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TSUBA COLLECTIVE & GAKKO
NEW YEARS RESOLUTION TSUBA SALE |
ROBERT E. HAYNES & ELLIOTT D. LONG |
IRON TSUBA --> AKASAKA ~ BUSHU/CHOSHU ~ GOTO ~ HAYASHI MATASHICHI ~ HARUSADA ~ HAZAMA ~ HEIANJO ~ HIGO ~ HIRATA HIKOZO ~ HOAN ~ JAKUSHI-HIZEN ~ KAGA ~ KAGAMI-SHI ~ KAMAKURA-BORI ~ KAMIYOSHI ~ KANAYAMA ~ KANEIYE ~ KINAI/AKAO ~ MINO ~ MITO ~ MYOCHIN ~ NAGOYA ~ KO-NARA & NARA ~ NISHIGAKI KANSHIRO ~ NOBUIYE ~ ONIN ~ OWARI to MIKAWA ~ SADAHIRO ~ SADAYUKI ~ SADO ISLAND ~ SANKEI ~ SAOTOME - TEMBO ~ SHIMIZU (Jingo) ~ SHOAMI ~ SHOKOKU ~ SOTEN ~ SUKASHI ~ SURUGA ~ TACHI KANAGUSHI ~ TANKO (KATCHUSHI & TOSHO) ~ UMETADA ~ YAMAKICHIBEI
SOFT METAL (KINKO) TSUBA --> HAMANO ~ HARUAKI ~ HIROAKI ~ JOEI ~ JOI ~ KANRI ~ KIYOSADA ~ KO-KINKO ~ MITSUNAGA ~ MOTOTADA ~ NAGATSUNE ~ NAOMITSU ~ SEKIBUN ~ SHIGENORI ~ SOCHI ~ TOMIHISA ~ YASUCHIKA
THE
R.E. HAYNES & E.D. LONG
COLLECTION
(We Welcome Serious Inquiries Only)
Robert and I are merely the temporary caretakers of the pieces we collect. Whether this ownership lasts a minute or a lifetime, our responsibility is to care, respect, appreciate and enjoy these treasures everyday so that, in turn, future collectors are afforded that same opportunity. We have bought and sold many pieces in our life and consider ourselves very lucky and truly rich to have been guardians to so many wonderful treasures.
As students of fittings, and at our respective points in life, our goal is to enhance our collections as our knowledge and expertise continues to grow. Thus one purpose of the web-site is to sell pieces we have studied. Since establishing our relationship in 2005, we are proud to have assisted many collectors in their pursuit.
What about appraisal? We are always glad to share our knowledge and help anyone learn about the fittings, etc. that they own. Looking at koshirae and related items increases our knowledge and there is no substitute for research as a learning tool. Thus we gladly help people at no charge or obligation.
Please continue to enjoy this web-site. It is intended to be an all-encompassing text on Japanese Bijutsu and related items. Hopefully, it will present enough information to provide basics and lead to more in depth discussions on specific subjects or about specific fittings, etc. We look forward to hearing from anybody and everybody about this most interesting of subjects.
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.
It has been since 2004 being a student of tsuba that I now have a pre-eminent authority as my mentor, through the books and guidance of Robert E. Haynes. With the continuation of study, research, and re-appraisal, the student can now advance his knowledge to a higher level. It is now possible for a greater bond to be formed, giving all students equal exchange of ideas, theories, and information. The re-evaluation of old ideas, the new research; which has proved and disproved old theories, is now common knowledge.
The analytical research needed to fully understand this subject has been applied by only the last three generations. Mr. Akiyama Kyusaku adopted an organized research method toward the end of the 19th century. Carrying forward this study was his last student, Dr. Kazutare Torigoye. Dr. Torigoye refined and re-appraised the research of his teacher in light of a lifetime of study. Finally, in 1961, Robert E. Haynes had the great privilege of being Dr. Torigoye’s student at his home in Okayama, Japan. It is possible under the guiding hand of a great teacher to learn the basic principles, which would take years of unassisted self study. In the area of judgment alone the teacher and student relationship is vital to a comprehensive knowledge of the basic fundamental value of the tsuba. I can only hope that with my continued visits with Robert E. Haynes and the information he is passing on, my knowledge of the tsuba will prosper.
I will close with a most sincere welcome to all students of the tsuba, and I hope they may find some small benefit to their scholastic understanding of tsuba through this chapter of my website.
The art of the tsuba was developed as an independent branch of the sword art. Considering the great interest that tsuba has engendered through my collecting since 2004, it is of interest that the most reliable literature was produced in the 20th century. The following books have been my recent textbooks for scholastic and perceptive understanding along with the periodic studies with Robert E. Haynes.
TSUBA, An Aesthetic Study by Dr. Kazutaro Torigoye and Robert E. Haynes.
ROBERT HAYNES AUCTION CATALOG's
by Robert Haynes, LTD.
Hompo Soken Kinko Ryakushi (A Brief History of Japanese Sword Fittings Artisans) by Wada Tsunashiro.
The Index of Japanese Sword Fittings and Associated Artists by Robert E. Haynes.
Tsuba Kanshoki by Dr. Kazutaro Torigoye.
Japanese Sword-Mounts In the Collection of the Field Museum by Helen C. Gunsaulus.
Additional References Noted Below.
TSUBA IDENTIFICATION
SUKASHI TSUBA ARTICLE.
from TOSO SORAN by Dr. Torigoye
If you would like to know more about any items on this website, or if you are considering a purchase, please send Elliott and Robert an E-MAIL ( elliott@shibuiswords.com ), asking us any questions you have or what pieces interest you. |
TANKO (KATCHUSHI & TOSHO)
TANKO
- Robert Haynes has proposed the term "Tanko" for these early iron tsuba. He sites Joly's manuscript translation of the 1913 publication 'Hompo Soken Kinko Ryakushi' by Wada Tsunashiro. Included there is a line "The tsuba makers are tanko". (Nelson's kanji 4895:1451) This compound basically means metalworker, and seems quite appropriate.
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
The
uchigatana of this class of individuals from the Heian period (794-1185) to the middle
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
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 ),
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.
(Above translated from
Sasano Asayuki's "Ko-Tosho • Ko-Katchu-shi Tsuba" in the Shoyu -kai's "Tosogu Yuhin Zufu" series)(NCJSC)
The Tosho and Katchushi tsuba are linked together in their history, though the Tosho tsuba was of slightly earlier development. The most important feature to distinguish the Tosho from the Katchushi tsuba is their different method of folding the plate. The Tosho smith turned and hammered his bar of iron several times to achieve his plate. The Katchushi maker followed the same procedure, but after forging the plate the Katchushi would give his plate one or two additional folds. In the single fold the plate was doubled and the weld hammered fast. In the double fold an S curve was formed, hammered flat and welded shut. In the Katchushi tsuba it is possible to see the edges where this final weld joins. It will usually be visible on the web of the plate either near the edge or toward the center of the plate. In the best work this weld is visible as a hair-line or not at all. It is also visible on the walls of any perforations in the Katchushi tsuba. They will appear as fine lines dividing the wall of the perforation into two or three sections, depending on the number of times the plate was folded.
In early Tosho tsuba the designs most commonly found are very simple, such as the sun, moon and stars, or tools. In early Katchushi tsuba the designs are more complex, the most common being animals, plants and flowers. Generally, the Katchushi tsuba is more skillful in most respects than the Tosho tsuba. Surprisingly the quality of the iron is superior in the Katchushi tsuba. Their work is not as naive nor as rough as that of the sword smith.
(from the "Tsuba Geijutso Ko" by Dr. Kazutaro Torigoye)
Read more about the Manufacture, Function and Material of Early Iron Tsuba. This article written by Boris Markhasin of Tosogo Ya.
KO-KATCHUSHI Not For Sale "A Ko-Katchushi tsuba with Shakujo (Khakkhara) design. The top and bottom appear to be Mon. Dates to ca. 1300 or earlier." (Haynes) | |
KO-KATCHUSHI Not For Sale "Hachiman Daibosatsu, 5-tiered pagoda motif sukashi tsuba. Maru-gata iron plate with positive sukashi and mimi-kaku. A very skillful, elaborate and extremely sophisticated work." (Haynes) | |
'KATSUMITSU SAKU' Not For Sale "Iron t €ÿsuba that is well hammered and formed in a deep cup shape, the repousse from inside to get higher relief design of a dragon in waves. The high relief dragon is carved from the plate and is not iron on iron inlay. Only one hitsu-ana of kogai shape. Signed: 'KATSUMITSU SAKU' See Haynes H 02830.0." (Haynes) | |
KO-KATCHUSHI Not For Sale "An early Ko Katchushi tsuba with multiple kirikomi on the rim. There is meaning to having one plum, two cherry and two karabana blossoms as the motif of this piece." (Haynes) | |
KO - KATCHUSHI $6000.00 "Large square iron plate nicely forged and hammered with excellent patina and color. Further study and description coming soon." (Haynes & Long) | |
KATCHUSHI $1700.00 "Presented here is a well forged iron plate in a gourd shape with Kotoru rounded edge. Both surfaces are expertly hammered. Eggplant sukashi at the lower quarter. This workmanship creates an indescribable atmosphere. Further study and description coming soon Attributed by NBTHK Tokubetsu Kicho (Green) Origami. Dated May 13, 1972." (Haynes & Long) | |
KO-KATCHUSHI $6000.00 Write up coming soon. Ubu iron plate in excellent condition. Dates to ca. 1300 or earlier. (Long) | |
KO-KATCHUSHI $5000.00 Write up coming soon. From the Kamakura period to early Muromachi period. | |
KO KATCHUSHI Under Study-NFS "The name ``Kacushi'' was given because it resembles the small watermarks applied to the gauntlets attached to armor. The name ``Kachu-shi'' can already be found in the Oshigata collection of Akiyama Hisaku, a master of tsuba appraisal in the Meiji period. In addition, Mr. Daiyuki Sasano named the earlier tsuba, 'kokushi', to distinguish it from the tsuba made by armor makers from the Edo period onwards, who worked on the rims. This tsuba is quite thin and has a mokkogata shape. It is thought to be from around the Bunroku and Keicho eras, and is considered to be the last period in which it was used by old armor makers. Three cocoons are visible on the left and right sides of the precisely tailored flat ground." (Long) | |
KO-TOSHO $3000.00 "Very large, powerful Tosho tsuba, nicely forged and hammered with excellent patina and color. The hitsu-ana is original to the tsuba which was made prior to the Edo period. Sukashi of two interlocking rings having a Buddhist symbolism meaning Unity of Strength and Love, Mind and Body. Very important to the Samurai." (Long) | |
KO-TOSHO $3000.00 "An iron mokko gata shape tsuba with inome motif at the four indentations. Circa: Muromachi period, Ca. 1400 or earlier. Even though it remains curiously controversial, the age of the earliest ko-tosho rests on evidence of when they were first worn on swords, either tachi or uchigatana. This tsuba is rather small, as ko-tosho were towards the end of the Kamakura period. The presence of the kodzuka-hitsu, while somewhat perplexing, was a value adding modification and a frugal use of something old at a time when kodzuka were eventually incorporated into the uchigatana koshirae." (Haynes) NBTHK Hozon origami. | |
IRON ODAI $2000.00 "A well preserved and very rare iron tsuba. The hitsu-ana appear to be utilitarian but in fact are a design pattern. At first thought the pattern on both sides are possibly kanji or Sanskrit characters, in groups of four. The pattern is applied vertically on the front and horizontally on the back. A similar pattern was exhibited at the 2021 Special Important Sword Fittings Exhibition." (Haynes & Long) 9.30cm x 8.50cm x 0.40cm | |
TACHI SHI $1000.00 "A well preserved and very rare iron tsuba. Dating to Muromachi period, ca. 1450-1500." (Haynes & Long) | |
KATCHUSHI $1500.00 "The bright quality of this symetrical group of snowflakes and stars is not typical of katchushi guards. Although the plate has an old look, the intelligent and skillful nature of the open work suggests that this is not among the earliest guards. In all likelihood, it belongs to the middle or late Muromachi period. The design is excellent and carefully worked out." (Long) 8.30cm x 8.30cm x 0.51cm (rim) x 0.36cm (face) | |
KATCHUSHI $1200.00 "Iron slightly oval plate with pipe rim. The web with sukashi of nata (utility knife) on right side of plate and kogai shape hitsu on the left side. The web area of the plate retains much of the original black lacquer surface, on both sides. Katchushi tsuba with dote mimi (pipe rim) are quite rare, and much sought after." (Long) 7.10cm x 7.30cm x 0.35cm (seppa) x 0.50cm (mimi) | |
KATCHUSHI $2000.00 "Masterpiece Ko Katchushi tsuba with dote mimi, iron thin plate. The rim is peculiar to armorer's tsuba. Also, if you look closely at this background, there is a thin inlay, which seems to have been added later. Perhaps, it is considered that the samurai who inherited the tsuba later carved a pattern like a family crest inlay. The sukashi openings represent the moon and its reflection, and a star?" (Long) | |
TOSHO $1500.00 "Large iron plate with a single hitsu and Sakura (Cherry Blossom). The flower may be related to an old Japanese belief that the finest of humanity was the Samurai, as the finest of flowers is the cherry. The single flower placed on one side of the guard is neither naive nor plain. It represents a kind of ultimate beauty and has a sense of the compassion of the warrior. The strong metal, the placid cherry blossom, the large nakago-ana, and the chisel marks around the nakago-ana are all characteristic indications of early Muromachi period works. Accompanied by a Hozon certificate issued by the N.B.T.H.K." (Long) 8.85cm x 8.80cm x 0.25cm |
The BIZEN SURUGA MASTERS
Shodai Bizen Suruga Master |
Early Edo period. Round iron plate with characters 'Haku-Raku-Ten' pattern in positive and negative sukashi. Sup: Hakkyoi, a great Chinese poet, lived in Middle T'ang from 8th to 9th century. He is known under the pen name 'Hakurakuten.' |
Early Edo period. Round iron plate with ten sword beans in positive sukashi. Kaku mimi ko niku. Thickness: 2.79mm. Sup: Notice Kuchi-beni. |
Unsigned. In the style of first Suruga (ca. 1625). Note copper plugs at top and bottom of central opening, typical of this school. Thickness at center, 3.25mm; at edge, 4.0mm. Robert E. Haynes owned this tsuba in 1963. From TSUBA KANSHOKI, 1965. pg. 27 (seal belongs to Robert E. Haynes) |
"Round iron plate with kaku mimi ko niku, ji sukashi of two rings, and lead-filled hitsu-ana. Signatures both sides are being studied (very faint) to confirm evidence of being made by TAKATSUGU (in early life called Haruta Chuzaemon)."(Haynes) Accompanied with N.T.H.K. Kanteisho Certificate No. 6053 dated 2017. |
Nidai Bizen Suruga Master |
"Round iron plate with sukashi design of five boat paddles. This is the work, though unsigned, of the 2nd Bizen Suruga Master. He is Haruta, later Suruga, IETSUGU (H 01834.0). He worked in the Momoyama to early Edo period at Okayama city in Bizen Province for the Ikeda Daimyo, as did a number of the later generations of this family school. Besides the style and subject matter we can see the hand of this master in the copper plugs that he insert at the top and bottom of the nakago-ana, which his father had used before him, as did several of the later generations. The bottom copper plug has been removed in this example. This master often used the designs of his father, such as we see in this example, but in later life he created many designs of his own. A very fine classic example of the early work of this artist." (Long) |
Sandai Bizen Suruga Master |
"Round iron sukashi tsuba with design of a rudder. Symbolic meaning of steering a boat and guiding a samurai. An excellent example of the work of the 3rd Suruga Master. The surfaces have no flaws or any signs of rust or corrosion and appear as if polished (meigaku-ji). There are few iron bones (tekkotsu) present in the rim. The sekigane is in classic Suruga style and in tack. This style of sekigane is called kuchi-beni - "open mouth red lips". The signature (mei) reads 'INSHU JU SURUGA SAKU'. He is the 3rd Bizen Suruga Master, H 09041.0. This family name was used by the later members of the original Haruta family school, after they moved to Suruga Province. The third generation signed Inshu Suruga or Inshu Suruga Saku." (Long) |
"Iron plate shape of the Uzume mask (Otafuku), and with a bold carved rope rim. The hitsu-ana in the shape of the half Matsukawabishi mon. The ishime ground of the plate still retains some of the original black lacquer surface, mostly on the face. The original copper plugs at the top and bottom of the nakago-ana have added copper when this tsuba was remounted at a later date. The face is signed: 'INSHU JU SURUGA SAKU'. Muneie was the third generation of the Bizen Suruga family school. He was born at Okayama in Bizen Province in 1625 as the son of the second Bizen Suruga master, Ietsugu (H 01834.0). He went, it is said on June 4, 1632 to Totori in Inaba Province, with Lord Ikeda when he was posted to Inaba, and thus he was to sign, as this tsuba, Inshu (Inaba) Suruga saku." (Long) |
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'BIZEN JU SURUGA SAKU' $6000.00 Signed: "BIZEN ju SURUGA SAKU". "This is said to be the second generation Suruga master. The plate gives you some feeling of the work of Hirata Hikozo, though I doubt there is any connection. Were this an unsigned tsuba, and without the kuchibeni (sekigane) we would not know who might have made it." (Haynes) |
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1st SURUGA $2000.00 "Large mumei unsigned iron tsuba with palm tree or fern design sukashi petals both sides. Iron base round shape square rim with very good hammer work. The iron surface shows the deterioration of the times, but the rust is firmly established. There are no notable scratches." (Haynes) 8.22cm x 8.06cm x 0.39cm |
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'INSHU SURUGA TAKATSUGU' $2100.00 "Presented here is a masterpiece tsuba that has been decorated with delicate and powerful craftsmanship of wild horses. Belongs in the upper class among Inshu Suruga work. The plate metal is iron of good quality and hardness. The forging is very good. Signed: 'INSHU SURUGA TAKATSUGU'. Refer to Haynes H 09330.0. The seventh master of the Suruga family school. Became the head of the family in 1754. Certified by the NBTHK as Hozon Tosogu." (Haynes) |
MYOCHIN HA
The Myochin was a renowned family of armorsmiths from the days of its founder Munesuke in the 12th century. Little is known of their sword guards, though they must have engaged in this branch of the art. In reality the Myochin did not begin to make tsuba until the middle of the Muromachi age when Takayoshi appeared. Guard-making became the special business of the Myochin, and the method of decoration adopted was either to impart to the outline of the guard some quaint shape, or to weld it in such a manner that the surface presented the appearance of wood graining, or to decorate it with pierced or openwork designs. The wood-grain (mokume) surface must be classed among the remarkable achievements of the Japanese armourer. It seems impossible to determine when this display of strength, skill, and ingenuity had its origin. The oldest examples of it spoken of by Japanese connoisseurs are from the hands of Miyochin Munesuke, who worked from 1154 to 1185 A.D. Munesuke is generally regarded as the founder of the great Myochin family of armourers. He was, in fact, the 20th representative, the founder having been Munemichi, who flourished in the 7th century. But Munesuke stands so far above all his predecessors that he justly deserves to be called the father of Japanese armourers. He is the 1st of the Judai, or ten great generations of Myochin experts, ending with Muneyasu in 1380. Many of his iron guards are fine examples of the 'mokume-ji', or wood-grain forging. Munesuke marked these guards 'Shinto gotetsu-ren' or "five-times-forged iron of the sacred way" and it may be added that the ideographs used in his inscriptions for guards are of the kind called 'kabuto-ji' or "helmet characters", that is to say, the grass script (sosho) with curled strokes; an ornamental style of writing always employed in marking helmets. From the time of Munesuke down to the Edo era the production of wood-grain effects has been among the remarkable achievements of Japanese workers. The Myochin master used iron only. As to guards having designs chiselled in 'sukashi-bori', it is generally believed that up to the close of the 15th century they were more or less roughly executed.
Some connoisseurs claim that Myochin Nobuiye, who worked during the early part of the 16th century, was the first to carry this method of decoration to a point of really high excellence. Nobuiye was third of the Myochin family, or "Three Later Masters", of the Myochin family, and it is scarcely credible that his two immediate predecessors, Yoshimichi (1530) and Takayoshi (1490), the other two of the renowned trio, can haved failed to produce fine guards in the sukashi style. All of the guards of the Myochin experts, from Munesuke to Nobuiye, are slightly rough to the touch, though they present the appearance of finely finished work. This peculiarity, called by the Japanese 'moyashi' (fermentation), is the result of the patina-producing process. It need scarcely be said that the patina was a point of the greatest importance. The most prized variety had the color of the azuki bean, or dark mahogany.
PRIOR TO ASHIKAGA: Amongst the armor makers was Munesuke (1190-1198) who originated the Myochin School and became the founder of that family which existed until the last days of the Tokugawa. The oldest tsuba in existence are made by them, but most of them are later than the 7th Myochin. There is a tsuba with a dragonfly in sukashi which is unsigned but is attributed to Muneyasu.
ASHIKAGA PERIOD: Myochin School; After the Jo Judai there were three people: Takayoshi (14th master); Yoshimichi (16th master); and Nobuiye (17th master) who were known as the "Three Masters". With tsuba, many are signed Nobuiye and almost none by Yoshimichi and of those with the Takayoshi signature only one is known. Many of Nobuiye's are different from those of the armor makers; the shape is generally mokko and they are thick, so that you can see a change in style in the work of katchushi mono.
MOMOYAMA: The katchushi in this period were the Myochin, Haruta, Horai, and Saotome Schools. In general they gave up their armor makers style; some of them imitated Nobuiye but remained inferior to him. The Horai School worked in Kaga and their oldest work is dated 1585 and is signed Horai Munenaga. The specimens are very thick ita tsuba with simple perforations.
TOKUGAWA PERIOD: Myochin School; In this school the manufacture of tsuba was increased in this period. The work of the 22nd generation, Munesuke (1688-1704), exists in larger quantities than those of the other people which, when compared with others, show large differences. They became very thick and small, roughly forged, with figures in high relief, and many of these have mokume ji in iron. The other Myochin School workers scattered throughout the provinces also changed their style.
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MYOCHIN $1000.00 "The tsuba presented here is a large mokko shape of excellent well forged iron. The rim is produced by hammering from the outside called uchikaeshi mimi. There are carved designs of omodaka and turtle shell. Early Edo period. Accompanied by a Hozon certificate issued by the NBTHK." (Long) |
TOSA MYOCHIN
$1200.00 "A group of the Tosa Myochin smiths went to Edo to study with the Akasaka masters Tadatoki andn Tadanori. It was the lord of Tosa, Yamanouchi, who inspired the Tosa school masters to work in Akasaka style. The best of their work is equal to the later Akasaka tsuba produced in Edo. In some of their work there is strong influence by the Higo style mixed with the Tosa Akasaka style." (Long) 8.15cm x 7.85cm x 0.60cm | |
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MYOCHIN Not For Sale "This tsuba is highly regarded as 'Hana Kirigiri Tsuba' by an unknown Myochin. It is a large tsuba with a rustic design that is timeless. The iron is very good, and the base €ÿ iron feels good in hand." Published in the 'Nihon Toban Zusetsu', 1968 Edition. Accompanied by a Tokubetsu Hozon certificate issued by the NBTHK." (Long) |
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KAGA MYOCHIN $1200.00 "In this case the plate is very thick, more than the thickest Akasaka school plate. This example would seem to be the work of the Edo period Myochin school. The original Horai school was related to the Kaga Myochin group, and this example was probably made by a later master of that school. The plate has a very fine patina and the edge has some iron bones. There is fine line carving detail on both the crane and the tortoise (crane and tortoise emblematic of longevity). It would seem that this tsuba was made to emulate the original Horai examples, of the Momoyama period, some of which are signed." (Long) 7.9cm x 8.0cm x 0.7cm. thick |
'MYOCHIN NAGATO no KAMI FUJIWARA KUNIMICHI' $1000.00
"Hammer mark pattern on well-tempered iron ground, maru gata, with bamboo pattern carving. Mei: 'MYOCHIN NAGATO no KAMI FUJIWARA KUNIMICHI'. This is H 03612.0 in the Haynes Index. A tsuba craftsman working in Kanda in Edo ca. 1700-1750." (Haynes & Long) 7.65cm x 7.57cm x 0.40cm | |
'TOSA JU MYOCHIN MUNESUKE' $1000.00
"A rounded square iron sukashi tsuba of cherry blossom design. A wonderful example of this tsubaco's work. Signed: TOSA ju MYOCHIN MUNESUKE'. Refer to Haynes Index H06240.0." (Haynes & Long) | |
'MUNEHIRA' $800.00
"A round iron tsuba with inlays of a dragon and folage design. A wonderful example of this tsubaco's work. Signed: 'MUNEHIRA'. Refer to Haynes Index H06063.0." (Haynes & Long) 7.90cm x 7.90cm x 0.50cm | |
'SHIGENOBU' $800.00
"Iron plate with rope styled shakudo fukurin. The three openings depict clouds possibly. Both hitsu kogai shape. Signature: 'SHIGENOBU'. This is the Myochin Shigenobu who worked in the Kozuke Province." (Long) 7.65cm x 7.70cm x 0.35cm |
The term "Onin tsuba" is well known. The full definitions for the two types of Onin tsuba are: Onin shichu suemon-zogan tsuba, and Onin shinchu ten-zogan tsuba. These two names refer to the style of inlay employed in the decoration of Onin tsuba. Both types were made at Kyoto (prior to the making of Heianjo-zogan tsuba in Kyoto) from the Onin era (1467-1468) to the Tenmon era (1532-1554), though there are cast brass tsuba inlayed tsuba of the Edo age which seem to be the last vestiges of this school.
Since tradition decrees that brass was first imported from China in the Eikyo era (1429-1441), it is natural that it should be employed in the decoration of tsuba shortly thereafter. It was both new and novel, and because of its great monetary value was regarded as rich and valuable material for the enrichment of tsuba. At the height of its production, the Onin tsuba was the most sought after style. The color of the brass of the Onin tsuba is most important. It is rich and deep in color, not the shallow yellow color of the native metal used in the Edo age. The imported metal is far superior in quality to the later native brass of the Edo age.
ONIN NFS |
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ONIN/HEIANJO
Serious Inquiries Only "A masterpiece of Heianjo style tsuba. The lion and peonies are old-fashioned and interesting. The stubby face and shape of the seppa-dai also confirms the age dating ca.1400-1450. There is a border, so you can see that the two hitsu are naive. Seems to date to the end of the Muromachi period. There is no missing inlay. Attributed with Hakogaki by Dr. Sato Kanzan, dated mid-Summer 1972. Box lid states 'Heianjo Style'." (Haynes & Long) | |
ONIN
NFS "Chrysanthemum flower design on excellent forged iron from the Muromachi period. The age of the Onin inlaid brass confirms the age to ca.1500." (Long) 8.34cm x 8.09cm x 0.31cm | |
ONIN $1000.00 |
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KAGA HEIANJO Tsuba $6000.00 |
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HEIANJO Tsuba $1700.00 |
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'HEIANJO CHOKICHI' |
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KIKYO KARAKUSA NFS |
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SENDAI (Heianjo) |
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HEIANJO EGGPLANT |
KYO-SUKASHI, HEIANJO/ SUKASHI
KYO-SUKASHI & HEIANJO SUKASHI Tsuba:
It is said by tradition that the sukashi tsuba was invented in the middle Muromachi age at the time of the Yoshinori Shogunate (1428-1441). This idea was suported by Akiyama, Wada Tsunashiro and others. However, the work of the Kyo-sukashi and Heianjo sukashi schools was not this early. They seem to have originated in the Eisho era (1504-1520). The work produced in this gap of time has not been found as yet. The tsuba that Akiyama used as his example of the earliest Kyo-sukashi tsuba, made in the middle Muromachi age, in reality is not as old as he had thought. It is most certainly an example of the first period of Kyo-sukashi tsuba. It must be concluded that the first period of the Kyo-sukashi tsuba is from the late Muromachi to the early Momoyama age.
The Heianjo sukashi tsuba, though made at the same time as the first period Kyo-sukashi work, is slightly different in style but the two schools might be confused in some cases. There is undoubtedly some relationship between them but what it might be is not known. The openwork of both schools is complex and by the Edo age, the two styles had merged until it is impossible to distinguish the work of one school from the other.
Naturally the Heianjo sukashi school is closely related to the Heianjo zogan school. In fact, it would seem that the same artists produced either style interchangeably. From this fact it can be seen that a separation of the work in these two styles can be made only on the basis of the tsuba alone. In the second period of these two schools it is almost impossible to say which school might have made a given piece. In many cases it would seem that artists of both schools worked on a single tsuba, each restricted to his speciality; Kyo-sukashi the plate and Heianjo the inlay decoration. For this reason the brass inlaid tsuba of this group are all called Heianjo work and the openwork pieces are all called Kyo-sukashi regardless of who might have made them.
KYO-SUKASHI |
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KYO-SUKASHI $2200.00 |
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KYO-SUKASHI |
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KYO-SUKASHI |
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PROTO KYO-SUKASHI |
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KYO-SUKASHI |
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KYO-SUKASHI |
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SUKASHI Tsuba |
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SUKASHI Tsuba |
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'OMODAKA' |
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SUKASHI Tsuba |
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CRAB SUKASHI Tsuba |
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SUKASHI $200.00 |
Kamakura tsuba of the first period date from the early Muromachi age to the end of that age. The second period was an imitation of the first period. The style became more naturalistic and complicated in design in each successive period. It was the samurai class who kept this style alive for more than two hundred years. The samurai saw in the Kamakura tsuba his own ideal of taste and reserve.