Jump to content

Momoyama Period Heianjo tsuba ?


roger dundas

Recommended Posts

My newly acquired tsuba that I would very much value your opinions on please.  

Measures 71.2 x 70.3 x 3.5...... Possibly Kaga-Yoshiro ?

A similar tsuba is in Garry Murtha's book, 'Onin-Heianjo-Yoshiro'...page 48.

Although the inlay design is not common (clouds) the design is on a couple of tsuba from c1600 (I think).

But the condition of the plate makes me wonder. It is in very good smooth condition with (to me) a nice color, the 8 cut out apertures plus the anas are clean and fresh to my eyes. Does anyone think that it's condition is due to someone's rejuvenating efforts.

I feel it is a relatively old tsuba but 1600s might be stretching it ?

I will be interested in any of your comments if you care to offer any?   Thank you.

Roger j

cloud inlay tsuba 1 (2).jpg

cloud inlay tsuba 3 (2).jpg

Link to comment
Share on other sites

The guidance I was looking for is just where does a tsuba like this fit in ? I realise that it is fairly mundane example but never the less it is in quite good condition.

The brass inlay is presumably after (but maybe about ?) 1600, the cloud design being not very appealing to me but the iron plate is quite fresh looking with very little rust but is that due to it being stored in a benign place or is it that the iron (or is it steel) quality is very good.

I came to gathering a few tsuba quite late in life and the NMB is my only real chance to get opinions from experienced  people if you could find the time ? I very much appreciate your opinions.

Roger j

Link to comment
Share on other sites

O.K, so once again, something not worth commenting on ?

I don't mind in the least but the reason for looking for any comment was trying to figure out why any tsuba maker would go to the trouble of cutting out by chiseling or sawing and then filing the 8 apertures and 2 anas and not have the dam thing balanced and even. This is a Japanese craftsman at work here and it all took time so why not get it right as they mostly did?    Didn't it really matter ?

And then there is the zogan, brass inlay- again someone took time to chisel the channels for the inlay, controlling the depth and direction and then the inlay itself being inserted  by hammer and punch- again time consuming work.

So even if the end result is clunky, the inlay design uninspiring, do these negatives mean that the piece is unworthy of consideration ? 

I gather from the lack of comment, that this is the case and I now know a little more.

And sincere thanks to BaZZa for his thoughts on the tsuba.

And just by the way I find it difficult now a days to remember all of the Japanese terms, they don't seem to stick in my memory.

Roger d

  • Like 1
Link to comment
Share on other sites

Roger sometimes you don't get answers - because we really don't know! 

On one aspect you mention balance? Is this balance of design or center of gravity?  If it is center of gravity forget it, there are plenty of examples where they are lopsided as far as weight distribution.

image.png.2d1b75d71ba9e1ee61e3fc9392eed1c2.pngimage.png.12828c23d5e57ea4938c645d5f67d420.png

As to the quality of inlay, it is often a reflection of the time period in which it was made, the early inlay was often rough - makes sense they were experimenting, later it got better, latter still it didn't matter anymore because it was only for the 'foreigners'.  I do not believe the craftsmen of any nation [Japan included] started off with supreme skill and execution of finish, it always develops through practice. I am sure the experts will say Kaneie/Kaneiye and Natsuo always created perfect pieces - but how many ended up in the recycled metal pile of each artist before they let the rest of the world look at their work?

 

What do you see a wheel? A section through a melon? I think most of the time it is a guess - and mostly we guess wrong, but it keeps our minds active.

 

  • Thanks 1
Link to comment
Share on other sites

Roger,

it is certainly not a lack of interest, but sometimes an answer takes some time. Your TSUBA has indeed a dysbalance, which I did not see  immediately. The HITSU ANA don't have the same level in the overall design. I have seen quite a number of TSUBA with similar irregularities, so this is not  completely uncommon. We do not know why they occur, and like you, I ask myself if this is due to an incompetence of the Japanese TSUBAKO (which we don't believe).

I could imagine an explanation in that this TSUBA was made to fit an existing KOSHIRAE where the pockets for KOGATANA and KOGAI were not exactly in the standard position.  But who knows?

Concerning the TSUBA, it is an honest one with simple (KIKU ?) design, but these are not the worst ones!  

  • Thanks 1
Link to comment
Share on other sites

Thank you very much John, Dale and Jean and Barry (BaZZa) for taking the time to respond and for your thoughts that I value.

John, I have seen the inlay design described elsewhere as clouds ? and Dale, your tsuba examples I liked with your comments and Jean, always with wise thoughts. Thanks again.

I know it (tsuba) is pretty ordinary but it just had a few points of interest for me. But maybe a good whisky might have been better in these crazy times.

Roger j

Link to comment
Share on other sites

Roger,

 

Regarding the motif of the inlay, I first interpreted it to symbolise wood grain around the edge, and tree rings in the middle, rather than clouds.

However, the apertures would not fit with this theme, and instead the shape and design of the tsuba itself reminds me of sliced lotus root (renkon 蓮根). 

 

 

D79BDC27-F1BD-4977-95DF-D89F17EF8714.jpeg

  • Thanks 1
Link to comment
Share on other sites

Thanks John and that tsuba is interesting to me and I wonder if in fact it might be older but I just wouldn't have any idea.

The  8 apertures/piercings and the kozuka ana appear to my eyes to have been chiseled out and received not much if any filing to refine the finish and here once more the brass inlay design is naive and crude for mine.

For all that, someone has taken the trouble to decorate a tsuba with piercings and brass inlay, no matter how roughly - I suppose for a poorer or less sophisticated client ?

I realise that NMB tsuba collectors mostly are attracted to the best examples available but such as the above have a place in tsuba history and craftsmanship development.

Roger j

  • Thanks 1
Link to comment
Share on other sites

This thread is quite old. Please consider starting a new thread rather than reviving this one, unless your post is really relevant and adds to the topic..

Join the conversation

You can post now and register later. If you have an account, sign in now to post with your account.

Guest
Reply to this topic...

×   Pasted as rich text.   Paste as plain text instead

  Only 75 emoji are allowed.

×   Your link has been automatically embedded.   Display as a link instead

×   Your previous content has been restored.   Clear editor

×   You cannot paste images directly. Upload or insert images from URL.

Loading...
×
×
  • Create New...