Your cart is currently empty!
Tsuba and Other Sword Fittings
FEATURED
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). Carved with great skill in 3-dimensional rendering. The alternating aoi leaves (12 and 6 o’clock) and and buds (3 and 9 o’clock) represent the cycle of life-death-rebirth.
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, shown 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 and are inspiring when appreciated mounted on my practice iaito (see below). The typically heavy Ohno tusba shifts the balance point closer to the handle (tsuka) and the slimmer profile prevents bruising at the base of the dorsal side of the right thumb when handling a long blade like my 30″ (2.5 shaku). Total weight of the sword with the tsuba is 1.030 kg–quite a nice heavy weight for advanced iaido appoaching the weight of a Masakuni Dotanuki style sword (~1.2 kg) of the Bakumatsu Period (late Edo). It is said that such a sword could cleave a man in two.
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 (see below), 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 path (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 (正阿弥) school iron sukashi tsuba. The features of movement, rounded-cornered rim, unusual rectangular hitsu-ana, few globular tekkotsu, diffuse fine tekkotsu that give the appearance of rust in sunlight, 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—precluding mounting on a modern practice katana.
Wickerwork, clematis, and karakusa (ajiro, tessen, karakusa no zu)
Very rare and possibly only fully signed tsuba by Kazunori Obu-ju (尾府住一則), a student of Shodai Norisuke (則亮) (1781-1852) and contemporary of Nidai Norisuke (1817-1883). It was likely made in the 1840s or 1950s, respectively, when Shodai and Nidai were producing carving that extends over the rim in daki-moyo style. Another example of a nearly identical tsuba in Owari To Mikawa No Tanko (page 69) only has the mei Kazunori (一則) on the left. [Sold 3/11/25: $400]
Kazunori Obu-ju (尾府住一則) Mei Engraving
Chisel technique under the stereomicroscope.
Seven wonders of Buddha (Shippo 七宝), clouds (Kumo 雲) or mist (Kasumi 霞)
A small tsuba (65.7 x 62.2 mm, 6.0 mm at mimi, 5.4-5.5 mm at seppai-dai) with rounded corner, slight dishing, and a massive seppa-dai is difficult to attribute to a single category. Shoami may be the most fitting attribution because of the shape of the seppa-dai and since this tradition continued to be widely active through the Edo period. There are no tekkotsu and the iron quality and forging appear to be more likely mid-Edo. The primary motif in positive silhouette is 七宝 (shichi-hō or shippō) that resembles itomaki (spool), but is symbolic of the Seven Treasures of Buddha that appear in Buddhist scriptures, which can guide any zen practice such as iaido: “hearing the correct teaching, believing it, keeping the precepts, engaging in meditation, practicing assiduously, renouncing one’s attachments, and reflecting on oneself.” The secondary motif in negative silhouette is clouds (kumo) or mist (kasumi). Kasumi can mean ephemeral beauty, tranquility, delicate charm, and mystery. Kumo can symbolize impermanence, change, beauty of empty space, and the divine. They elude to the Japanese Wabi Tea and Zen aesthetics that emphasize the transient nature of human existence, which would be meaningful for a warrior class such as samurai.
Pine bark diamond-shape (Matsukawabishi 松川)
Owari school (尾張) iron sukashi tsuba, Owari Province, Mid-Edo. This is a small mokko-shaped tsuba with rectangular kogai hitsu-ana, rounded corner (kaku mimi ko niku) and the stylized motif of Matsukawabishi (松川菱) commonly seen in Japanese arts and crafts. Pine bark represents longevity, good fortune, and steadfastness. The pine tree is iconic of the Japanese New Year, as a symbol of rebirth, renewal, and a bright (hopeful) future.
Menuki depicting Zen koan “Catching a catfish with a Gourd” (Hyotan Namazu 瓢箪ナマズ)
The work is shakudo of “Catching a Catfish with a Gourd” that was first depicted by the painter-monk Josetsu in 1415. This depiction is said to be the oldest ink painting in Japan. It is designated as a national treasure and is held by Taizō-in, a sub-temple of the Myōshin-ji complex of Zen Buddhist temples in Kyoto. It was painted by order of the fourth shogun of the Muromachi shogunate, Ashikaga Yoshimochi. The motif of this pair of menuki is a Zen koan: “How can you catch a catfish with a gourd?” ([瓢箪でどうすれば鯰が捕らえられるか?). “In Japanese mythology giant catfish is responsible for causing earthquakes, just by moving its huge body. Kadori Myojin is a god responsible for calming it down. He is doing that by rubbing gourd against the giant body of the catfish. This interpretation of catfish and gourd seems to be most popular in western publications. However there is one more interoperation and this one is more common in Japanese publications. Zen Buddhism has a practice called Koan, it raises a simple but challenging question which results in multiple answers, for example “How to capture a catfish with a gourd”. This particular one was asked by Ashikaga Yoshimichi, the fourth Shogun of the Ashikaga shogunate. It brought answers from 31 leading Zen monks. Catching a slippery catfish fish with an unsuitable utensil such as a smooth and rounded gourd would be so difficult as to be almost impossible, but illustrates the impossibility of using logical rationalization to understand Zen. It can be viewed as Zen humour, or as a koan, designed to provoke the viewer into new ways of thinking or seeing. In other words If one is not a zen practitioner, this theme’s meaning is to force people to think and find original answers and new approaches. In modern Japan phrase “Gourd and catfish” is used to express something elusive.
Four-Sided Sword Shape (Yomo ken-ritsu 四方剣立)
Owari school (尾張) iron sukashi tsuba, Owari Province, Early-Edo.
Jesuit IHS Slanting Rays of Light (Shakoh) or Sacrifice for the Christian Faith (Kirishitan Ikenie 吉利支丹, 生贄) with Bundo Weights (分銅), Style 1
Ko-Akasaka (赤坂) iron sukashi tsuba, Early Edo Period. This masterwork tsuba is papered to Owari, but its features are consistent with early, so-called Ko-Akasaka (rounded rim, thicker seppa-dai than mimi, large kozuka hitsu-ana). The motif is the Jesuit “Slanting Rays of Light” (Shakoh) symbol, also called Kirishitan Ikenie by Fred Geyer, suspended by bundo weights (分銅) at top, bottom, and both sides. This very substantial and heavy tsuba with excellent iron forging, although unsigned, may be attributed to one of the 1st-2nd generation Akasaka masters on account of the size (74 x 73 mm), thickness (6.5 mm at the mimi, 6.75 mm at the seppa-dai), and the historical context. Shodai Akasaka (Shozaemon Tadamasa, died 1657) moved from Kyoto to Edo in 1624 along with Nidai Akasaka who took the same name (died in 1677). This tsuba does not evidence the layered (“puff pastry”) forging construction known as mokume-gane, which suggests it was not produced by Nidai. If the Shodai made this tsuba, it may have been just before he arrived in Edo (proto-Akasaka), but when he had already developed the features that would become characteristic of the Akasaka atelier he founded. This would date it to Early Edo, although Fred Geyer has an almost identical tsuba with Ko-Akasaka features and papered to Shodai that has alternating short and long rays, which he attributes to the earliest “1st style” of this design with alternating long and short rays that he argues reflected the earliest image of the Jesuit IHS introduced into Japan by the Portuguese during the Momoyama Period of the late 16th century/early 17th century (Kokusai Tosogu Kai, 2nd International Convention and Exhibition, pg 84-91). However, Ko-Akasaka or proto-Akasaka tsuba were only produced in the Early Edo. Tokugawa put a total ban on Christianity in 1624, so that persecution must have escalated after the Shodai left for Edo. It is unlikely that the Shodai would have risked forging this Ikenie after 1624. It is also closest to the “1st style” in having a longer middle ray. Fred argues that the Ikenie image softens thereafter (“2nd style”) and then becomes disguised (“3rd style”) to evade persecution. The other distinguishing feature of this tsuba is that where the counterweights are joined to the mimi, the curve of that portion of the counterweight is outlined by fine carving. This is most well-preserved on the omote. It is quite a hefty tsuba weighing in at 133 grams with a display of unbridled power and religious fervor.
Jesuit IHS Slanting Rays of Light (Shakoh) or Sacrifice for the Christian Faith (Kirishitan Ikenie 吉利支丹, 生贄) with Bundo Weights (分銅), Style 2
Ko-Akasaka (赤坂) iron sukashi tsuba, Early-Mid Edo Period. This one is uncharacteristically slightly “dished” (mimi is thicker than seppa-dai). The filled kogai hitsu-ana is smaller, which is typical of the Akasaka style. The motif is the Jesuit “Slanting Rays of Light” (Shakoh) symbol, also called Kirishitan Ikenie (Sacrifice for the Christian Faith) by Fred Geyer. It is suspended by bundo weights (分銅) top and bottom, and warabite (蕨手) stylized bracken shoots on either side. The rays are of equal length and those flanking the warabite are curved. He argues that this “2nd style” of the composition reflects a softening of the image of the Jesuit IHS introduced into Japan by the Portuguese during the Momoyama Period of the late 16th century/early 17th century (Kokusai Tosogu Kai, 2nd International Convention and Exhibition, pg 84-91). Tokugawa put a total ban on Christianity in 1624. Thereafter it became further disguised (“3rd style”) to evade persecution.
