Tsuba by Masayoshi

[Caracal]

Here is my nice Tsuba by Masayoshi

 

Masayoshi with the theme of dragonflies. The dragonfly in Japanese is tombo (蜻蛉) and in the Muromachi period kachimushi was its name (勝 虫). These characters for literally mean Victory Bug and gives us insight into how the bushi of the time admired the dragonfly. Bushi had observed the nature of the dragonfly to attack, and always move forward to the prey.

 

 

[Caracal]

My Tsuba by Masayoshi

 

Can you help me, my question is which school can it be ....

 

// Robert

[vajo]

There was some Masayoshi. I don't know which of them.

The iron looks very grainy. 

[Soshin]

Hello Robert,

 

The iron does look grainy in appearance, but overall, it is a nice tsuba. I have always liked the design and symbolism of dragon flies in Japanese art. I have 22 artists in my references that used name Masayoshi with the Kanji "正義". Of the 22 artists seven of the artists used a cipher (kaō 花押) in addition to their signatures. Since you tsuba does not have a cipher on it along with the signature those artists can be eliminated bring the total to 15 different possible artists assuming the artist that made your tsuba is recorded or if we are dealing with a false signature (gimei 偽銘) as sometimes the cipher is left off of the signature intentionally. Sorry about not having any more helpful free information. I would send it for formal written appraisal (shinsa 審査) in Japan to get more information.       

[Caracal]

Hello,

 

I have received these papers from NBTHK Japna. Can anyone help me to translate most interested in what school it may be.

 

Grateful for help........

Robert

 

 

[Yasaka Azuma]

"Kouhone katumushi zu tsuba mei masayoshi saku"

The scene where kouhone (river bone)blooms yellow flowers and katumushi (Dragonfly) flies over the surface of the water is a common summer theme in Japan.

Even so, the appraisal is a little inadequate. Nothing is written about the craftsman’s lineage.

[MauroP]

Hi Robert,
nice tsuba. Ufortunately the NBTHK certificale states just the obvious (as usual...). The relevant transcription is:
河骨勝虫図鐔 - kawahone katsumushi no zu tsuba
銘 正義作 - mei Masayoshi saku
竪丸形 鉄磨地 鋤出彫 - tatemaru-gata  tetsu-migaki-ji  sukidashi-bori
象嵌色絵 鋤残耳 - zōgan iroe  sukinokoshi-mimi

(I see now that Yas was faster than me)

[Yasaka Azuma]

Mauro. You are way better. I just picked up the image.

This kantei is proof of genuine, but it doesn't reveal whether masayoshi is a tsuba author, a kinko author, Bushu, or Inaba, or Aizu, affiliation, age, or address.
If I am the client, I will call the secretariat for a complaint. And I will get even more angry when I hear NBTHK's curt answer.

[kissakai]

A major Shinsa failing

Surely with the amount of fitting they see they could be a bit more forthcoming but this has been raised many times in the past

My moan was with a Hizen sword to see if it was 2nd or 3rd generation but of course the papers didn't tell me

Luckily Roger Robertshaw (Mr Hizen)  told me it was 3rd generation and placing 2nd and 3rd generation side by side they are SO different

 

 

[MauroP]

The second kanji of the name Masayoshi looks like a variant affecting one of its radical (in red here below).

 In "Signatures of Japanese Sword Fittings Artists" by Markus Sesko are reported just 3 Masayoshi, and one fits quite fine with the signature of Robert''s tsuba. Just my 2 cents...

[Yasaka Azuma]

Yes right. It's a deal! Then, the negligence of the appraiser who did not refer to the compilation book by Wakayama becomes even more prominent. Even though the client is responsible for the appraisal fee, it is an unacceptable miscellaneous response.
If I put a good construction of NBTHK's kantei, the tsuba owned by Robert is in very good condition for the mid-Edo period. As far as I can see in the image, it even looks unused to me.  It is possible that the appraiser was confused and avoided identifying it. However, it is an escape from responsibility as a result.

[Caracal]

Thank you all for your help with my NBTHK certificate and what a school it can be.

It is sad that i could not get a more detailed opinion regarding school from NBTHK, there are a lot of Masayoshi .....

 

One thought might it be the Aizu Shoami school?

 

Is there anyone else who can possibly give me more clues in the search?

 

// Robert

[Soshin]

 

Hello Robert,

 

Coming back to this late because I have been busy with other more pressing matters. I can confirm as others have said there is no information on the appraisal paper about Masayoshi being part of an any organized School or less organized group of artists for that matter. This may imply that Masayoshi was an independent artist. There were many of these type of artists during the Edo Period. The NBTHK paper just discusses the design, techniques used, the signature, and that the tsuba is authentic and worthy of preservation. Examining examples of the Aizu Shōami School and reading the one book I know of about that school’s work I do not think your tsuba was produced by this School, but the school's work is remarkably diverse, and it might be a possibility.    

[Tanto54]

Dear Robert,

 

Based on @MauroP's excellent work, your guy is probably Haynes 04846.0, Family Name: Sekihara; Original Name: Koryusai; He worked in Aizu in Iwashiro Province from around 1800 -1850.  He worked in the style of Aizu Shoami from the School of Masamitsu (Haynes 04186)

[Caracal]

Thank you all for your help!

Summary NBTHK Hozon Edo-Jidai, smith Masayoshi..........

// Robert

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