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. - Heianjo-Shiki
Shinchu-Zogan Tsuba. - Heianjo Zogan
Tsuba with 'Nihon Tosogu Bijutsukan' kanteisho.
"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.
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.
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.
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. - UNDER STUDY - Kinai.
- Two (2) exceptional
Decchi Kinai tsuba's, Rokudai period, with Mei.
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 Kokinko tsuba and
casting method by Yamabushiantiques.
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.
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.
- Authentic
Namban Tsuba. - Mid Edo
Namban Tsuba. - Namban Tsuba
with NBTHK (Hozon) Tosogu.
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.
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.
- Daisho Sanmai
Tsuba. - Dai-To. - Sho-To. - Flowers and grass
zogan of brass. - Katana size with
zogan of gold. - Do Nanako-Ji
Tsuba.
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.
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.
- Bushu Iron Tsuba with NBTHK Tokubetsu Kicho (green) origami.
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.
- Excellant Heianjo with Brass Zogan and Fukurin. 
- Heianjo-Shiki
Shinchu-Zogan Tsuba. 
- Heianjo Zogan
Tsuba with 'Nihon Tosogu Bijutsukan' kanteisho. 
