New Ji-Sukashi Tsuba...

[Soshin]

Hi Everyone,

 

Just enjoying my Sunday afternoon after coming back from New York. I found some free time to take some photographs of a new iron ji-sukashi tsuba added to my collection. Here are the measurements: 8.1 cm round and is 4.6 mm thick at the rim and 5.0 mm at the seppa-dai. The surface as as nice magaki-ji with fine kebori carvings highlighting the pine trees, waves, and wagon wheels. The patina is a wonderful glossy texture and is purplish/black color. The second photograph is the tsuba with its hakogaki dated 1938 written by a former owner Dr. Torigoye. I would like to learn more about the lovely openwork design. A friend say that a very similar or possibly this tsuba was published in the Japanese book Nihonto Koza. If anyone as volume 6 that focuses on tosogu that would be great. Feel free to discuss and ask questions. Thank you.

 

[christianmalterre]

Dear David,

 

it´s not listed in Nihon To Koza Volume 6 (Jap.Edition)

Equally there´s no similar one listed....

Don´t know to which one your´s friend did maybe put it in consense with?

 

Sorry-can not help you.

 

Christian

[Soshin]

Hi Christain,

 

I don't lave a copy of that book so I couldn't verifity the statement and he could have been confusing it with another book or which tsuba I had bid on eBay that Rich T. listed from his fine collection.

 

Interesting thing about this tsuba is that Dr. Torigoye listed it as "Owari Ji Sukashi". While I agree the seppa-dai displays the classic "koban" gold coin shape everything else is atypical for a Owari Sukashi tsuba. The very fine kebori carving, thicking of the plate from rim to seppa-dai, and the purplish/black patina reminds me of early Hayashi school work. Early Hayashi school work also have this koban shaped seppa-dai up until the time of the third generation master Tohachi.

[christianmalterre]

Yes David,

 

i just browsed this book this morning(three times)-and it´s definitely not in.

Equally non other in this stylism...

I have seen this stylism of Tsuba just recently-do but not remember where exactly(that´s the problem with crowding and browsing all this literature-bunch)( )

 

I do think you are right with heading it into Owari group(certainly but an late to very late piece,as it´s equally untypic for the main-lineages influenced by Shoami and Kyo)

It equally could sort out Kinai(in regard of the Mimi´s execution)or,as you say Higo province(here but not the common main-schools either...it is somehow out of their´s style)

It´s too tricky to evaluate just from these pictures only....

I do know this style here-as but already said,i actually do not know in which of the books it´s depicted and attributed...

Maybe but an other board member can track it?

Owari but-is certainly an good first call in mine eyes-and we had to head into this influence they did spread...

 

Cheers!

 

Christian

[Soshin]

Hi Everyone,

 

Thanks for the information. Don't know much about the Echizen Kinai school will try to do some reading about this school.

 

I need to state something that may not apearent to the general reader of NMB that I am sure Christian M. is aware of. When the term "late Owari Sukashi" is used it is referring to the time period around the Kanbun to Genroku eras of the Edo Period (circa late 1600s). To but this in more of a context the working period of the first generation master of the Hayashi school was during the Genroku era.

[Curran]

My quick read of the tsuba was something Kyo-Owari ?

I felt the theme was probably http://en.wikipedia.org/wiki/Matsushima

and probably one of those that were seen in the wake of Matsuo Basho's poem and the praise of Hayashi Gaho (sp?).

This was a sort of wave rising in the late 1600s. I do not believe I have seen this design on tsuba older than this time period, but stand to be corrected.

 

I had an Akasaka version of this one. Probably c. 1725-1775. Pleasant theme saddened by the 3/11 Tsunami impact on Miyagi and the concerns for the survival of certain pine trees after all that happened. I am certain I have seen a one similar to David's in the books, but not sure which book. I would have thought the Nihon to Koza a likely suspect, but my copy is not accessible at the moment.

 

----------------

 

or, I could be very wrong.

Given what looks like a gentlemans hat (?) being blown away, I still think it is the Matsushima theme.

But what I took for Matsushima pine trees also look a bit like tree leaves? Design could just be more of a late summer / early Fall (festival) theme?

[Soshin]

Hi Curran,

 

Thanks for the reply. I think you are correct in terms of the openwork design is Matsushima and that this tsuba has a strong Kyoto artistic design. Short pine trees growing on small rocky islands are often resented this way in Japanese art. I was at a very similar location in Kyushu during part of my honeymoon. Here is a photo of one of the kujukushima islands near Sasebo, Japan. I was able to take this photograph while I was on the deck of a large tour boat. The sea was very calm unlike what is depicted on my tsuba.

[Soshin]

Hi Everyone,

 

This afternoon I was able to take a some photos that are better in focus. The glossiness of the purplish/black patina makes the tsuba sometimes hard to focus when photographing. I love the dynamic characteristics of the waves and the windblown pine. It gives a bold energy to the openwork design I don't often see in Owari Sukashi tsuba. Enjoy the better photo. Feel free to comment and discuss. I will be adding this tsuba to my website over the weekend.

[Pete Klein]

Short pine trees growing on small rocky islands are often resented this way in Japanese art.

 

Wow! I didn't know that... and all along I thought they liked them... who knew?

 

(PS: just teasing)!

[Soshin]

Hi Pete K.,

 

lol :lol: :lol: ...

 

Thank you so much for pointing out my funny typo before I added it to my website.

[Pete Klein]

My pleasure! LOL!!!

[Curran]

For whatever cosmic reason, my experience is things seem to pop up in sets of 3 before disappearing again for a while.

 

#1: David's

 

#2: http://page4.auctions.yahoo.co.jp/jp/auction/d117044346

 

#3: Was flipping through softcover version of Tsuba no Bi and saw another of this identical design, classified as mid-Edo.

[Soshin]

 

#3: Was flipping through softcover version of Tsuba no Bi and saw another of this identical design, classified as mid-Edo.

 

Hi Curran,

 

I have a softcover copy of the Tusba no Bi. On page 82 #110 there is a iron tsuba with very similar ji-sukashi design that is signed Shoami. The author has it dated at mid Edo Period. Judging from the photo it is about the same size as my tsuba. I am not sure of this as there is no statement of scale that I can read. Is this the tsuba you were referring to? I am planning to do a quick 1-2 page write up over the weekend about this tsuba for the JSSUS newsletter and send it out as a draft to Grey Doffin for review. Thanks again for all the help.

[Henry Wilson]

Whilst doing some light reading on the train, I happened across this Heian period box. It puts some meat on the bones of the wheels and waves motif.

 

http://www.emuseum.jp/detail/100197/000 ... os=1&num=3

[Soshin]

Hi Henry W.,

 

Thanks for the link with more information to added to my article for JSSUS newsletter. It explains the wagon wheel near the waves openwork design on my tsuba. I think this design along with the wind blowed pine trees is a good artistic combination. It is my opinion this Owari Sukashi tsuba has a strong Kyoto style to its design composition.

[Tanto54]

The theme of this tsuba is from a Noh Play entitled Matsukaze. Curran and Henry both added some of the necessary elements of a man's hat (eboshi) and soaking wagon wheels in water. In the play, a monk meets two beautiful sisters who turn out to be ghosts. They are divers and collect sea brine in their cart near a windy pine shore (the cart and windy pines are some of the few stage props in this play). One of them, Matsukaze, wears a man's cloak and hat (an eboshi) of the sisters' beloved (Yukihira). I believe that one of the popular themes and passages from the play uses the allusion of soaking of the cart wheels to keep them from drying out and cracking to describe soaking one's heart to keep it from breaking. This tsuba and others with this motif would have been enjoyed and recognized by Noh Play enthusiasts.

 

From http://www.the-noh.com:

"One autumn evening, a traveling monk visits Suma Bay (near Suma Ward in present-day Kobe City). He notices on the shore a pine tree which seems to have a mysterious story. When he asks a villager about the story, the villager tells him that it is a grave marker for two young diver sisters, Matsukaze and Murasame. After the monk recites a sutra and prays for the comfort of their souls, he decides to ask for lodging at a salt-making hut and waits for the return of the owner. Then, two young beautiful women, who have finished working under the moon, taking water from the sea, come back to the hut with a cart.

 

The monk asks them for accommodation for one night. After they enter the hut, the monk recites the poems of Ariwara no Yukihira, who had some tie with the place, and explains that he has just consoled the souls of Matsukaze and Murasame at the old pine tree. The women suddenly begin to sob. Asked the reason, the two women reveal their identity: they are the ghosts of Matsukaze and Murasame, who were loved by Yukihira. They tell their memories of Yukihira and their love with Yukihira which was ended by his death.

 

The older sister, Matsukaze, wears Yukihira’s kariginu-style kimono and eboshi headdress because she misses him so much. Indulging herself in the memory of her love, she eventually becomes partly mad, takes the pine to be Yukihira, and tries to embrace the tree. Although Murasame tries to calm her sister, Matsukaze burning with love passionately dances and continues as if expressing the passion of her love in dance. When day dawns, Matsukaze asks the monk to offer a memorial service for the one who is suffering from the obsession. The two divers then disappear in the monk’s dream. Only the wind traveling in the pine trees is left, singing like the sound of a passing shower (Murasame).

 

 

Originally this drama was called “Shiokumi (Sea Salt Laving)” and was composed by a dengaku master, Kiami. Kannami revised it as “Matsukaze Murasame,” which was further revised at a later date by Zeami to “Matsukaze.” This is a piece for autumn. Since ancient times it has been one of the most popular Noh dramas, with Yuya, which is a piece for spring, as shown by the expression “Yuya and Matsukaze are like a bowl of rice.” (Or “Yuya, Matsukaze, and a bowl of rice.” It is a metaphor meaning that people never tire of these two pieces, just as they never tire of eating rice.)

 

In “Matzukaze,” the expression of the sentiment of love vividly catches our attention. Her emotional changes, like heaving waves, create unparalleled entertainment. Beginning with the scene in which Matsukaze and Murasame shed tears as they yearn after their past, the story continues to the kuse, the scene in which Matsukaze holds the memento of Yukihira and reminisces. Matsukaze, wearing Yukihira’s commemorative kimono, believes a pine tree to be Yukihira, and the drama leads to the dances of chū-no-mai and ha-no-mai. Matsukaze gradually becomes emotional, revealing her love completely and indulges herself in ever stronger affection. Underneath the emotions she expresses is the refined and restful atmosphere of the third-group Noh supported by the well-recognized status of this piece. A profound tension exists at the bottom of this piece.

 

Preceding these scenes, the drama describes a fantastical scene in which beautiful women lave and carry the moon in the water on an autumn evening. You will be able to forget the annoyance of this world for a while when you soak yourself in the love story of this mugen-noh which is set in a single scene."

[Soshin]

Hi George M.,

 

Thank you for coming up with what the openwork design is. This is very helpful for my write up about the tsuba and hakogaki in the JSSUS newsletter. When was the Noh play first written by Kiami? I remember seeing a very fine signed Shoami tsuba in the book Tsuba no bi dated to the mid Edo Period with a similar openwork design with the exception of a crescent moon. All other design elements are identical to my tsuba with the exception of this crescent moon.

[Curran]

Excellent explanation by George.

Learned something today.

[Soshin]

Hi Everyone,

 

After going over the translation of the hakogaki it is now apparent why Dr. Torigoye discribited the openwork design simply as "Matsukaze" which is the name of the famous Noh play. I have finish my article which turned out to be 5.5 pages in length and have forward it to Grey Doffin for review. Their is nothing like a fine tsuba to inspire me to write.

[Soshin]

Hi Everyone,

 

Me and my wife was having dinner with a friend and fellow collector of Nihonto and Tosogu over the weekend and afterwards we were discussing this tsuba of mine when my friend pointed out something important that I did not notice until he pointed it out. The eboshi is in positive silhouette but underneath it there is a man face done in negative silhouette. The man is likely Ariwara no Yukihira. The face is shaped nicely by the ocean waves which are done in positive silhouette. What a wonderful tsuba! I agree with Dr. Tororigoye statement on the hakogaki. Another friend emailed me and said that a tusba like this would make a good cornerstone for my collection of iron tsuba. I fully agree. :D