Deez77 Posted June 22 Report Share Posted June 22 Greetings all, I'm new to the NMB, and this is my first created thread (although I've been reading through the archive). I'm hoping for your valuable input regarding three tsuba I have in my collection which display what I can only assume are some type of error in their creation. Intriguing to me, really. It's as if the Craftsman only realized at some point during the construction that the line he took wasn't quite right, and the tsuba's strength/structural integrity would be compromised (when struck?) if a small "spacer" wasn't created for reinforcement. You can see them circled in the image. Certainly, it's not an embellishment of the design/motif, as it distracts from the design (in my opinion), so what are they really? And is there a proper name for them? Thanking you in advance for your guidance. Damon Quote Link to comment Share on other sites More sharing options...
ROKUJURO Posted June 22 Report Share Posted June 22 Damon, welcome to the board! You can be sure that these small structures had been planned well in advance and were part of the design. Quite nice TSUBA, by the way! 3 Quote Link to comment Share on other sites More sharing options...
Spartancrest Posted June 23 Report Share Posted June 23 Damon it depends on how the craftsman planed the layout. Some nakago themed guards have the joiner others don't. 3 Quote Link to comment Share on other sites More sharing options...
Brian Posted June 23 Report Share Posted June 23 Very very definitely planned. These were not casually churned out, there was a lot of design work and pattern books etc. 2 Quote Link to comment Share on other sites More sharing options...
Deez77 Posted June 23 Author Report Share Posted June 23 Thank you all very much for your input. I do find these little things strange, given how exact and deliberate I imagine Japanese craftsmen being, and the fact that most tosogu have some very specific design theme/motif. As you all have said, I would also expect all of these works to have been planned, designed, possibly sketched out well in advance of the actual work beginning. In that case, why these obscure little "joiners" were included in that form, as a visually separate/different thing, and not just part of the overall design, is surprising to me. I guess, potentially, it just made sense to include them for the extra strength/durability aspect in as simple a fashion as possible. These craftsmen were operating a business after all. Quote Link to comment Share on other sites More sharing options...
Spartancrest Posted June 23 Report Share Posted June 23 The circular 'dots' often represent water drops or dew - understandable on the wave and jar guard as well as the plant leaves one. Perhaps something else on the nakago one? Water is not something you would associate with sword tangs after all. One here in a similar vein to the leaves design. Quote Link to comment Share on other sites More sharing options...
kyushukairu Posted June 23 Report Share Posted June 23 As others have mentioned, in the case of the nakago-themed tsuba, these holes are very deliberate. In my opinion, they were intended as udenuki-no-ana - holes in which a throng would be placed to be used as a wrist strap to prevent the wielder from dropping the sword (much as you see with smart phones today). However, as the tsuba itself is mid-Edo, when there were no battles, the holes were most likely intended to be decorative features, rather than serving any functional purpose. You can read up about udenuki-no-ana (and sayadome-ana) here: 1 Quote Link to comment Share on other sites More sharing options...
JohnTo Posted June 25 Report Share Posted June 25 Hi Damon, Welcome and nice tsuba. I have a couple of comments/questions regarding your post. 1. A very common linking element in sukashi tsuba is karigane (geese). I’m Ok when they form part of the design (see Kyo-sukashi mokko tsuba with 24 karigane), but in tsuba #2 (saddle, whip and bit, by Hidemitsu) there is a single karigane at the 1 o/clock position, which has no apparent association with riding equipment. Why were karigane so popular when they have no apparent connection with the design? 2. I particularly like your Echizen ju Kinai saku tsuba with the broken pot and waves. I have recently been trying to find out more about this design. The RB Caldwell masterpieces collection had an almost identical one attributed to Yagyu (see pic of tsuba and catalogue description). Not papered and does not look Yagyu workmanship to me. The second is on sale at Aoi Art (see pic) and has a NBTHK Hozon attribution to Kyo-Shoami, which looks right to me. Its interesting how three similar tsuba can be attributed to three differing Schools. Also I’m intrigued by the design, a broken pot and waves, which does look like it might be Yagyu originated. What does it actually signify? There is a Torigoe reference to a Japanese legend (see pic) on the RBC tsuba, but I don’t have access to this. It is also reminiscent of the Kurasawa film Kagemusha in which Takeda Shingen is buried at sea in a giant pot. Anyone got more info? Best regards, John (just a guy making observations, asking questions, trying to learn) 1 Quote Link to comment Share on other sites More sharing options...
Deez77 Posted June 28 Author Report Share Posted June 28 Wow. Some great points from everyone. I can totally see how the joiners look like drops of water in some cases, and will need to look into udenuki-no-ana a bit more, so thanks for the resource. Yes JohnTo, for something so we'll planned out, these joiners don't make much sense to me either. Why not just make a completely cohesive design that doesn't require these little additions. Very interesting observations about the broken pot tsuba. If there are multiple examples of the same design signed by artists from various schools, and an unsigned one goes for shinsa, how do they determine which school to attribute the piece to? Majority rules? Thank you all for your contributions. Very insightful. 1 Quote Link to comment Share on other sites More sharing options...
Spartancrest Posted June 28 Report Share Posted June 28 [One drop missing from the last image from John B above.] Damon you might pick up the difference two little drops of water can make to the 'pot' design. From a sold lot - https://www.japaneseswordbooksandtsuba.com/store/holbrook-tsuba/h272-akao-school# Described as Akao school This design is certainly popular - https://www.christies.com/lot/a-round-iron-kyo-shoami-tsuba-edo-period-5618009/?intObjectID=5618009&lid=1 and back to the full drops on this Christies auction piece. Described as Kyo-Shoami school. So it looks like the design had its own little changes depending on the artist. 1 Quote Link to comment Share on other sites More sharing options...
Geraint Posted June 29 Report Share Posted June 29 Dear All. Iwonder if the image of the jar is not a sake jar and the strange joiner not a gourd? If that is the case then perhaps the design references this. https://lordsofthedrinks.wordpress.com/2018/01/28/the-Japanese-folk-tale-of-the-sacred-white-sake/ Seems a pleasant fancy if not the right answer. All the best. 1 Quote Link to comment Share on other sites More sharing options...
Bugyotsuji Posted June 30 Report Share Posted June 30 Spaced out. Kagi and Hōju, 8.5 x 8.4 x 0.5 cm Iron, kakumimi, tekkotsu. 1 Quote Link to comment Share on other sites More sharing options...
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