Chriso Posted January 11, 2009 Report Posted January 11, 2009 I've just had a look at the donations for the 2008 LUCKY PRIZE DRAW and I'm amazed at the generosity of board members who have donated. My congratulations and thanks to all. On another note, I recently acquired my first Sukashi Tsuba and the more I look at it the more confused I get as to Its possible school. It's not easy being a novice you know. I would be greatfull if board members took pity on me and pointed me in the right direction so far as school and possible definition of the design go on this one. Best wishes Chris O Quote
John A Stuart Posted January 11, 2009 Report Posted January 11, 2009 Hi Chris, I'm fairly certain I would classify this tsuba as Shoami. The mimi, seppa-dai, tagane-mei and theme lead me to this conclusion. John Quote
Mike Posted January 11, 2009 Report Posted January 11, 2009 Agree, Shoami as John said. Nice Theme. Mike Quote
Pete Klein Posted January 11, 2009 Report Posted January 11, 2009 It's always a bit difficult to kantei pieces without having them in hand as it is very difficult to discern the metal qualities but I am going to attribute this to Owari, at the boundary between Momoyama and Edo Jidai. The theme is very much Owari/Akasaka with the use of birds creating a perimeter, (possibly karigane -- geese -- although that is arguable), the symmetry of design also pointing toward Owari. The shape of the seppa being constricted toward the top is an Akasaka trait but what is not is the shape of the hitsu-ana, the kogai bitsu being Mitsuyamagata (Three Mountain shape) which I have seen in Kyo Sukashi, Shoami, and other but not Akasaka from this time frame. The fact that the kogai bitsu is smaller than the Kozuka bitsu leads me to think around 1600 as kogai from this time tended to be smaller than the kozuka. Also of note is the slight mis-alignment of the seppa dai to the longitudinal axis which one sees in earlier work and not into Edo. The apparent thickness of the tsuba tends to put me off attributing it to Kyo Sukashi along with the seppa dai shape, Kyo tending to be more oban shaped (broader/ovoid), just like the coin. The rather sharp edges of the sukashi (referred to as 'kitate' or cliff like) are closer to Akasaka and tend to rule out Higo. The roundness of the mimi is very Akasaka but could also be Owari (although they usually tend to be a bit flatter), Kyo or Shoami. Of course attribution to Shoami is a possibility but it is also a lower strata of kantei for this piece which I feel is more discernable. Therefore, my hunch is more toward Owari during the Owari/Akasaka crossover period of early Edo (shoki Edo). PS: I do not see tagane mei but perhaps I am missing something. Quote
Brian Posted January 11, 2009 Report Posted January 11, 2009 Pete, A great and educational post. Thanks for explaining and teaching me a few things. Brian Quote
Pete Klein Posted January 11, 2009 Report Posted January 11, 2009 Thanks much Brian. Of course it's only my opinion so take with salt! LOL One of the big problems with kantei is that as you get into the Edo Jidai you loose the unique characteristics of the early schools and with the cross pollination of the times (peace and stability -> travel -> exchange of ideas) design concepts melded. It's just part of the game. It might actually help explain why placing mei became prevalent? Another Gypsy mystery... Quote
Chriso Posted January 12, 2009 Author Report Posted January 12, 2009 Once again many thanks to all for your help. I'm reading as fast and as much as I can with the hope that one day before i fall off my perch I will be in a position to not ask quite so many questions but be able to answer a few myself. It' good to read feedback such as Brians in reference to teaching him a few things. Makes me believe there is hope for me yet, but It does reinforce the fact that I will have to live at least a couple of lifetimes to get to understand this new hobby of mine. Cheers Chris O Quote
Brian Posted January 12, 2009 Report Posted January 12, 2009 Charles, Doesn't take much to teach me a few things. Like many, I am still a novice here, only with an admin password :lol: Brian Quote
Jean Posted January 12, 2009 Report Posted January 12, 2009 Thanks Pete for the explanation, that is the kind of post which makes NMB unique. Quote
John A Stuart Posted January 12, 2009 Report Posted January 12, 2009 Hi Pete, I used tagane-mei to describe the punching to fit the tsuba, not as the cosmetic punch marks seen on some tsuba. Perhaps this is not the correct terminology. I show pics of two different Shoami tsuba, papered as such, to illustrate my meaning. I originally was thinking Owari but the similarities to these two swayed my decision. The tsuba pictured in whole shows the vertical centreline misalignment you mention, as well. John Quote
Pete Klein Posted January 12, 2009 Report Posted January 12, 2009 John -- tagane mei are specific to makers and really aren't that usual. The ones that come to mind are Higo Kamiyoshi Fukanobu who used a series of squarish marks at the base of the nakagoana (six if memory serves) and the third generation Kamiyoshi Rakuju who used two at the top and three at the bottom. The Tosa Myochin School also has a characteristic series of somewhat slanted marks running down either side of the top of the nakagoana. Higo Hirata Hikosa used large ovoid punch marks to either side of the nakagoana on his soft metal works. What we usually see are simple refitting crimping indentations. Look up the above named makers and you will most likely see these markings. Quote
John A Stuart Posted January 12, 2009 Report Posted January 12, 2009 I remember Pete a previous thread that went into quite good detail about tagane-mei. I'm not sure if it is preserved, but, it was a good lesson. I mis-used the term as I do not know the proper term for the nakago-ana sizing, if there is one. Thanks, John Quote
Brian Posted January 12, 2009 Report Posted January 12, 2009 Our very own articles section. viewforum.php?f=17 Second article :D Brian Quote
John A Stuart Posted January 12, 2009 Report Posted January 12, 2009 Thanks Brian, Pete's article in fact. John Quote
Pete Klein Posted January 13, 2009 Report Posted January 13, 2009 Lordy -- I had forgotten all about that! LOL Quote
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