6 comments on “Ko Akasaka

  1. I’ve seen that motif used by a range of groups over an extended time and the seppa dai shape tends to be elongated, perhaps to fit the “points” between the myoga at the top and bottom.

  2. Interesting piece. The tapering of the seppa leads to the Akasaka, but the differential between the mimi and seppa thickness tends to Owari (dishing in). Fascinating how the crossover between the schools shows itself. Is there any evidence of three plate construction?

  3. Not that I can see, though it does have some very fine tekkotsu in the mimi. I have another old Akasaka guard that has some pitting in the mimi at 3 and 9 o’clock. The 3 layer contruction is clearly visable there, but can be seen nowhere else in the rest of the tsuba so I guess it is possible that it’s there hidden underneath on this one.

  4. The more I look at the construction of early Akasaka guards the less consistancy I see. Some have many layers, others have no visible lamination but conspicuous tekkotsu (especally the 3rd).

    I noticed that Sasano once wrote that the three-layer guards may be by a sideline group or even copies of Akasaka guards. He does concede that one famous shodai Akasaka guard does have three layer construction, although it only became visible after the guard survived a major fire. Not sure what to make of that, but the construction of early Akasaka guards (or at least the ones we’re calling Akasaka) is not so straightforward.

  5. The Ji seems to be of good quality. The design looks as a synthesis of Owari and Kyo-sukashi elements, which, according to Eckhard Kremes in “Sukashi Tsuba in Europテ、ischen Sammlungen” [Sukashi Tsuba in European collections]” p. 116, was done by the Akasaka masters being receptive to the prevailing taste of the time.

    Lovely tsuba.

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