Shigure-tei no kuni tsuba – 時雨亭の国鍔

Iyo Shoami tsuba signed Yôshû Matsuyama jû chûko Shôami Morimine – 豫刕松山住中興正阿弥森峯. Maru gata 丸形 (round shape), tetsu ji 地鉄 (iron surface), ji sukashi niku bori (地透肉彫 (open surface carved in the positive, in a slightly rounded style), kebori 毛彫 (fine surface or line carving), maru mini 丸耳 (rounded rim), Ryohitsu Shitate  両櫃仕立 (finished with 2 hitsu ana).

This tsuba is for a Wakizashi and the dimensions are 67mm x 64mm x 3.5mm.

The theme depicts Shigure-tei  時雨亭.  Shigure-tei was the mountain retreat of the poet Fujiwara no Sadaie (藤原定家), better-known as Fujiwara no Teika (1162 – 1241) and it was here that he completed the famous anthology Hyakunin Isshu 百人一首 or 100 Poems by 100 Poets.

In his early years, Teika met Princess Shikishi (式子内親王 Shikishi Naishinnō) and it is said that they wrote to each other for many years and that Teika was a great admirer of the Princes’s poetry. Teika began visiting Princess Shikishi with great frequency and all of this become the basis for suspicion of a love affair between them.

Later on, in the fifteenth century a Noh play was written titled Teika and by then the love affair between the Princessi and Teika had raken the shape of a widely known fact and generated an image of a tragic love.

In the play, a traveling monk takes shelter from the rain in an old abandoned cottage. A lady appears and guides him to a tombstone wrapped in vines and creepers. This was her grave and she, the princess Shikishi, whom Teika had much loved and grieved her death. The cottage is known as Shigure-tei and Teika’s soul is said to have dwelt in the vines. It was at this point that the traveler monk decided to recite a sutra for the couple, releasing their souls to the heavens where they could finally rest.

It is this story that is the basis of the tsuba’s theme. The old cottage high in the mountain and clouds, with the tombstone covered in vines. The tsuba features Kebori on the roof of the hut and and around the rocks, and niku bori is seen on the rocks and clouds. The tagane on the nakago ana is also interesting. Fine double rows of punch marks that are very even. I am always open to the idea that this is some form of signature. I will endeavour and find more of this artists work to see if that theory holds any truth.

Morimine was a Matsuyama artisan who worked in Genroku 元禄 jidai (1688 – 1704) and produced works in the Kyo tradition, most especially the Kyo Shôami tradition. He is considered to be one of the better testu tsubako and is often listed with other major Matsuyama artists that are singled out such as Morikune 盛国 , Moritsugu 森次 and Ietake 家武.. It is said that Morimine, along with Ietake 家武 had worked for the Hisamatsu Matsudaira  clan which was founded by Hisamatsu Sadakatsu 久松 定勝, Tokugawa Ieyasu’s half-brother.

The use of chûko 中興 (as well as chukô kaizan 中興開山) is seen in many of the Matsuyama tsuba. Mr Jim Gilbert has a tsuba on his website that displays the chuko kaiazan in a mei that reads Tenka chûkô kaizan Shôami Kinjuro and notes that “The signature means something to the effect that Kinjuro has restored the house of the Shôami”. Chûkô alone generally traslates to “restoration” and kaizan can mean “temple” so perhaps this mei has an abbreviation of the full chukô kaizan. I have also seen the term chûko referred to as being a link to Buddhism and the artisan possibly taking a role in religion. Perhaps it has a completely other meaning.

In the meantime, I will continue to work on these meanings and of course, if you can offer anything further, please contact me.

Overall, this is a fine tsuba that is well carved and depicts a story stepped in Japanese folklore.

Thank you for reading

Rich

 

 

The portrait of Teika is attributed to Fujiwara no Nobuzane (Kamakura period) courtesy of Wikipedia (see link below)

References:

The Japanese toso-kinko Schools by Markus Sesko

The Index of Japanese Sword Fitings ans Associated Artists by Robert E Haynes.

KANSHO GADAI JITEN (The Art Appreciation of Japanese Sword Fittings) by Shigeo Fukushi

Jim Gilbert Tsuba

http://en.wikipedia.org/wiki/Fujiwara_no_Teika

http://en.wikipedia.org/wiki/Ogura_Hyakunin_Isshu

http://en.wikipedia.org/wiki/Princess_Shikishi

http://onethousandsummers.blogspot.com.au/2012/10/hyakunin-isshu-poem-89-princess-shokushi.html

 https://books.google.com.au/books?id=BEmtyDZIYSgC&pg=PA67&lpg=PA67&dq=Noh+play+Teika&source=bl&ots=yiwQq7xtix&sig=A7um1PUeOX01dPHkpVw0H6_0e-8&hl=en&sa=X&ei=6uywVKLrLOnMyAO1_oDABg&ved=0CFQQ6AEwCQ#v=onepage&q=Noh%20play%20Teika&f=false

Updated Moristugu post – and more

I updated the Iyo Moritsugu posting with a new scan of that tsuba. I hope you enjoy.

http://kodogunosekai.com/2011/11/30/iyo-shoami-tsuba-by-moritsugu/

I will continue to update the images and relink the new scans/posts here.

http://kodogunosekai.com/2013/06/13/shoami-unryu-tsuba-正阿弥雲龍図鐔/

http://kodogunosekai.com/2012/11/15/kiki-ji-sukashi-tsuba/

http://kodogunosekai.com/2011/02/26/950/

Rich

Tanryu Kantô and Tôran-kai tsuba

Hi rez scan of a Kofun kantô (ringed pommel) in a dragon theme and kôran-kai tsuba . The detail of this scan is just amazing. Be sure to click on the image to open up the hi rez link.

Rich

Shakudô tsuba by Iyô Mitsuyoshi.

Shakudô ita tsuba signed 豫州松山住亀嶋甚右衛門源光義作 – Yôshû Matsuyama no jû kameshima jin’emon minamoto Mitsuyoshi saku.  The features include 竪丸形 Tatemaru-gata (elongated round shape), 赤銅魚子地 Shakudô nanakô ji, 鋤出彫 Sukidashi bori (the body is carved away to leave the raised design),  金色絵 Kin Iroe,  鋤残耳 Sukinokoshi mimi,  (a raised rim that is the result of the surface being carved away).

75mm x 71mm x 4.5mm

NBTHK Tokubetsu Hozon.

Mitsuyoshi was an active artist of the Matsuyama district between 1750 – 1800 (app). He worked in both soft metals and iron and Akiyama Kyusaku noted his work resembled that of Tajima Miyochin Yoshisada. He also made pieces in the style of Izumo Harate. (Haynes: Index of Japanese sword fittings and associated artists M-R, P.1121 H05580.0)

The design is referred to by the NBTHK as 波濤飛龍図鍔 (Hado-Hiryu zu Tsuba) or Wave Dragon design tsuba. This description is a little thin as I believe this is actually a depiction of the Chinese dragon Yinglong 应龙 or winged dragon. Mr Ford Hallam informs me that in Japanese art these dragons are quite rare and I am currently researching this (any additional information would be greatly appreciated). The following is from OnMark Productions and I find this section on the origin of Japanese dragons interesting.

In Japanese mythology, the Dragon King’s Palace (Ryūgū 竜宮) is said to be located at the bottom of the sea, near the Ryūkū (Ryukyu) 琉球 Islands (Okinawa), and it belongs to Ryūjin (Ryujin) 竜神, the Japanese name for the dragon king. The palace is also known as the “Evergreen Land.” In his book Japanese Poetry, Professor B. H. Chamberlain says the Japanese word for Dragon Palace (Ryūgū) is likewise the Japanese pronunciation of the southernmost Ryūkū islands. He writes about one ode in the Man’yōshū 万葉集 (Japan’s oldest anthology of verse compiled in the 8th century), which says the orange was first brought to Japan from the “Evergreen Land” lying to the south. The many-storied palace is built from red and white coral, guarded by dragons, and full of treasure, especially the Tide Jewels, which control the ebb and flow of tidal waters. Fish and other sea life serve Ryūjin as vassals, with the turtle acting as the dragon’s main messenger. On the north side of the palace there is the Winter Hall, where snow falls all the time. On the eastern side lies the Hall of Spring where butterflies visit cherry blossoms while the nightingale sings. On the southern side of the palace is the Summer Hall where crickets chirp in the warm evening. Finally, on the western side is the Autumn Hall where the maple trees glow in bright colors. For a human, a day in this palace is like 100 years on earth.

I wonder if there is a connection between this tsuba and the waves, to the story above.

One of the most delightful features to me is the polished surface of the carved areas and an almost matte finish to the nanakô. This sets off an amazing contrast depicting the dragon in all it’s glory. I have tried to capture that in the following image.

The colour variance in these two photos if from the being in full sun and the bottom in full shade.

Information on Dragon Mythology with many thanks from http://www.onmarkproductions.com/html/dragon.shtml

Thank you for reading.

Rich

Return of the scanner

Hi all, just a quick note I am returning to my old method of scanning tsuba as well as photographing. I will be kicking off with a brand new addition to the collection so stand by. I am also going to work backwards in the messages and scan some of the guard here in these posts. I hope you enjoy them.

Cheers

Rich

Iyô Shôami tsuba by Yukikuni

Kô sukashi tsuba 小透鍔 signed Yôshû Matsuyama no jû Shôami Yukikuni 豫劦松山住正阿弥行国. Maru gata 丸形, tetsu ji 鉄地, ko niku kakau mimi 小肉角耳, dote mimi 土手耳, nikubori 肉彫. The design includes gold iroe 金色繪 on a fan and the monkey’s bodies, as well as shakudo 赤銅 and Shinchū 真鍮 eyes on the monkeys faces. The fur of the monkey’s bodies is carved in nikubori.

The dimmensions are 78mm x 76mm x 4mm.

The theme consists of 5 monkies, with the two main protagonists having a tug of war with some rope. The story may be connected to Nara’s Great Tug of War 那覇大綱挽 that relates to two great leaders in Nara in the 17th century who had a very strong sence of competition. It may of course just be two monkeys tugging on some rope.

As far as I can see, Yukikuni is an unlisted artist. I would be more than greatful for any information anyone may dig up on him.

Thanks for reading

Rich

Just for your entertainment

I posted a Shoami tsuba album on the Kodogu no Sekai Facebook page. For those not on Facebook, you can view the album here.

http://www.facebook.com/media/set/?set=a.511705058884847.1073741825.266005023454853&type=1&l=c9595978e0

Best

Rich

Kiki Ji Sukashi Tsuba – 菊地透鍔

Ko Shôami Ji sukashi tsuba- 古正阿弥透鍔, Azuchi-Momoyama period 安土桃山時代. Excellent iron surface. Maru Gata 丸形 and the mimi is maru also 丸耳. The surface is nicely finished and the plate in excellent condition. There are small tekkotsu (鉄骨 hard iron bones) in the mimi (耳 edge).

The tsubas dimensions are 80mm x 80mm. The thickness at the centre is 3.5mm and at the mimi, 2.5mm. This is quite thin for Ko Shôami work. Most Momoyama period pieces are on average 3.5 – 4.5mm thick. I have owned and seen thinner works that have been attributed to the late Muromachi period. I still feel this work is Momoyama period work, however nothing is ever set in stone when it comes to tsuba. Opinions and ideas are forever being reassessed.

The design is described by the NBTHK as Kiku sukashi 菊地透鍔, There are however other elements here that bare more examination. There are two matsukawa kamon 中陰松皮家紋 or double lozenge mon at 12 and 6 o’clock. The rest of the sukashi is made up of what appears to be leaves. The actual leaves of the chrysanthemum plant however are a distinct shape and these appear quite tubular. Perhaps the shapes represented here are clouds or something else.

If you have an opinion, I would love to hear it.

The NBTHK attested to the quality of this tsuba by awarding it Tokubetsu Hozon. In much of the tosogu collecting world, as with swords, size seems to be an issue, as in the bigger the better. I think though that size may overshadow quality in many instances and it is quality first we should be studying, not dimensions. The fact that this tsuba received Tokuho means it is first rate work, regardless of it’s majesty.

Thank you for reading.

Rich

Just for fun

I was re photographing some of my tsuba today and I stitched this together. A few of my favorite tetsu pieces.

From left to right, top row first.

Kanayama – Muromachi period
Ko Shoami – Momoyama Period
Ko Shoami – Momoyama Period
Norisuke – Bakamatsu period
Tenpo – Early Edo period
Kanayama – Momoyama period
Ko Shoami – Momoyama Period
Kyo Sukashi – Momoyama period
Owari – Momoyama period
Tosho – late Muromachi period.

Click on the image, when it opens in the new window, click on it again for full size version. If that does not work, then try dragging the image into a new tab or window to see it fill size.

Cheers

Rich

Kyo Sukashi tsuba – Yatsuhashi 京張透 – 八橋

Kyo Sukashi tsuba 京張透 that would date to about the Azuchi-Momoyama period 安土桃山時代. Excellent iron surface. Maru Gata 丸形 and kakumimi koniku 角耳小肉, the surface is nicely finished. There are both elongated and small granular tekkotsu 鉄骨 in the mimi. The seppa dai it elongated and classic for the Kyo group. Both Hitsu (ryohitsu shitate – 両櫃仕立) are large and bold in their design.

The dimensions are Height 77mm x Width 75mm – Center 4mm – Mimi 5mm.

The theme is that of Yatsuhashi (八橋・やつはし) which literally means “8 bridges”. Yatsuhashi are wooden bridges that are staggered or set at angles, often seen in Japanese gardens and it is a motif found in many Japanese art forms. With regards to this tsuba’s design the bridge rests over a pond displayed gracefully by the curved lines of waves, Surrounding the bridge are 8 Kasa or geese. At the very bottom, the new shoot of an Iris starts to grow. The bringing together of these elements depict a winter theme in Japan.

On either side of the seppa dai are two small circular shapes. These I think may be a gourd that has been split in two to accommodate the design. The gourd is a common element used to bridge small spaces in early sukashi works.

The term Yatsuhashi also references a specific bridge where the poet Ariwara Narihira stopped in his travels to compose a poem about his wife. The poem alludes to the irises growing at the side of the bridge and uses the character for iris at the beginning of every line. This is the poem:

殻衣きつつなれにしつましあればはるばるきぬるたぼをしぞ思ふ。 Karakoromo kitsutsu narenishitsumashi arebaharubaru kinurutabi oshizo omofu. A Chinese robe I have worn so often, I know it as I do my wife. Having come so far, this journey rests heavy on my thoughts.

Ref:

Yatsuhashi/八橋- 8 bridges…

Thank you for reading

Rich