Reprinted from NCJSC newsletter

 

 

Select Schools and Fittings Makers

 

1. Ko-Tosho and Ko-Katchu-shi Tsuba

 

            From the Meiji and Tensho eras (1868-1926) into the beginning of the Showa era (1926-1935) Ko-Katchu-shi tsuba were already properly evaluated by those who appreciated them; however, there were few who had much interest in Ko-Tosho tsuba. Even among early tsuba, they had come to be seen as trifling. However, recently, perhaps from an appreciation point of view, opinions have changed and the fact that the true value of Ko-Tosho seems to have been recognized is greatly heartening.

         There are the Ko-Tosho, Ko-Katchu-shi, Onin and Kamakura type tsuba, and although from the viewpoint of designation, there is no term for the Ko-Katchu-shi style ita-tsuba that have lively negative silhouette piercings (mon-sukashi), an entire surface that has been worked with a punch in nanako style and works that give an impression that is not particularly high, due to the number of these shared features, I believe they are in the same group. Excluding the exceptions, the standard Ko-Katchu-shi works are large sized with a height of around three sun. The construction is thin and the negative silhouette designs closely resemble those of the other types. Because of the large size of these tsuba, we can deduce that they were put      on uchigatana with blade lengths of around three shaku. It is probable that the thin construction and piercings were to keep the weight of these tsuba down.  In addition, when we take the period into consideration, there were the warriors who wore koshigatana or short uchigatana fitted out as tachi. Thus, it is probable that Ko-Katchu-shi tsuba were used on the uchigatana of those who were on foot, such as ashigaru, who were a social class that could not wear tachi. I think that when a warrior on foot challenged a mounted warrior it would be necessary to have a sword of such a long length. The period from which such individuals participated in warfare was after the Mongol invasions of 1274 and 1281 during the later half of the Kamakura period. Taking lessons from the Mongol army, they began to use mass warfare tactics. Before that time, one would introduce himself as "I am so and so" and ride out singly against a fellow warrior and engage in individual combat. Those of the ashigaru class were assigned to various menial services and were not permitted to participate in battle.

                The uchigatana of this class of individuals from the Heian period (794-1185) to the middle Kamakura period (1185-1333) were used for self-defense and were not very long. I believe that from the late Kamakura period, they became a force in battle and there was a change to a longer sword during conflicts. Among these same types of tsuba, with Ko-Tosho tsuba, they are small-sized, around two sun, five bu, and there are a few with an extremely deep and old patina. However, among KoKatchu-shi, the fact that such tsuba are not seen testifies to the previously discussed features of this period.

In addition to a style of workmanship with a beaten back rim (uchikaeshi-mimi), a large number of negative silhouette piercings have been done. To make Ko-Katchd-shi more attractive, their owners have been elevated in social status from servants to combatants, reflecting our social consciousness.  Moreover, it is said that the earliest limit for Ko-Tosho is the Heian period and that for Ko-Katchu-shi is the late Kamakura period. After these, the Onin and Kamakura tsuba with additional carving and inlays are much later and I believe they date to after we enter the Muromachi period.

                Next, concerning the latest limit for these tsuba, during the twelfth year of Tenbun (1543) guns were introduced to Japan and they are said to have had a great influence on battle conditions from that time. I think it is appropriate to see the end of the role of the long uchigatana for use against mounted warriors as being due to   guns.    As for these Ko-Tosho and Ko-Katchu-shi tsuba, those used as mounts for the tachi, koshigatana and uchigatana of warriors are said to be completely different in character and level, but they have not been seen, and thus, these possess a fascination for us due to this unique aspect.

                Furthermore, Ko-Tosho tsuba, which are from about eight hundred and fifty years ago, and Ko-Katchu-shi, which are from about four hundred and fifty years ago, occupy a period of history which I believe arouses great interest. Beginning with the great simplicity of the Ko-Tosho tsuba, the KoKatchu-shi and then the Kamakura and Onin tsuba, there is a gradual building up of added techniques. However, nowadays, from an appreciation of the aesthetic pleasures approach, we can confirm the difference between high art and manufacturing, which is revealed to our sensibilities through, first of all, the negative silhouette piercings, the use of space in the surface and the deeply symbolic nature of these works. In the way that mass battle techniques were used, from among those who were servants, individuals who were combative were selected if they seemed able to participate in battle and I think there must have been those servants  who  were also  left over. In addition, up to the time that Hideyoshi conducted his sword hunt during the sixteenth year of Tensho (1586), even commoners could wear swords. Moreover, there is the difference between war and peace; however, it is not so simple to understand the basis for who used these tsuba and who did not or to understand the general situation.

                I believe that those tsuba that are called Ko-Tosho are not entirely all made by swordsmiths. Moreover, I think we can say the same thing about Ko-Katchu-shi tsuba. Nonetheless, the sensation one receives from these works and the feelings invoked by the terms Ko-Tosho and Ko-Katchu-shi are absolutely convincing, such is their persuasive power.   As for the use of "old" (ko ), Edo period Tosho and Katchu-shi works are of a completely different type and "old" is used for the purpose of clarifying this.  With almost all of the early period ji-zukashi tsuba, the area around the nakago-ana  (hole through which the tang passes) has been reshaped through being beaten in; however, be aware that with Ko-Tosho and Ko-Katchu-shi tsuba cases where this has been done are very rare.  Although there are Ko-Tosho tsuba dating to the middle Kamakura period that are small-sized of just around two sun and five bu, the KoTosho, KoKatchu-shi, Onin and Kamakura tsuba dating before the late Muromachi period, where such small-sized tsuba are occasionally seen, tsuba around two sun, five bu can be said to be exceptions. Since it is difficult to believe that everyone was using large-sized uchigatana, this is an area for further research.

          I believe that there are a few Ko-Tosho and Ko-Katchu-shi tsuba that

have original hitsu-ana (ubu-hitsu-ana). This is linked to the kozuka and kogai  that  existed  during  this  same  period.  However,  regarding  this,  I  will  just  conclude  that  I  am convinced such ubu-hitsu-ana exist.   Even with ubu-hitsu-ana, there is the balance of the negative silhouette piercings as well as cases where the filling in of the space entirely enhances the piece. I believe this has to be tolerated through an appreciative sense.  There is an opinion that Ko-Tosho and Ko-Katchu-shi tsuba were mounted on nagamaki. However, even if there are exceptions, because of the arrangement of the negative silhouette piercings, they are said to have been mounted on uchigatana.

               

(translated from Sasano    asayuki's "Ko-Tosho • Ko-Katchu-shi Tsuba" in the Shoyu -kai's "Tosogu Yuhin Zufu" series)

 

 

2. Onin Tsuba

 

                Onin tsuba,  we can infer from a knowledge of history,  are tsuba which were created around the time of the Onin disturbances (1467-1487). Looking at the style of workmanship, they would seem to follow in the wake of the Katchu-shi (armor makers) tsuba, and, at the same time, they have areas of similarity with Kamakura tsuba. This means that they are thin, flat tsuba with the metal surface finished in hammer work (tsuchime). In the iron ground there are brass inlays. These brass inlays are done using two methods. The first method is the suemon inlay style (the brass is carved into shape and then inlaid into the metal ground) and the second is inlays of dots and lines. The edges of the seppa-dai and the hitsu-ana are rimed with lines of inlaid brass. This is one of the strong features that can be applied to appraisal. It has been determined that Onin tsuba have an iron ground in which

brass has been inlaid; however, it should be noted that during this same period brass was such a valuable metal that it even surpassed gold in preciousness. Thus, it is easy to understand how extremely popular the use of brass in Onin tsuba must have been. There are no signed examples  and we have no idea who the individual artisans were.

Their designs include, first of all, family crests of three bars in a circle or a small tower as well as cherry and plum blossoms, mushrooms, family crests of interlaced circles, butterflies and clouds, of which many are done in kosukashi (small perforations). These designs are conducted on a flat plate, round tsuba, which are the characteristics of this type. However, with this type of tsuba, what could possible be the origin of the materials and the manufacturing process? In comparison to the jigane of Kamakura tsuba, the jigane is not very good, and there are works that lack luster and sheen.  It seems that from within this group Yoshiro style and Heianjo style brass inlaid tsuba emerged.

 

(translated from Tsuba Kodogu Kantei Nyumon [Introduction to Tsuba

            and Kodogu Appraisal] by Wakayama Takeshi and Iida Kazuo)

 

 

3. Kyo-Zukashi Tsuba

 

                  Kyo-Zukashi tsuba are open  work tsuba manufactured mainly in Kyoto, Yamashiro province. Together with such groups as Owari and Akasaka, these tsuba are designated with the place name given first. There is one group of scholars who has separated the periods of manufacture into the designations "Heianjo-Zukashi”  and “Kyo-Zukashi”.  Although Heianjo-Zukashi are said to be one period older than Kyo-Zukashi,  Heianjo and Heian-Kyo  (Kyoto) have exactly the same meaning. Thus, the difference in using the name Heianjo-Zukashi or Kyo-Zukashi is nothing more than a slight nuance.  At present, the general opinion is that the appearance of the sukashi technique seen in Kyo-Zukashi dates to around the Eisho and Tenbun eras (1504-1555). As opposed to the stout and rustic Owari-Zukashi tsuba, KyoZukashi tsuba are elegant and delicate. While the designs seen are always powerful expressions of refinement, they also elude attempts by the tsuba makers of other provinces to imitate them. We can thus infer the level of delicacy and elegance for which the Kyoto area is known. Moreover, we can see the type of strength these tsuba possess.

                As for the style of workmanship, the jigane has excellent forging and the surface has a flat finish. There are also works with a hammered (tsuchime) surface and the chiseling is highly skilled with pieces that are have tight and rounded carving. In comparison to Owari-Zukashi tsuba, the remarkable manner in which the refined workmanship has been accomplished can be seen in the steeply cut edges of the open work and the entire lack of useless connections between the rim and the designs and within the designs themselves. The hitsu-ana, in comparison to the width of those on Owari-Zukashi tsuba, have a tall shape, and a strong feature is the sharpness of their form. As for the mimi, the majority are slightly rounded, kaku (squared) that have a slightly narrow feeling. The designs include yatsuhashi (iris and bridges), water plantain, reeds, Japanese ginger, pampas grass, cherry blossoms, bamboo, pine trees, plum blossoms, paulownia, oak, willow, bamboo grass, maple, interlaced circles, commas, geese, family crests, waves and many other types of designs. There are no signed examples among KyoZukashi tsuba.

 

                (translated from Tsuba Kodogu Kantei Nyumon [Introductiion to Tsuba and Kodogu Appraisal] by Wakayama Takeshi and Iida Kazuo)

 

 

4. Heianjo-Zogan Tsuba

 

             Regarding Heianjo-Zogan  tsuba, they are works that share features in their style with the Onin tsuba of the same period. They were produced over a rather long period of time from the late Muromachi period into the early Edo period with the resulting changes in their style of manufacture, At first they only used brass suemon inlays similar to Onin tsuba, but over the passage of time, they used all sorts of colored metals such as gold, silver, shakudo, suaka and other metals. In addition, with the later periods there is a change from suemon style inlay to flat inlay.

                The shapes of these tsuba also show great variation with round, mokko (four lobbed) and nadekaku (square with rounded angles) shapes. Many of the inlaid designs are of grasses and flowers, landscapes and animals, which allows us to infer that there was a relatively large number of producers. There are no early signed works; however, from the Momoyama period onward there are works with such signatures as  “Heianjo ju someone” or  “ Yamashiro no Kuni ju someone”  with two character signatures being rare.  Among these works,  those signed “Heianjo ju Nagayoshi” are extremely powerful. I would like you to be aware that the inlay techniques used on Heianjo-Zogan tsuba had a great influence on the inlay used by the Shoami, Umetada and Higo schools.

 

 (translated from Tsuba Kodogu Kantei Nyumon [Introduction to Tsuba and Kodogu Appraisal] by Wakayama Takeshi and Iida Kazuo).

 

 

5. Ko-Shoami Tsuba

 

            In regards to Shoami, their origin is certainly based on the close relationship Ashikaga (1435-1490) had with the large group of Ami  artisans (including No actors, painters, potters), and I believe they made their appearance around the late Muromachi period. Those works assigned to the Muromachi and Momoyama periods are separated by the use of the term "Ko-Shoami," and all of these pieces are unsigned. Moreover, these pieces were produced in Kyoto. In the Ko-Shoami school, no other works than tsuba have been identified. The techniques used employed an iron with a round shape (maru-gata ) and numome-zogan a type of inlay where the base metal is scored in crosshatches and an inlay typically of gold is pressed into the scored area). The designs are almost entirely patterns with very few that are pictorial in style. the products designated Kyo-Shoami or Ko-Shoami, there are those that can be called "presentation tsuba" (kanjo-tsuba in  which intricate gold numome-zogan have been rendered on an ita-tsuba

                 

 

(translated from Tsuba Kodogu Kantei Nyumon [Introduction to Tsuba and Kodogu Appraisal] by Wakayama Takeshi and Iida Kazuo)

 

 

6. Kanayama Tsuba

 

I believe that we can accept that Kanayama and Owari tsuba were produced in the Mino and Owari areas. Moreover, Kanayama and Owari tsuba are first seen during the Muromachi period.  Drawing on Edo period documents regarding Kanayama tsuba, in the Horimono Mekiki Saikinsho (Summary for Connoisseurs of Carved and Colored Metal) of the Genroku era (1688-1704) it states "all Kanayama tsuba are early." In the Kyoho era (1716-1736) Toban Zufu, (Pictoral Record of Swords by Matsumiya Kanzan) it states "If we mention Kanayama, their style is almost open work with sparse designs, which we should understand by looking at the later designs in that style,  that these are early tsuba." In Tanaka Tenpo era (1830-1844) Kinko Tsuba Yosei-tsuzuri  (Collected Writings on Kinko and Tsuba) and Kurihara Nobumutsu's  Tagane-ko Furyaku  (Abbreviated Record of Chiselers), it states "Kanayama sukashi tsuba." However, in all of these sources there is no mention regarding Owari tsuba. Thus, based on this, we have established the division and the understanding that the period of Kanayama tsuba is early.

 

 

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