Owari School Tusba or not...?

[Soshin]

I had this Tusba in my collection for awhile. I have seen other tsuba with the stylized bird designs in Ji-sukashi labeled as Owari school. The iron of the tsuba is really nice and it rings like a bell when taped. Any information would be helpful as I am researching items in my tosogu collection.

 

P.S. I remembered the website where I saw the Owari school sukashi tsuba at. Here is the link to the web-page. Maybe the author of the nice website in on the forum. It is at the very bottom of the page: http://home.earthlink.net/~jggilbert/owari.htm

 

 

 

Yours truly,

-David

[Soshin]

I am just posting a reply to my own thread as a reminder and to help facilitate recall for fellow forum members about my post. I came across the same stylistic sukashi bird patterns in a Tusba posted on this forum that was listed for sale as a Momoyama period Tsuba from the Heianjo School. I am fairly sure my tsuba is Edo period but could have been a copy made from this type of Tsuba of the Momoyama period or early Edo period. Here is the link to the post I am referring to. http://www.militaria.co.za/nmb/viewtopic.php?f=4&t=5336

 

The Tsuba is near the bottom of the for sale listing. Thank you for taking the time to read my post.

 

Yours truly,

David S. (Soshin)

[Pete Klein]

David -- It is a common error to attempt to kantei a tsuba by the design/motif. Although this does play a part in classification it is not as important as the metal: type and quality of forging, colour and grain of metal, surface treatment and patina. After this the overall suguta/form is addressed as to size, thickness, and shape of mimi/rim. From here we go to type of sukashi, pierced, chiseled or sawn, shape of hitsu ana, sharp or angled edges, etc. Last are design elements (such as the birds on your piece). These are left for last very much on purpose as otherwise they might prejudice the kantei as they can often be found in multiple schools. If I am thinking Owari due to motif I might tend to skew my observations toward that outcome thus missing important clues. In the case of this tsuba the birds are definitely found in Owari but also in Akasaka, Shoami, Tosa Myochin, later Higo, etc. What I would suggest is to make sure you have a reference book with very good pictures (Sasano 'Masterpieces' 1994 is probably the best one I can think of) and a good hand magnifier. Look at the pictures under magnification and you will see the qualities of the metal. This will help the most in establishing a basis for examination. Of course nothing is better than hands on learning. Go to the shows -- learn -- and then you can begin to confidently answer your own questions. Give yourself a few years. Hope this helps.

 

Here is an example from Gilbert's site of Owari which shows some classic forging techniques associated with the pre-Edo school. This piece is most likely Momoyama to early Edo Jidai:

 

 

 

PS: The above info is of course an overview but should help you get started.

[b.hennick]

Thanks for the last post. Of late I am enjoying the postings in the tosugu section of the messageboard most of all. I am still a sword collector at heart but I really appreciate the time and efforts made at education in this segment of the messageboard. Thank you to the senior members who give us their time and knowledge and thank you to the junior members who raise the questions that illicit those knowledgeable answers.

Look at the plate - learn good steel - messages that all nihonto collectors need to heed.

At the San Francisco show this summer I will make an effort to look at the plates of tsuba with a view to learning more about good steel. I would ask members of this board who attend the show to take the time to point out to me especially good plates. I will try to take some photos and perhaps work out an article or two.

Thanks again!

[Soshin]

David -- It is a common error to attempt to kantei a tsuba by the design/motif. Although this does play a part in classification it is not as important as the metal: type and quality of forging, colour and grain of metal, surface treatment and patina. After this the overall suguta/form is addressed as to size, thickness, and shape of mimi/rim. From here we go to type of sukashi, pierced, chiseled or sawn, shape of hitsu ana, sharp or angled edges, etc. Last are design elements (such as the birds on your piece). These are left for last very much on purpose as otherwise they might prejudice the kantei as they can often be found in multiple schools.

Thank you Peter for taking the time to address the larger issue with me trying to kantei my tsuba. Looking at the photograh you provided the type and quality of the forging of my tsuba would not fit with the Owari school classification of the Momoyama to early Edo periods.

 

Yours truly,

David (Soshin)