Seeking Assistance with Masatsune

[edzo]

Greetings members,

 

I am researching a tsuba signed Masatsune. I am advancing toward Bushu (Ito school), possibly Odawara branch as opposed to the Edo branch with some assistance from board members. Accordingly, there were two schools having a connection with Choshu province though not much is documented and certain unresolved contentions exist (“Tsuba An Aesthetic Study” page 179-183). It is apparent to me from the plate, subject matter and workmanship of this piece (mostly aesthetic),that this tsuba is very similar, IMO. This publication lists Jinemon? Masatsune as the second master and I do not have an oshigata of his sig. for comparison. Another reference revealed a “Jingoro of Ito”, Masatsune and his sig., unlike others reviewed included a similar (tsune character). It is also mentioned that the earlier plates were thicker. This plate is .45cm thick, the second master Masatsune plate I reviewed (visually) was .4849cm and the openwork appeared slightly more delicate, specifically the plant stems. This piece is 7.4w x 7.7h cm. The last master or student of this group (Katsumi), died in 1910 at 82 years old. If anyone is able and willing I am seeking oshigata of the second Masatsune and or Jingoro of Ito to compare signatures (or an alternative), to my piece. Perhaps someone has encountered another Masatsune that falls within this discipline. Thank you in advance, Respectfully, Ed F.

 

Edit: not a great photo but this is the signature.

[docliss]

Dear Edzo – please append your name to your postings so that replies may be addressed correctly to you – the mei on your tsuba is, indeed, MASATSUNE, and the work is typical of that of the Bushū schools. But, and please correct me if I am in error, the kanji appear to be 正 常, using the 11-stroke kanji for ‘Tsune’, rather than the nine-stroke kanji, 恒, used by the Itō masters.

 

Haynes lists no Bushū artist using your kanji, although H 04749.0, included with no additional information, is a possibility. Shosankenshu lists an artist using these kanji on p.50 no 255, with an elongated final, vertical stroke similar to that on your tsuba, but again gives no details of the artist.

 

So one must conclude that your tsuba is Bushū work by a named, but unidentified artist.

 

Kind regards, John L.

[edzo]

Dear Docliss,

Thank you very much for this generous response and input. I think I’ve addressed your concern with my signature, please let me know if not.

Regarding your point regarding strokes in “tsune” I am cognizant of such practices with some schools and lineages. I encountered this Kantei point before in the Uchikoshi school with “Hiro”. My problem and confusion stems from the following, specifically the Jingoro of Ito entry in the following notations I have included below. I found this digital publication on the web.

 

MUSEUM OF FINE- ARTS BOSTON,

Japanese SWORD GUARDS

BY OKABE-KAKUYA

IN CO-OPERATION WITH THE DEPARTMENT

OF CHINESE AND Japanese ART, 1908

 

Page 44 Japanese SWORD GUARDS (as shown)

 

ITO SCHOOL

 

“This school was a branch of the Umetada, and forms one of the largest groups of metal workers in Yedo. Its members worked principally on perforated iron guards, though some made sparing use of gold inlay. The most famous of them was Ito-Masatsune, who died in 1724. A second It6-Masatsune (Jingoro), whose work and signature are very different from those of the first Masatsune, was by profession a musket maker, who also made sword guards. He worked during the early nineteenth century. Many famous pupils carried on the work after his death.

 

Artists of the Ito school often wrote Bushiujiu before their names, to signify that they resided in Bushiu province, of which Yedo was the chief city. This signature has led many critics to give the name Bushiu tsuba to their works. Hashimoto Seisai, a guard maker of Yedo, was noted for the fine temper of his iron. His guards have a finely finished surface and show skillful perforation. He flourished during the early part of the nineteenth century. His work resembled that of the Ito style.”

 

If the article is correct I hope it sheds to benefit to you, unless the notation is in erroneous.

[Thierry BERNARD]

http://www.shibuiswords.com/tsuba.htm#bushu/choshu

[edzo]

Dear Mr Bernard,

 

Thank you for the link and your valued response. I have previously visited this great site and find it including color-photos of examples, quite informative and revealing. I guess sorting through so much information some of which is theoretical just makes it more challenging but on the same note i admit essential to draw conclusions.

[docliss]

There is considerable confusion over the Itō artists, and Edward is indeed correct that some authors list an artist as described by him in his posting. Kinkō Meikan, on pp.411a and b, names Yamagata Masatsune, called Tsunematsu and, later Jingorō, changing again to Jingobei upon becoming a student of Itō Masahide. But the two illustrated mei are quite unlike that on Edward’s tsuba.

 

P.93 of Hara’s Die Meister … names an Itō (sic) Masatsune, a student of Itō Masahide and I. Masatane, and working in Yedo in the first half of the C19. But Haynes, who I tend to consider the ultimate arbiter in such matters, refers to Hara’s entry, under H 04745.0, as living in Bishū, in the province of Owari, and fails to acknowledge the existence of an Itō artist using the kanji 正常 as on Edward’s tsuba.

 

I rest my case …. John L.

[edzo]

Dear Mr. docliss,

 

Thank you for participation and qualifying your comments, very helpful. I can’t wait to build a better library and reference database.

 

I guess your post leaves me wondering if the piece can be attributed to Edo Bushu or possibly a Choshu smith product. I may be wrong but don’t think this could be a gimei, particularly because of the limited historical record that exists, at least to this point, and its not likely that this is a sought-after smith. Seems as though I’ll have to chalk this one up to a “research in progress” for now, and move to another piece. Perhaps if you should revisit you might comment on my thoughts or should I venture in another direction. In any event I am always grateful for your opinion. Thanks!

[docliss]

Dear Edward, I would summarise my thoughts of your Masatsune tsuba as follows:

 

It is, in my opinion, a good example of C19 Bushū work, which any collector would be happy to include in his collection. The fact that it cannot be confidently attributed to a specific artist in no way detracts from its appeal.

 

I am attaching to this message an image of a tsuba by Ito Masatsune. This is not the mei of the second master of the Ito group, H 04737.0, but of a second generation artist of this name, who died in 1775. It has been suggested that Yamagata Masatsune might possibly be the same artist as this one.

 

With best wishes for your future acquisition of further pieces, John L.

[edzo]

Dear docliss,

 

Thank you very much for the follow-up post. I have been pushing the bar and tend to ride any momentum I have and growing my knowledge. Since a young person, i have enjoyed the arts, particularly, the Asian disciplines. I feel that my efforts have not been wasted and this piece, on its own, makes my heart sing whether it has value or not.

 

You have provided me with some closure in that I was moving in the right direction and may build upon that in the future. I am very grateful, Thanks.