Early Hirata Cloisonne-Enamel Tsuba

[Jake6500]

Hi forum members,

 

You might have seen my recent thread about bird themed Tosogu in which I posted two of my recent acquisitions from my collection however as it happens, there's one more very interesting piece I have to share with you all and that is this Hirata school enamel tsuba!

 

From what I understand it appears to be a tsuba from the main Hirata line and likely a pretty early Edo piece based on the shape of the Hitsu Ana.

 

The enamel technique was protected and passed down only to the main line successors in the Hirata school who produced pieces directly for the Shogunate. The presence of the Tokugawa mon in the design therefore provides an indication of the origins of this piece, although precise dating would be quite difficult as all mainline successors went by the "Hikoshiro" moniker and rarely signed mei/kao.

 

There are two theories about how the founder of the Hirata school, Hirata Donin, learned to produce cloisonne pieces. The first is that he encountered the technique in Korea during Hideyoshi's invasion in the 1590's after accompanying the samurai as an armourer. The second is that the technique was picked up back in Japan upon his return through interactions with the Dutch on Dejima Island. Regardless, the technique was valued by the Shogunate and protected for a long time.

 

This is about all I know about these types of tsuba right now. Any additional information you may have about the Hirata school would be appreciated! Share some other enamel or early Edo pieces!

 

[ROKUJURO]

I think I can see some European/Portuguese influence in the design.

[Lewis B]

Very unusual. I like it. A blend of several cultures in one piece. 

[MauroP]

I wish to suggest Nagasaki shippō as a more likely attribution...

[MauroP]

I was quite puzzled by the attribution of this tsuba to Hirata (平田), as in my understanding, the Hirata school is typically associated with suaka, yamagane, or shinchū-ji tsuba, often featuring shigure-yasuri or okina-yasuri file marks, and sometimes an odawara-fukurin. So, I did a bit of research and found that most "Hirata" attributions seem to originate from Bonhams auctions. None appear to be papered by the NBTHK, and only a few are signed by Hirata Harunari (8th generation, late Edo) or Hirata Haruaki (Meiji period).
Perhaps there is some confusion with Hirado (平戸)?
Here some images:
1. signed Narikazu (hard to believe he's the 2nd generation Hirata master)
2. a typical Hirata piece
3. a shippō-zōgan tsuba papered as Hirado
4. a similar piece papered as Nagasaki shippō 

 

[Tim Evans]

Have a look at this thread for what Hirata shippo looks like.

 

As Mauro mentioned, Hirata used iron, shakudo or copper base metals. Also, the cloissons are gold or silver with gold or sliver leaf inside. Some of the glass is transparent so the gold or silver shows through. The glass used is high quality pure colors, with few bubbles. 

 

 

[Geraint]

Dear All.

 

Just to add a little to the theme, search for 'Hirata Donin' and more results will emerge which very much affirm the idea that this tsuba is not from that school.  In particular there is a reference on an earlier NMB thread by Guido to this link, https://archive.org/details/cu31924023433349/page/n139/mode/2up  Turn to page 102 for the school.

 

Still interested to see where we go with any attribution for Jake's tsuba.

 

All the best.

[Jake6500]

Thanks everyone for all these responses!

 

The attribution of Hirata school could very well be incorrect, I was merely going by the attribution of the previous owner/seller.

I can see what everyone is saying. Stylistically when I am looking at the shape and materials Nagasaki shippo does seem possible or even likely.

 

The two styles also originate geographically in close proximity to one another so it should be no surprise misattributions might occasionally be made between the two.

 

To be honest, none of the examples I have seen for Hirata, Hirado or Nagasaki shippo seem quite close enough to be called a match to me so I'd be interested to one day see what the NBTHK think.

 

 

[Curran]

Everyone:   

To keep it simple...

 

There is the Higo Hirata school  and then there is the Hirata Donin school.

Higo Hirata (Hikozo and his line)     =  no cloissone

Hirata Donin (and those after him)  =  extremely skilled goldwork and cloissone, 

 

Don't confuse the two.

 

[Jake6500]

9 hours ago, Curran said:

Everyone:   

To keep it simple...

 

There is the Higo Hirata school  and then there is the Hirata Donin school.

Higo Hirata (Hikozo and his line)     =  no cloissone

Hirata Donin (and those after him)  =  extremely skilled goldwork and cloissone, 

 

Don't confuse the two.

 

Thanks for pointing this out! I realise now that I was in fact making this mistake myself...

 

I have some additional info regarding the hakogaki thanks to other forum members who were able to translate it for me as follows:

 

 

鐔 - Tsuba

七宝紋所之図 – Shippo, mondokoro no zu (figure of family crests)

 

朧銀磨地 – Oborogin, migakiji

七宝紋散 – Shippo mon chirashi

金覆輪 珍品也 – Kin fukurin, rare item

無銘 平田彦四郎 – Mumei, Hirata Hikoshiro (attribution)

昭和壬子年秋吉日 – Showa Mizunoe-Ne year (1972), autumn, a lucky day

寒山誌 – Kanzan wrote.

 

*Credit and Thanks to Koichi (Username Nobody) for this translation!!!*

 

Assuming the hakogaki is authentic this would seemingly lend credibility to the original attribution.

The hakogaki also seems to match others by Kanzan from what I have seen.