TSUBA GALLERY
Updated April 2009.

It is important to understand the concept of the Tsuba, as well as its development in form and function. The Tsuba is counterbalance to the Sword Blade in many levels of understanding. The Sword Blade is aggressive, destructive, offensive in purpose. It is used for attack and destruction. It is masculine and active in principle -- pure YANG.
The Tsuba, its counterpart, is defensive, protective, ornamental; its function is to guard and preserve and is feminine in concept and execution, pure YIN. Once you grasp this essential difference, you will find that the true beauty of fine Tsuba will have a new value and your appreciation will be greatly enhanced. Once you understand that the Yang and the Yin are essential parts of the whole, you cannot see a Sword Blade without visualizing the perfect Tsuba to compliment it -- nor can you appreciate a great Tsuba without mentally equating a fine Blade that would compliment the Tsuba. The two become one, and that is ZEN.

If you are un-familiar with the 'HISTORY' of Tsuba, please view Tsuba Types. 

Description of Tsubako, Ha's, and Provinces of tsuba manufacture. 

If you have an interest in GENJI-MON Tsuba, please enjoy this ESSAY 

Go to .. HEIANJO ~ KANEIYE ~ KATCHU-SHI ~ KINAI ~ KO-KINKO ~ KYO-SUKASHI ~ NAMBAN ~ NOBUIE ~  SHOAMI ~ SOTEN

BUSHU/CHOSHU TSUBA

- Bushu Iron Tsuba with NBTHK Tokubetsu Kicho (green) origami.  - Bushu/Choshu Tsuba -



HEIANJO

The original production of Heianjo Sukashi tsuba was done on the orders of Ashikaga Yoshinori Shogun. Yoshinori Shogun was the sixth shogun in the Ashikaga line. The ita-tsuba up until that time were pieces which had only a little bit of silouette sukashi, but it is said that the tsubako of this Ha, upon orders by the shogun, originated sukashi bori in which patterns were left in ji sukashi. The designs are also thought to have been done by the hand of an artist, and there are some that are extremely beautiful and must be considered to be models.
The inlay techniques used on Heianjo-Zogan tsuba had a great influence on the inlay used by the Shoami, Umetada and Higo schools.
Heianjo Zogan is also called Heianjo shinchu suemon zogan tsuba and are pieces which draw on the traditions of the Onin tsuba. The oldest pieces are close to Onin (early 1500), and the later pieces extend to the beginning of the Edo period.

Read about Early Inlays from 'Jaspanese Sword Mounts' by Helen C. Gunsaulus.

- Excellant Heianjo with Brass Zogan and Fukurin.   - Excellant Heianjo.
- Heianjo Tsuba with Kuruma-Sukashi.  - Heianjo-Shiki Shinchu-Zogan Tsuba.

- Heianjo Tsuba with 'Nihon Tosogu Bijutsukan' kanteisho.



KANEIYE TSUBA

"Kaneiye" is said to be the supreme tsuba maker in Japanese history. He lived in Yamashiro no Kuni Fushimi, and as for lineage, he is thought to have come from the Heianjo Zogan artists. The name 'Fushimi' in his signature gives clue to when he worked. Considering that Toyotomi Hideyoshi built a Fushimi-Castle in 1592, it seems that he worked from the late Tensho to Bunroku/Keisho period. There are various stories concerning a number of generations with this same name of Kaneiye. The Kansai region said there was one Master Craftsman, and in Kanto, they said there were two people, the Daishodai (Grand Master) and Meijin Shodai (First Generation Master). Research defines as follows:
1. Daishodai: These works are of classic elegance and are inscribed a mei of Joshu Fushimi Ju Kaneiye or Yamashiro no Kuni Fushimi Ju Kaneiye.
2. Meijin Shodai: These works have delicate patterns in beautiful zogan and a mei of Yamashiro no Kuni Fushimi Ju Kaneiye.
3. Nidai: These works are not colored and sukashi bori is executed, with a mei of Kaneiye Saku. Also, there are some with a mei of Yamashiro no Kuni Fushimi Kaneiye.
The shape of his works are Tatemaru-gata, Nadekaku-gata, Mokko-gata, and his unique Kobushi-gata. Kaneiye's tsuba reflect the peaceful Japanese scenary and religious subjects with skill beyond description.

Read about Kaneiye and Myochin Nobuiye from 'Japanese Sword Mounts' by Helen C. Gunsaulus.

- Signed Yamashiro no Kuni Fushimi Ju Kaneiye tsuba.
 


KATCHU- SHI and TOSHO works

The oldest tsuba's that exist today are those made by Katchu-shi (armor smiths) and those made by Tosho (sword smiths). The craftsmen known as katchu-shi were specialists in tsuba. The patterns of the sukashi that were in their tsuba were the same pattern used in the face masks of the armor. Also, according to tradition, each time a tosho made a katana, he made a habaki and a single tsuba to add. This tsuba that was made by the tosho was not of expert workmanship, but made as an obligation. There is very little difference in style between the katchu-shi and tosho.
The Katchu-shi works are large sized with a height of around three sun. The construction is thin and the negative silhouette designs resemble those of the other types. Because of the large size of these tsuba, we can surmise that they were put on uchigatana with blade lengths of around three shaku. It is probable that they were used buy the Ashigaru, who could not wear Tachi.
There is not one single tsuba with a mei. Therefore, it cannot be determined their place of residence. Their period is estimated from extant tsuba, and is thought to be from the end of the Kamakura Jidai until around the Momoyama Jidai. The Myochin Ha was the main line of the Katchu-shi and it's number of artisans was the greatest. There were various branch Ha, Saotome being one.

Article about Select Schools and Fitting Makers, Reprinted from NCJSC newsletter.

Read more about the Manufacture, Function and Material of Early Iron Tsuba. This article written by Boris Markhasin of Yamabushi Antiques.

- Exceptional Tosho Tsuba with gold inlay.


MYOCHIN HA



Originally the main occupation of the Myochin Ke was as armor smiths. Myochin tsuba became thick and small in size. There were a great many Myochin descendants who specialized in the making of tsuba which did not adhere to the work style of the Katchu-shi.

- Mei: Myochin Ki Muneharu. with Hako-Gaki.


SAOTOME - TEMBO HA

The Tembo school (also spelled Tempo, Tenpo or Tenbo) originated in the late Muromachi Period and worked well into the late Edo Period. They are most noted for the use of kokuin (hot stamps) on their plates, although not all Tembo School tsuba are of the hot stamped style. The Saotome also originated the use of kokuin (hot stamps) on their plates, the tembo style. Saotome and Tembo tsuba are also often found with brass encrustation or gomoku zogan. It is often difficult to distinguish between Saotome tembo tsuba and Tembo School tsuba. It is not uncommon to see them all simply referred to as Saotome Tembo tsuba. Signed tsuba of the Saotome or Tembo schools are known, but are somewhat rare. Known signatures of Saotome makers include: Shimotsuke ju Saotome Nobuyasu, Saotome Iesada, Joshu ju Saotome Iyenori. Some known Tembo School mei are: Tembo, Yamashiro ju Tembo, Sanada Tembo and variations of those.

The Saotome were a well known school of armor makers (katchushi). The first master of the Saotome school was Nobuyasu of Shimotsuke. Nobuyasu moved to Odawara in Sagami were the Saotome school itself was founded. Some of the early Saotome makers were Nobuyasu, Iyenori, Iyetsugu, Iyetada and Iyesada although there is some disagreement on the lineage of the school. There were many other generations working well into the late Edo period. Many of the Saotome tsuba are of the kiku and kiku sukashi styles. They also did sukashi tsuba with various designs including mushrooms, clouds and those with somewhat abstract sukashi. Their plates are well forged, mostly folded plates in katchushi style commonly with uchikaeshi mimi (raised and/or folded rims). Ten zogan (brass or silver dot inlays) are also seen as are acid relief designs of fans, dragons and Buddhist symbols similar to the technique used by the Hoan School. Other schools of tsuba makers used Saotome plates as the basis of their works, including Nara and Shoami. The Saotome kiku sukashi plate was the used as the starting point for weaving brass and copper wire to form the Shingen style tsuba. The Saotome School gave rise to the Tembo school of tsubako.

- Excellant Signed(Rare) Tembo Tsuba.    - Saotome Tembo Tsuba.




 

KINAI HA

The Kinai school of Echizen produced iron sukashi tsuba all through the Edo period.
Most of the tsuba are round or oval in shape, and are nikubori sukashi or katachi nikubori design.
Earlier Kinai tsuba appear related to Kyoto Shoami in style and are iron nikubori ji sukashi bold simple designs.
Much of the late Kinai work is more intricate and possibly influenced by the Choshu, Umetada, and Akao schools.
The tsuba surface often has an appreciable amount of relief and very robust designs.
Many Kinai tsuba have a Fukurin around the edge and the design within.
Most tsuba have two hitsu ana, with the Kogai of the Suhama shape.
The work from this Ha represents the evolution of style and taste over a 300 year period.

The initial history of this school claimed seven generations of Tsubako:
shodai Ishikawa (died 1681), nidai Takahashi Gonbee (Gonbei)(died 1696), sandai (died 1760),
yondai (died 1809), godai (died 1821), rokudai (born 1818), and shichidai who stopped producing tsuba.
The shodai moved to Echizen from Omi. His family name was Ishikawa and he later changed it to Takahashi.
More recent research has provided new insight into this Ha. Research shows two main family lines,
the Ishikawa of six generations, and the Takahashi of seven generations. The shodai Ishikawa line was based in Echizen.
The rokudai Ishikawa adopted his deshi and began the Takahashi line. All generations worked in or near Echizen.

NOTE: Read a summary article from the book "Echizen Kinai Tsuba" by Nihonto-no-Bi.

Read about Kinai of Echizen from 'Japanese Sword Mounts' by Helen C. Gunsaulus.

- NTK (Nihon Tosogu Kenkyukai) origami - signed by 2nd Head Kinai. 
  - Two (2) exceptional Decchi Kinai tsuba's, Rokudai period, with Mei.


 

KO-KINKO, (Ko-Mino, Ko-Goto), KAGAMI-SHI

Ko-Kinko means old gold worker, and is usually applied to relatively ornate, early non-Goto, non-Mino shakudo and yamagane fittings. These guards are considered the work of specialist kodogu makers, although their names are not recorded. Some believe these tsuba are a type of tachi-kanaguchi tsuba (tsuba done by makers of tachi fittings). The prefix Ko denotes fittings made before the Edo period, Edo period is denoted by Kyo or Edo Kinko. While there is doubtless a wide variety in the quality of sanmai tsuba, these have received origami from the NBTHK attributing them to ko-kinko and dating Momoyama to early Edo period.
Each tsuba must be judged individually based on the quality of the plate, core and workmanship. Care must be taken with sanmai tsuba as the plates are relatively soft and the repousse designs easily crushed.

Interesting paper about Ko-kinko tsuba and casting method by Yamabushiantiques.

Sanmai tsuba are constructed of three sandwiched plates; a top and bottom plate of shakudo, shibuichi, or nigurome with a center core normally of yamagane(copper). They are bound by a fukurin (rim) which holds the three plates together. This construction can be seen on the interior of the nakago and/or hitsu-ana. The plate decoration is done by a repousse technique, working the design from the back of the plate, sometimes hammered into a pattern mold. Some sanmai tsuba will have the exact same design on both sides; others will have different designs on each side of the tsuba. Commonly the plates will have some type of gold inlay on areas of the design. Each tsuba must be judged individually based on the quality of the plate, core and workmanship. Care must be taken with sanmai tsuba as the plates are relatively soft and the designs easily crushed.
The dating and attribution of this type of tsuba has been a subject of some debate among collectors. Some believe these tsuba are a type of tachi-kanaguchi tsuba. Others feel they are Ko-Kinko (early soft metal) tsuba (see Ko-Kinko above). They have also been attributed as Ko-Mino (early Mino School) tsuba. Sanmai tsuba have had attributed dates from the Momoyama period to late Edo period. Sanmai tsuba have received origami from the NBTHK, NTHK, and NTB generally attributing them to Ko-Kinko (see above) or Ko-Mino and dating Momoyama to early Edo periods.

It is common to note the age of many fittings by the wear to their surfaces imparted during use and handling. These tsuba show the foil worn away exposing the foundation in the very place the samurai would have rested his left hand on the sword while wearing it. Therefore, these tsuba were proudly worn for many years and the compromise of the foil on the rim is historic, and not due to abuse or neglect.


- Ko-Kinko Tsuba - NBTHK Hozon Tosogu Kanteisho.
- Excellant Ko-Kinko Tsuba  - Sando-Awase - NBTHK Kicho (white) Tosogu Kanteisho.

- Daisho Sanmai Tsuba.  - Dai-To.  - Sho-To.
- Flowers and grass zogan of brass.  - Katana size with zogan of gold.  - Do Nanako-Ji Tsuba.


 

KYO SUKASHI TSUBA

These tsuba are named for Kyoto, the capital city of Japan for many years. The tradition is that this style was created according to the tastes of the 8th Ashikaga Shogun Yoshimasa (1435-1490). Yoshimasa was known to be involved with the arts. An alternate theory credits the development of the Kyo style to the time of the 6th Ashikaga Yoshinori (1394-1441). In either case, evidence has not been sufficient to settle the argument. General opinion is that the Kyo-Sukashi technique dates to around the Eisho and Tenbun eras (1504-1555).
While Kamakura had been the center of warrior (buke) culture in the 13th and 14th centuries, Kyoto became the seat of not only the high culture of the court (kuge), but of the buke as well. This combination of influences brought designs and refined execution to iron sword furniture in the capitol.
The iron ground of Kyo guards is very uniformly forged and is relatively soft with a flat finish. There are also works with a hammered (tsuchime) surface and the chiseling is highly skilled with pieces that have tight and rounded carving. These characteristics would have been required for cutting of the fine sukashi designs. Extra effort in the preparation of a perfect plate would avoid the potential loss of days of work from a problem later in the process.
The Kyo style remained in production into the 19th century, with later tsubas falling outside the Kyoto area. The movement of smiths and kodogu makers during the Tokugawa period and the transfer of power to Edo played a role in the diffusion of this and other regional styles.

- Excellant Fine Sukashi Tsuba.  - Edo Period Sukashi Tsuba.   - Strong powerful Sukashi Tsuba.


 

NAMBAN / NANBAN TSUBA
Also known as KANNAN (KAGONAMI), or CANTON Tsuba.

The above names refered to any extraneous material or style which found its way by trade to Japan from China or by the East-Indian route, and became popular there. About the seventeenth century a craze for foreign designs manifested itself among the artists who made decorative metal work, especially sword guards. The introduction of the dragon and a conventional flower into the "tendril design" characterizes the popular canton work made at Nagasaki, Kyoto, and Yedo from the beginning of the eighteenth century.
Yamada-Ichirohei is one of the many guard makers of this style who lived in Nagasaki and worked during the second half of the eighteenth century. Tanaka-Sobei ll, a guard maker of this style in Yedo, worked during the early nineteenth century. Mitsuhiro l and Mitsuhiro ll, two artists of Hizen province, became well known as clever workers in the "canton" style during the early nineteenth century. They are famous for the individuality of their methods. The so-called one thousand horse and monkey designs were their favorite subjects.

The Namban group is a recognised group of tsuba that was originally defined as showing a foreign influence in their design. The name was derived from a Japanese word, translated as 'Southern barbarian', but applied by the Japanese to any foreigner who entered their country. This early definition of the group was unsatisfactory since it included a large number of the tsuba in any collection, many of which were already classified under other groups.
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 Tsuba113;
- decorative mimi are common;
- tsuba of this group are very rarely inscribed.
Most Namban tsuba can be confidently classified to their correct group, although a strong namban influence may occasionally give cause for thought.

Enjoy this excellant article about NAMBAN Trade.

Namban tsuba have received considerably more attention in the last few years due to the excellant book written by Dr. John Lissenden titled 'The Namban Group of Japanese Sword Guards: A Reappraisal' (2006). This is a most welcome English text. I recommend it to anyone with an interest in Namban Tsuba.

Read about Foreign Influence from 'Jaspanese Sword Mounts' by Helen C. Gunsaulus.

Picture gallery of Excellant Namban Tsuba for study and appreciation.

- Authentic Namban Tsuba.   - Karakusa/Seigaiha Diaper Namban design.
- Authentic Sukidashi Bori Kannon Tsuba.   - Kanto Namban with dragon/jewel design.

- Exceptional Namban Tsuba early Edo period.   - 16th century Namban with nunome zogan.



NOBUIE TSUBA

Nobuie is among the master craftsmen tsubako who are ranked with Kaneiye. It is a fact that the clumsy masculine tsuba of Nobuie were more highly prized than the elegant tsuba of Kaneiye in older times, at the time of Buge (samurai families). The tsubako Nobuie is the same person as the katchushi Nobuie, he was the 17th generation in the main family of katchushi, the Masuda Myochin Ke, and he was given the rank of Sakon Shokan. In the beginning he lived in Joshu (Kozuke no Kuni) Shiroi. Later he was beckoned by the famous Takeda Shingen, and moved his residence to Koshu (Kai no Kuni) Fuchu. He was called 'Okuma' and had the Go of Kakui Nyudo. He was a man of the latter part of Muromachi.

Read an excellant comparison by experts about the history of Nobuiye.

As for his work style, his is one that is particular to tsubako and is completely different than that which was made by the katchushi. He made thick mokko gata, used kebori, and applied a yakite finish. His tsuba show an absolutely new path, are rich in artistry, and are made sturdy and strong. These are the reasons they have won acclaim in this world. In particular, a good quality jigane was used, and the forging was superior.
Among the items that are thought to be classified as Kabuto Mei and Tsuba Mei, there are zaimei tsuba which have very slight differences in three or four points, and there are slight differences in the tsuba themselves. This was recognized a long time ago that these tsuba are not all the work of a single person, but infact were made by students of the Nobuie school. It is thought that it is the result of the exhibition of their individualities. Because a number of Nobuie makers all inscribed the mei of Nobuie, and put these pieces out in the world, there are various signature types and work styles, but because all of them were sold from the same school location, they are considered to be Nobuie tsuba and are sold without any doubts whatsoever. This effects no changes in the fact that Nobuie tsuba are artistic masterpieces.

Read a 'brief' about Nobuie Tsuba Mei.

Read about Nobuiye Tsuba from 'Jaspanese Sword Mounts' by Helen C. Gunsaulus.


- Excellant Signed Nobuie Tsuba.  - Very Nice Signed Nobuie Tsuba.  - Good Iron Signed Nobuie Tsuba.


SHOAMI

Shoami is usually translated as "one who is talented in the arts." This term may have been in use at the time of the origin of the Shoami tradition in the late Muromachi period. When it came to be applied to the work that we know today as the Shoami is not clear. The use of the ami kanji implies much more than mere skill; it also has religious connotations and association with "high culture."
The earliest Shoami tsuba, called Ko (old) Shoami, were unsigned, like the other tsuba of the time. The origin of Shoami tsuba was probably with the old iron tsuba workers. One can speculate that these tsubako found and responded to a market for more decorative guards. Adding nunome inlay and carving to the iron plate met this need and became recognized as a "school" trait in time, aided by the eventual addition of signatures. During the early Edo period, Shoami workers spread throughout the country and spawned various regional Shoami styles.

To continue learning about Shoami Schools, go to Shoami Schools Thesis.

Read about Early Inlays from 'Jaspanese Sword Mounts' by Helen C. Gunsaulus.


- Kakugata - Signed Sukeyoshi Saku - Edo Period.  - Takarazukushi Sukashi - NBTHK Hozon Tosogu.
- Shonai Shoami (Kunitomo?) Tsuba with NBTHK Hozon Tosogu.
- Shoami Tsuba with Sukashi and Kaga Style Inlay.   - Ko-Sukashi-Iron Tsuba - Suemon-zogan and Shakudo Rim.   - Kiku Flower Design.  - Kiku's in Brass Suemon Zogan. - Do-Ji (copper) Tsuba - Katakiribori technique.
- Palownia Crest and Arabesque Pattern.   - Engraved and Gold Zogan.


SOTEN

Kitagawa Soten, a man of Omi no Kuni Hikone Nakayaba, skillfully formed a Ha which made items popular for the times, and there were a great number of members in his Mon. The previous name of the shodai Soten is said to have been SHUTEN, and works of his style were a development of the marubori work in Kyoto. The best pieces are very good and refined with the designs taken from historical and legendary episodes of Japanese and Chinese origins. The scenes included people such as Gen-Pei Busha (Warriors of the Minamoto and Taira), and sennin (wizards, or hermits capable of performing miracles). They are exceedingly complicated engravings, and they are gaudy. This school used mainly iron as the base plate but soft metal plates are often found. The iron is of good quality but the tempering is quite common. The nikuoki ( ) is inferior. They tried to cover this fault in the iron quality by making a good edge and using fine decoration. The plate is usually subordinate to the decoration. Their work should be judged on the quality of the carving, inlay and designs.

Read about Soten of Hikone from 'Jaspanese Sword Mounts' by Helen C. Gunsaulus.

This article was written by Robert Haynes.

This article was written by Dr. John Lissenden for the Northern Token Society (UK).

- Soten tsuba with historical episode.  - Soten sennin tsuba.  - Mogarashi Soten tsuba.





AUTHENTIC CAST TSUBA made prior to 1867

Metal casting was accepted as a skilled form of metalworking, being used to produce cast bronze vessels, mirrors, and iron kettles. A cast Kagami is one of the Three Sacred Regalia of Japan. Kagami-shi tsuba may be of high quality and it's possible that many soft-metal tsuba may have initially been cast.
But the casting of iron tsuba is frowned upon by collectors. White cast iron is not a suitable metal for casting due to 'carburisation'. But using grey cast iron to produce a malleable cast iron, makes it ideal for casting small artifacts such as tsuba. This process has been known in Japan for several hundred years.
The type of casting shown here (below) is 'closed form' or 'two piece' mold. Evidence exists in Japan of the extensive use of this form of casting - this form being known in China as early as the Zhou dynasty and the latter being introduced there 'relatively late'.
Interesting paper about casting and Kokinko tsuba by Boris Markhasin of Yamabushi Antiques.


- Authentic Cast Tsuba signed Masahisa.



I have developed a Tsuba Glossary for your use while viewing the above tsuba. The source for this glossary comes from many different web sites.



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