 

Christian

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Hi Christian M.,

 

Thanks for the reply. I think you are correct. Curran C. was nice enough to say the same thing to me via email. I really should take my time and study more and do less selling and buying.

 

 

 

Yours truly,

David Stiles

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I think what we really need...very bady...(especially for us non-tsuba collectors) is a good article on deliberate surface hammering and treatment, vs corrosion over time from the elements, rust and water.

 

I think it would be a very interesting article but very hard to write, which could be why it has not be done properly before.

 

For me, by default I always go to Sasano's silver book to help with determining metal quality / age and getting a feel of what is right and what is not. I like Sasano's work because I can safely assume all examples illustrated to be very good quality in good condition. The photos and the chronological lay out of the tsuba schools is very educational and in my opinion are probably more informative than words.

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Hi Everyone,

 

Been doing some searching on the web myself. Here is a Muromachi Period tsuba with a Genji-mon ko-sukashi design: http://home.earthlink.net/~jggilbert/kamakura.htm. I also found the following Katchushi from the early Edo Period with the same design here: http://home.earthlink.net/~jggilbert/oldiron2.htm. I am not going to dispute the poor condisition of my tsuba but determining its age by the openwork design alone I think impossible. This is just my opinion and I am not going to submit this tsuba to shinsa due to its poor condisition.

 

 

 

Yours truly,

David Stiles

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I think what we really need...very bady...(especially for us non-tsuba collectors) is a good article on deliberate surface hammering and treatment, vs corrosion over time from the elements, rust and water.

A rough surface doesn't indicate deliberate wabi/sabi..sometimes it is just corrosion. What is left isn't always tekkotso..sometimes it is just the left over from pitting.

No I don't know what applies here..which is why it would be really good to have someone write an article on this. It has been drummed into people so often to look for rustic hammer marks and "bones" that people invariably see these in any old looking surface. There is a ton of info to be learned on this topic, hopefully someone will rise to the challenge.

 

Brian

 

If you or someone could write an article on the topic I think it would have a huge effect on collectors. It is such a large gap in knowledge that needs to be filled. It could help in specific schools, nara vs mito vs aizu shoami vs late edo copies. Since most of us don't have the access to hold hundreds let alone thousands of gurads, this article would be a major help. I hope it can be done. Thanks.

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Hi Everyone,

 

Thanks for all of the replies. I have removed more rust from the surface using bone and small pieces of antique ivory and have about finish the restoration process on this tsuba by rumbing with a white cotton rag. The original photograph was taken right after I finished boiling the surface with distilled water for 20 mintues to remove old oils and glue. I hope to post new photographs later today.

 

 

 

Yours truly,

David Stiles

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Hi Everyone,

 

Here is a new photograph of the tsuba omote side after the cleaning process. The surface is still not good but I am sure it will now last much longer and none of the ko-sukashi design of the genji-mon was lost. I think it is a Kachushi tsuba. The turn up of the rim into a kaku-mimi koniku (rounded square shape) and the complexity of the ko-sukashi where indicators that it is a Kachushi tsuba were important details pointed out by Henry W.

Dating this type of tsuba with damage to the plate is hard. I date this tsuba between the late Muromachi Period to the early part of the Edo Period. I am giving this as the age of piece due in part to thinness of the plate (3.0 mm), large size (8.7 cm), shape of the kozuka hitsu-ana, tekkotsu (yes iron bones and my work with a bone and ivory confirmed it isn't soft rust that is raised above the surface of the rim). This I hope addresses Brian's R. question about the telling the difference between tekkotsu (iron bones) and rust. Any red rust is much softer and removable with bone, ivory, or horn. The hardness and strength of the forged iron also makes me think it was made before the Edo Period. The Genji-mon while very popular in Edo Period was often done in a much more complex manor then it is displayed on my tsuba hence if it is Edo Period it is from the early part of that historical period.

 

 

 

Yours truly,

David Stiles

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