Akasaka Tsuba?

[mdiddy]

Hello,

 

I have this tsuba that I have been studying recently. Fairly green in my tosogu studies, it looks like the style of Akasaka with a nice summer pavilion(?) theme. However, I am suspicious it may be cast. What traits should I look for to determine if a tsuba is a cast reproduction vs. authentic? Here are my observations on this particular tsuba:

 

Heighth: 7.8 cm

Width: 7.5 cm

Thickness: 0.5 cm

Shape: Maru Gata

Rim: Maru Mimi

Condition: Some loss of patina on mimi and sukashi edge. Some rust.

 

I understand that Akasaka tsuba had a multi-layer construction, a soft inner layer of iron sandwiched between two kawagane. I see 3 layers striated by difference in rust on the inside of the rim. In my mind this would support authenticity. However, the patina is not evenly spread and there is gray metal showing, particularly along the mimi and edge of the sukashi (perhaps it was partially cleaned? ). But to my untrained eyes the iron does not necessarily look very old.

 

I’ve provided pictures under orange/natural lighting conditions and at different angles. Any insight into how to tell authenticity vs. reproduction would be greatly appreciated. Also, this is not for commercial purposes. Thanks!

 

Matt

[mdiddy]

Pics of the inner rim showing striation of layers of rust.

[Ford Hallam]

Hi Matt,

 

I think it safe to say this is not a cast piece. The workman ship is perfectly tidy and there's nothing that suggests to me that it's not what it appears, a late Edo period, Akasaka school piece. The iron is fairly featureless and is does look to have been a little enthusiastically cleaned at some point but I don't think there's anything serious to worry about really.

 

regards,

 

ford

[mdiddy]

Ford,

 

Thanks very much for your input. Your opinion is highly valued and I appreciate the help.

 

Matt

[ububob]

Matt, sorry to catch your post so late. I recently learned that the design is called "shigure tei no zu" meaning late rain falling on arbour, beneath a spreading pine tree. The design is an allegory on a poem by Fujiwara Teika (1162-1241) relating to the melancholy of the rain to the loneliness of the site of unrequited love. The design appeared with the 1st generation master Tadamasa and continued through later generations. A slight variation on the design was noted in the 4th and possibly the 5th generation. I received that information from Cyrus Chan at tetsugendo.com