ASIAN SWORD GUARDS
It has been determined that a great many tsuba were produced outside of Japan and imported by Portuguese, Dutch and Chinese merchant mariners, making it improper to label them Japanese. They were produced in places such as Thailand, Vietnam and China, where Japanese swords were highly prized, and often imitated. With correct study, one can easily notice the difference from Japanese copies. Therefore, let those known to be exports be identified as Asian Export sword guards.
The ASIAN EXPORT group are those produced in China, India, and Monsoon Asia, and imported from the end of the 16th century for Portuguese, Dutch and Chinese merchants; primarily for use as art objects, business and diplomatic gifts.
The terms that could be used for guards that can be assigned to a specific location are:
Mandarin: pronounced hushou or pan hushou. Pan = plate. Hu = to guard. Shou = hand.
Cantonese: pronounced wusau.
Vietnamese: pronounced ho thu.
Tojin-Yashiki: Sword guards made by Chinese artists in Nagasaki.
In all other instances it makes perfect sense that foreign-made sword-guards formerly known as 'Namban tsuba' be reclassified as 'Asian Export sword guards'. Because 'Namban tsuba' is a term that would only have been known to Japanese makers, let it apply exclusively to their work.
'Kanton' is a corruption of Gunagzhou, China's largest seaport. In the first ten years after the opening of Chinese maritime trade by the Kangxi emperor in 1684, hundreds of Chinese 'Tosen' merchant ships arrived at Nagasaki. The Chinese inhabiting Nagasaki's 'Tojin Yashiki' (Chinatown) grew to almost 10% of the city's population, versus a dozen Dutchmen living on Deshima. The term 'Kanton' may refer to the Qing merchants who first imported sword guards to Japan. The Dutch were known to have used tsuba as gifts in their dealings with the Japanese. They are also known to have purchased gifts from the Chinese in Nagasaki in years when no ships arrived from Batavia (Jakarta).
SINO-TIBETAN QING (ASIAN EXPORT)
"Imported Sino-Tibetan style Qing tsuba of iron with gold highlights. Incredible complex design of dragon-koi's or 'chilong' swimming in turbulent water, rendered as loukong interlacing. The dragon-koi represents the excercise of positive force. Legend has it that when the koi swimming upstream overcomes a waterfall, it becomes a dragon. These creatures are rendered at the moment of transformation, an inspiration to those after some kind of loss, or in a period of transition. The surface decoration of lotus blossom, flaming jewel on top and pagoda on the bottom are for visual appeal.
The rectangular shape of the seppa-dai is to be expected on Qing guards. The carving crosses over and under and the kogai & kozuka hitsu-ana are original to the piece. The rim is gilt beading and majority of the gold remains." (E. Long)
6.6cm x 7.0cm x 0.35cm
ASIAN EXPORT SWORD GUARD
A design combining Chinese-Tibetan and Indochinese elements, such as this composite creature with the head of a lion and a serpentine body. The flowing mane is pointed, like the forelock of a Mekong Phaya-naga.The pointed shitogi-gata seppa-dai, pierced with a prefabricated nakago-ana to accommodate multiple tang systems suggest Monsoon Asia as place of origin--probably made to order for the VOC. Note how the bending tangle of Loukong interlacing seems to anticipate the kozuka-ana, which is inset as a metal band--a technique used by the Yagami Mitsuhiro school. Multi-system nakagao-ana seem to be associated with guards made for the Dutch, who being in Nagasaki could surely have ordered guards from local metalworkers. (E. Long)
7.4cm x 7.5cm x 0.45cm
CHINESE Sword Guard
"Rounded square iron guard with very thick and heavy rim. The shape might allow us to date it to early Qing period (1644-1700) during which this shape was popular. The design consists of paired chilong (water dragon) in openwork tendrils at top and bottom, and two peculiar features located at both sides. The two features could represent ritual objects used in tantric Buddhism. Just under the thick rim appears gold inlay on a variation of the double rim found on some early imperial Qing saber guards. The copper sekagane confirms being adjusted for Japanese use." (E. Long)
6.6cm x 7.0cm x 0.5cm
MING Sword Guard Understudy
"Iron Asian Export-style sword-guard. Dote-mimi, with Taoist symbols executed in taka-bori on ishime-ji. The ura is identical to the omote. Almost circular form, raised rim and distribution of designs is reminiscent of Chinese mirrors. The presence of Taoist symbols alone should lead one to question the assumption that this piece might be Japanese. The elliptical formation of the seppa-dai might lead one to believe this is Japanese, but one must bear in mind that other countries, notably Vietnam, produced sword handles with oval cross-sections. In all likelihood this guard was produced in China, or one of these foreign enclaves. Seems to date to early pre-1640. The piece was awarded a Tokubetsu Kicho paper by the NBTHK in 1974, with an attribution as Nanban." (E. Long)
7.99cm x 7.98cm x 0.56cm
'HIRADO ju KUNISHIGE'
"Subject of dragons chasing jewels (tama) in waves and clouds. Copper (Suaka) Usuniku-bori (sunken relief) with Katakiri-bor (direct line engraving). The rim is decorated in katakir-bori in a Greek key-pattern. Signed "Hirado no ju Kunishige" (H 03650.0). Many small tsuba of this kind were produced on the island of Hirado as shiiremono (ready-made goods) used as business gifts or status symbols. Japanese physicians are said to have worn Nanban tsuba as a way of proclaiming their possession of Rangaku (Hollander learning); Western science and medicine. There appears to be more than one generation signing "Kunishige". The shodai (first generation)may have been a designer, metalworker or both. This piece combines Chinese and European design elements with Japanese workmanship." (E. Long)
7.2cm x 6.9cm
Excerpts from 'Nanban Tsuba and Asian Export Sword Guards' by
James Lancel McElhinney.
The NAMBAN group of tsuba are reproductions of Asian Export sword-guards made by Japanese artists, and by Chinese artists working in Nagasaki.
In 1987 Ogawa redefined the group, introducing a radical simplification and several defining characteristics. The presence of 'Namban tetsu' is irrelevant. It may or may not be a costituent of some of the tsuba in this group, but there is no reliable way of identifying its presence. The definition of the group is based upon the presence of some of these characteristics;
- undercut scrollwork, which may incorporate dragons with the tama jewel or other creatures;
- they are almost always of iron;
-gold nunome or overlay is a frequent feature;
- hitsu-ana are a later modification;
- many have decorative seppa-dai, although these may appear on tsuba as an example of namban influence;
- decorative mimi are common;
- tsuba of this group are very rarely inscribed.
Consider this: Japanese guards inspired by Asian Export designs might be classified as 'Nanban Eikyo' (foreign influence).
excellant article about NAMBAN
An excellant paper about The Iron and The Style of NAMBAN written by Henri L. Joly
Read about Foreign Influence from 'Jaspanese Sword Mounts' by Helen C. Gunsaulus.
Picture gallery of Excellant Namban Tsuba for study and appreciation.
NAMBAN in ASIAN EXPORT style.
Accompanied by a Hozon certificate number 447408, issued by the N.B.T.H.K., dated Heisei 17 (2005).
"Edo period, ca. 1700. Tetsu-ji with decoration of uri zu (gourd). Patina is in great original condition. A excellant example of technique: nada-kakugata, sukidashibori, kin-gin nunome zogan, Sukinokoshi dote-mimi, Ryo hitsu ana (shakudo ume). This piece can be considered nearly top quality making it an excellant example of Namban tsuba in Asian Export style." (E. Long)
8.0cm x 7.8cm x 4mm, nakago size: 2.8cm x 9mm.
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