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Thunderbolt Tsuba, Kanayama (金山) School
The highlight of my collection of samurai sword guards (tsuba) is this spectacular sukashi tsuba of forged iron (tetsu 鉄) made in Owari Province during the Momoyama period (1573-1615) that comes from the Masayuki Sasano collection. The thunderbolt pattern (kaminari) was used as part of Japanese family crests (kamon). Portrayed as jagged lines, it was believed to be unleashed by the god of thunder and lightning (Raijin) as commonly seen in Buddhist art. This would have been a powerful and profoundly inspiring symbol for the high ranking and highly cultured samurai from buke (military families).
Sasano-sensei notes that “The somewhat coarse workmanship might suggest greater age, but the guard is definitely Momoyama period” (see left). This coarse and “rustic” appearance in tsuba design was intended to reflect the unique aesthetics of Tea Culture (chanoyu) beginning under the influence of Oda Nobunaga and his tea master Sen no Rikyu who died in 1591. Tea Culture would would reach its height under the tea master Furuta Oribe during then next 25 year period (1591-1615). These Japanese aesthetic principles hint at a beauty characterized by simplicity (wabi), a sense of age and deterioration over time (sabi), a bittersweet melancholy over the ephemeral nature of existence (mono no aware), and mystery (yugen)–highly reflective of Zen Buddhist belief and practice. Tsuba smiths (tsubako) used very fine hammer marks to produce a light surface texture termed tsuchime-ji (槌目) that makes the surface appear aged and imperfect even as it glimmers in sunlight. In the forging process, harder components in the iron called tekkotsu (“iron bones” 鉄骨) protrude on the rim when tsuba are fired at high temperature, while a moist luster called yakite shitate (焼手仕立) is produced when the tsuba is then cooled slowly (see above). Tekkotsu are more prominent on Buddha and Stars tsuba below in the Tsuba Gallery. There is a gradual lowering of the thickness as it goes from the rim to the seppa-dai in the center, adding to the sense of haki (power) to match the quiet strength of the samurai.
This same tsuba is published in Sasano-sensei’s “Early Japanese Sword Guards, Sukashi tsuba, Plate 75.” It has been proudly displayed in exhibition with an associated NBTHK certification of authenticity, preciousness, and worthiness to be preserved.
Other Tsuba
Two commas (tomoe 巴), two nuts (konomi 木の実)
Owari school (尾張) iron sukashi tsuba, Owari Province, Momoyama Period, ex-Steven Waszak. A tomoe is thought to be an auspicious motif that may have had religious origins, a family crest i nthe Edo Period, and to protect against thunder and lightning. When three large commas (mitsu tomoe) decorate the large wooden mallet carried by Daikokuten, one of the seven Gods of Good Luck, and the barrel drums associated with Faijin, the god of thunder and lightning. Konomi symbolize good luck and hard work. The Japanese nut tree is revered in Japan and can be found around temples. The species is millions of years old, and the oldest living specimen in Japan is over a thousand years old.
Buddha and Stars
Kanayama (金山) school iron sukashi tsuba, Owari Province, Momoyama Period, ex-Steven Waszak. Tekkotsu from rim show below. Stars are represented by filled circles sometimes in multiples, rather than pointed shapes, and are regarded as auspicious and protective of the user or wearer.
Double gourds (hyotan 瓢箪) and counterweights (bundo 分銅)
Kanayama (金山) school iron sukashi tsuba, Owari Province, Momoyama Period.
Double gourds (hyotan 瓢箪) and wells
Kanayama (金山) school iron sukashi tsuba, Owari Province, Momoyama Period.
Hollyhock (aoi 葵), leaves alternating with buds (life-death-rebirth)
Kinai school, possibly Rokudai Takahashi (died 1821), mid-Edo Period, ex-Masayuki Sasano collection with his hakogaki (commentary). The kanji for Kinai appears on the outside of cover (not shown).
Triple paulownia (kiri 桐), double commas (tomoe 巴), and double wild geese (karigane 雁金)
Tanshu Sadamasa school iron sukashi tsuba, possibly a very skilled later generation smith from mid-Edo Period who exhibits influences from many styles, now mounted on my modern custom katana folded from tamahagane (iron) and constructed in the traditional kubose style. The iron is well-forged with tsuchime and globular tekkotsu evident in natural sunlight. A tomoe is thought to be an auspicious motif that may have had religious origins, a family crest in the Edo Period, and to protect against thunder and lightning. When three large commas (mitsu tomoe) decorate the large wooden mallet carried by Daikokuten, one of the seven Gods of Good Luck, and the barrel drums associated with Faijin, the god of thunder and lightning. Paulownia is the family crest of both the imperial family since Heian days and, later, Toyotomi Hideyoshi–the sixteenth-century military ruler. Karigane serves a protective role by signaling an ambush and was a family crest.
Dharma Wheel (kuruma 車 ), Noble Eightfold Path
Ohno (小野) school iron sukashi tsuba, Owari Province, late Momoyama to very early Edo Period (circa 1615), a transitional period when Ohno guards were thought to have emerged. They are thought to be heavily influenced by the Kanayama school which were also produced in Owari Province. It is 7 mm thick at the rim, but the central motif and elements of the paired half-quatrefoil hitsu-ana are lowered by 3 mm to create a powerful appearance. Tekkotsu of all kinds are abundant throughout.
Double commas (tomoe 巴)
Kanayama (金山) school iron sukashi tsuba, Owari Province, Momoyama Period. Published in Owari To Mikawa No Tanko by Okamoto Yasukazu, page 240. A valuable and historic find that was purchased on-line by me for only $175. Tekkotsu of all kinds are so numerous that the rim appears to be “crumbling” in places.
Hot spring pattern (Yuwakimon)
Kanayama (金山) school iron sukashi tsuba, Owari Province, Momoyama Period. The meaning of the motif in negative silhouette has been interpreted in numerous ways including namako (sea cucumber), hat (kasa), mountain path (Yamamichimon 山道文, Fukushima Masanori’s military flag), and hot spring (Yuwakimon). I chose the Yuwakimon pattern because this tsuba has a lively flow of curves in the composition that is mesmerizing and evocative of Wabi Tea and Zen Buddhist aesthetic principles including wabi, sabi, and mono no aware. For me the aesthetic image of steam rising from a hot spring or tea bowel is also an especially powerful evocation of yugen (mystery). Beyond the globular tekkotsu, there is variation in thickness going around the rim (mimi) and a slight thinning from the rim to the massive seppai dai (Ko-Shoami influence), which exaggerates the rustic spirit of the overall effect. Ito Sanpei san’s interpretation is mountain pain (http://katana.mane-ana.co.jp/yuwakumonsukashi.html), based on his extensive commentary about a similar tsuba in his collection.
Double commas (tomoe 巴) and Japanese ginger (myoga 茗荷)
Shoami () school iron sukashi tsuba. The features of movement, rounded-cornered rim, unusual rectangular hitsu-ana, few globular tekkotsu and diffuse granular tekkotsu making the surface appear to be rusty in sunlight (I believe), and slight dishing place this in the Ko-Shoami group. However, the seppa-dai and nakago-ana are quite small—favoring late Early-Mid-Edo—that precluded mounting on modern practice katana.
Prominent globular tekkkotsu on the Yuwakimon tsuba.