TSUBA COLLECTIVE & GAKKO

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)

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.

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.

"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)

"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)
	BIZEN SURUGA Not For Sale "Under Study. Design sukashi of a 'paper doll'." (Haynes)
	'BIZEN SURUGA SAKU' Not For Sale "Under Study." (Haynes)
	'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)
	SURUGA Serious Inquiries Only "Under Study." (Haynes)
	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
	'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)

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.

	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
	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 iron feels good in hand." Published in the 'Nihon Toban Zusetsu', 1968 Edition. Accompanied by a Tokubetsu Hozon certificate issued by the NBTHK." (Long)
	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 "A classic mid-sized ONIN style tsuba made in ca.1450. This example has all of the best qualities of the Onin type work, but it has one characteristic very rarely seen in this style of work. The surface of the inlay metal retains its original color. It has never been polished or defaced, which is very rare. The color is very important and shows what this type of work looked like when made in 1450 - NOT bright brass but a deep 'honey' color of great quality. A highly important study work." (Haynes & Long) 7.70cm x 7.36cm x 0.24cm
	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 "A well forged and hammered plate in mokko shape which is rare for Onin tsuba. Dating to ca. 1500. The seppa-dai and original hitsu-ana are marked by the thin inlaid brass wire. The second hitsu-ana is a later addition. The designs are different on each side consisting of animals, plants and mon's. This piece is both prolific and extravagant, yet is very pleasing to the eye. The majority of the designs used in its decoration are but an infinite variation of a similar theme." (Haynes & Long) 6.90cm x 7.50cm x 0.24cm
	KAGA HEIANJO Tsuba   $6000.00 "NOTE: Dr. Toregoye box dated 1963. The NBTHK Hozon dated February 22, 2019." (Haynes & Long)
	HEIANJO Tsuba   $1700.00 "Large slight oval iron plate with brass inlay of four Dharma wheels. This is the classic style of early Heianjo suemon zogan tsuba. Both the plate and the inlay have their original patina. Heianjo tsuba are considered to have developed from the Onin work in the early 1500s. They are normally of the suemon type, but the inlay is cut out from sheet metal rather than cast in a mold. Any surface detail on the brass is carved in as seen here. This can be considered decorated Katchushi, although the plate tends to be of softer iron, perhaps to make the inlay process easier. The iron is very good, the overall conception is inventive yet subdued and elegant and the brass is well inlaid and carved." (Haynes & Long) 8.60cm x 8.00cm x 0.50cm
	'HEIANJO CHOKICHI' $1000.00 "A Muromachi period iron plate with Heianjo brass inlay of very good workmanship. It is thought to be one of the first two generations of the family. The first generation from the late Muromachi to second generation into Momoyama period. Signed: 'HEIANJO CHOKICHI'. This is 'Yoshiyuki' of the Suzuki family (H 12339.0). A very rare signature which leads to a masterpiece work of the first generation. Further study underway." (Haynes & Long)
	KIKYO KARAKUSA   NFS "Presented here is a tsuba of Kikyo Karakusa; bellflower and vines. It is mumei but likely crafted by the Kaga tradition, the feature being iron plate with brass inlay work. Dating to ca. 1400, it is very rare to have large inlay on the plate and going over the pipe rim. This would be the earliest "Kaga" style work so far recorded. In excellent condition with minimal missing inlay." (Haynes & Long)
	SENDAI (Heianjo) $1200.00 "Four-way open tsuba of iron ground with mokko-shaped lobes, brass inlay with design of clouds of Heian-jo style, unsigned, both hitsu-ana filled with shakudo. I think it's the design of Heianjo inlay that was popular in the middle of the Muromachi period dating to ca.1400. The exact age is unknown, but it is quite old. It is a large size close to 9 cm. It was heavy and made light, and I think it was attached to a large sword. The color with the taste of brass inlay is a splendid gem. Since it is old, there are stains, rust, and missing inlays, but I think it is in relatively good condition." (Haynes & Long)
	HEIANJO EGGPLANT $900.00 "Presented here is a first class Heianjo tsuba with excellant color and patina. The inlay is rich and elegant with no missing areas. The design is of an eggplant done in a stylistic manner. This piece is representative of the quality of fittings in the Dick Dodge Collection of Japanese Art." (Haynes & Long)

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 NOT FOR SALE "The open work of this design are the branches of a willow and two cranes in the lower quadrant. Other similar guards appear in the Akasaka and Higo groups, but this one is distinctively and abounding in a sense of Kyoto style. The fine quality of the metal and the charm of the design result in a bright total mood. Attributed with a Hakogaki by Sato Kanzan." (Haynes) 8.20cm x 8.20cm x 0.50cm
	KYO-SUKASHI   $2200.00 "This guard shows much of the feeling of age of Kyo-Sukashi works. The movement in the pattern and the wide seppa-dai are important characteristics. The forms of the leaves are varied, and the metal is thick and of slightly coarse quality.The depth of the feeling of the iron suggests that this work is old even among Kyo pieces. Seems to date to Middle Muromachi period. The theme of this tsuba is Ginko leaves. Ginko trees were planted around Japan beginning in the Muromachi period. They have a long history in traditional medicine and are able to survive in many areas. Large Ginko trees became the symbol of shrines and temples. They are called Goshinboku, 'sacred trees'. Attributed with a Hakogaki by Dr. Toregoye, dated 1967, 1st Class Pre-Edo Period." (Haynes) 7.70cm x 7.70cm x 0.30cm
	KYO-SUKASHI NOT FOR SALE "Attributed with a Hakogaki by Dr. Toregoye, Muromachi Period, First Class, Very Important. 1954" (Haynes)
	KYO-SUKASHI NOT FOR SALE "Attributed with a Hakogaki by Dr. Toregoye, Edo Period, Second Class." (Haynes)
	PROTO KYO-SUKASHI NOT FOR SALE "Attributed with a Hakogaki by Dr. Toregoye, Pre Edo, First Class." (Haynes)
	KYO-SUKASHI $1800.00 "A very novel design of wave heads and large (solid) dot's of spray. This is the only example found so far with design. A rare free thinking artist of the early Muromachi period. An important study work of very fine quality. Dates to ca.1400 to 1450."
	KYO-SUKASHI $2500.00 "A delicately and ethereal sukashi representation of a table arrangement of a plant, a minature willow tree Bonzai. Seems Kyoto, but probably Kyoto Shoami work. Very rare design and very well done. The rim has a few small iron bones. Some of the willow tree branches are inlaid. A very remarkable work of the best quality. Dates ca. 1600."
	SUKASHI Tsuba    Serious Inquiries Only "Iron slight oval tsuba with openwork design of two inome at top and bottom and two small openings both sides. The very well forged plate shows fine mokume on the surface in many areas. The forging of the iron gives the feeling that the iron was like candy. How it was formed is not sure. The very large hitsu are filled with old shakudo plate. The maker is un-known and even the school is not clear. It seems to date ca. 1700-1750."(Haynes)
	SUKASHI Tsuba    $1500.00 "Presented here is a round iron katchushi tsuba with a design sukashi of four 'Kaburaya', arrow with a turnip-shaped head. The condition is excellent and very well tempered. Appears to date to ca. 1500. The Hakogaki is dated October 'on a lucky day', 1975 by Dr. Torigoye. Why his name has been removed we do not know and have never seen done before."(Haynes)
	'OMODAKA' $2800.00 "Write-up coming soon." (Long) 8.40cm x 8.30cm x 0.50cm
	SUKASHI Tsuba $2000.00 "We have no idea who this artist is - or how to read his name. With the 'fuji' ending kanji, he proports to be of the Fujiwara family line.Such an early ca. 1500 or so signature is very rare. Naturally, the N.B.T.H.K. paper says 'nothing', as usual." (Haynes)
	CRAB SUKASHI Tsuba $1200.00 "A Sukashi tsuba with two crabs left and right of the hitsu-ana. The iron is well hammered. Early Edo Period (Early 17th C.)." (Haynes)
	SUKASHI    $200.00 An excellent study piece of a iron sukashi design. There are obvious traits of various schools: Akasaka, Owari, Shoami, and others. We may never know who actually made this highly refined and simple piece. 6.98cm x 6.52cm x 0.47cm

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.

NFS	$5000.00	$4500.00
	$1200.00

"A generally accepted characterization describes Kanayama guards in this way: they are thick; they have raised, squared rims with tekkotsu (iron bones) visible in the rims; their openwork design frequently defies interpretation; and they are often small." (Masayuki Sasano)
The late Akiyama, after intensive study, concluded that the place of production of Kanayama tsuba was in the province of Owari. He said, "Kanayama's name may be either the name of the family or the place they lived, I am not sure, but these tsuba are much admired and are very excellent and rare."
During their production the Kanayama style tsuba was very popular with the samurai. They were greatly appreciated, by all, for their simplicity, noble designs, and great strength. This school would seem to be the earliest to use ji-sukashi (positive silhouette).
The Kanayama tsuba is an excellent example of the best quality in the fundamental aesthetic principles of the tsuba. The best examples of this school stand in the first rank of the art of the tsuba.

	KANAYAMA NFS "This tsuba dates to about 1550, late Muromachi period. The design represents a Kanji reading SEI, IKIRU, Birth, Life, Live. A good Samurai motto to take into battle." (Haynes) 7.25cm x 7.25cm x 0.50cm
	KANAYAMA    NFS A slight oval tsuba of very dense iron, somewhat heavy for its size. Both the mimi has a variety of strong but natural tekkotsu. The seppa-dai displays a few laminations. The color of the metal is very dark, and its overall mood antique. The design of ......................... as the sole pattern is unusual, but being concise yet noble, shows how lofty the aesthetic ideals of samurai warriors were. The deep color of the iron, and the look of age of the metal surfaces indicate that this work is dated to the late Muromachi period. 6.6cm x 6.9cm x 0.5cm
	KANAYAMA    $2000.00 A very imposing and powerful iron piece with a strong black patina. The composition is simple and geometric, which suggests it being made at the Kanayama Shrine in Nagoya. The image below shows a very similar piece attributed to the Kanayama group. The central motif is of a 'MANJI'. Very well done. Possibly dates to late Muromachi period. 7.45cm x 7.00cm x 0.56cm (face) x 0.60cm (edge)
	KANAYAMA    $4100.00 "A small compact Kanayama tsuba of very dense quality iron showing pronounced tekkotsu or iron bones. Tekkotsu are areas of steel that are harder due to greater carbon content than the surrounding metal. The metal has a bright gleam, and the rim is somewhat thin. The deep color of the iron, the look of age of the metal surfaces indicate that this is a work from the middle Muromachi period." (Long)
	KANAYAMA    $500.00 "Kanayama tsuzumi is a forged iron made in the Owari and Mino regions from the mid-Kamakura period to the Edo period. The shape is mokko round and small but very thick. The iron is blackish and hard." 7.50cm x 6.50cm x 0.50cm

Shoami is a name you will hear and read about, and you will not give it much thought – but you should, from the point of view of there having once been a very large number of them, with a subsequently very large output.  The main problem about identifying older examples of Shoami work is that it would seem that no contemporary physical records of their ‘organisation’ exists today. This is not to say that it is impossible to ascribe a School to a Shoami tsuba that you may find – far from it. Later Edo works of Shoami tsubashi are all too well known to tsuba collectors simply because there were so many workers in very many places in Japan who followed the established traditions of Shoami. This makes it possible to find Shoami tsuba everywhere you go, if you can read the signs, but it has to be admitted that, with some remarkable exceptions, late Edo works are a change of what the School began to produce in the late Muromachi period.

Ko-Shoami

The first tsuba of the Ko-Shoami type appear in the late Muromachi age. From that time to the end of the Momoyama age constitutes the period in which tsuba of the Ko-Shoami type were produced. Since this term means "old Shoami it simply refers to the beginning of the Edo age. In the Edo age this school is simply called Shoami. There do not seem to be any signed examples of Ko-Shoami tsuba. In contrast to this, the majority of the Shoami tsuba made in the Edo age are signed. The reason why this school did not sign in its early stages can only be surmised.

There are diverse opinions concerning the origin of the Ko-Shoami style. Some say it was derived from the Onin school. Others say it came from the Heianjo school. Both of these ideas would seem to be invalid. The forging, edge, web, and hammering point to the origin of the Ko-Shoami in the katchushi workers of the Muromachi age. The ability of the Ko-Shoami exceeds that of either the Onin or Heianjo workers of that period. This ability in forging a good plate would not have been possible unless this school had been a group of katchushi workers who took to decorating their plate with inlay work. Near the end of the Momoyama age the Ko-Shoami school split into several groups. Each group moved to a different area. After settling in the new area they started independent schools with their own characteristics, not necessarily depending on the style of the Ko-Shoami for their basis. Naturally the decorative style will be seen in the early examples of these divergent schools, much as it was in the Ko-Shoami period. These provincial branches of the main school were to greatly influence the style of the native artist in each area. To some extent the style that developed in each branch school was to have characteristics that distinguish it from one another. During the Edo age the size and power of the many Shoami schools was to grow until by the end of that period it was the largest family group of all the tsuba workers.

The outstanding capabilities of the Ko-Shoami workers will be seen in their subtile designs, good shape, fine tempering, and strong forging. The graceful appearance of their designs shows the sophistication of the capital where they worked. There is harmonious beauty between the fine inlay and the quiet plate metal. The Ko-Shoami nunome inlay shows the finest skill in this technique of any group. They secured the nunome to very strong cross-hatching, using sheets of metal a little thicker than those of the nunome inlay of the Edo age. Even though the Ko-Shoami inlay is earlier than the majority of the nunome work, it is often in far better condition. In the Edo age the Shoami were often not as skilful in applying their nunome and it has been wholly or partially destroyed through their ineptitude. In most cases the Ko-Shoami tsuba will be in better condition than the Shoami tsuba made a hundred years later.

Kyo-Shoami

From the end of the Muromachi age, to the begining of the Edo age we have the decline of the tosho and Katchushi schools, the last of the Owari sukashi, and the origin of the Bushu, Higo, and Akasaka schools; but the largest and most powerful of all was the Shoami school. The majority of the Shoami workers had moved to provincial areas but a few stayed on in the capital, as the descendants of the Ko-Shoami; these artists were the Kyo-Shoami workers of the Edo age.

The early Edo age was the greatest period for the Shoami and the Kyo-Shoami surpassed all their provincial relatives. Their designs were richer,more detailed, and far more sophisticated than the other schools who worked in iron plate. They begin to sign their work in some cases, and their fame grew throughout the country for their elegant style and superior craftsmanship. This glory was to last until the Kyoho era (1716-1735), when such schools as Higo, Akasaka, and the kinko surpassed the Kyo-Shoami in the race to opulence and dominated the field. For the rest of the Edo age the Kyo-Shoami show a steady decline to the point where their work in its last stages bears hardly any resemblance to its renowned style of two hundred years previous.

Awa-Shoami

From recent information and a study of the actual tsuba it is clear that there are two styles of Awa Shoami tsuba. One is inlaid decoration in gold and silver nunome on a brass plate. The designs are flowers, birds, fretwork and scroll work. These are usually in geometric patterns. Some carving of lions, flowers, and other objects will be found. The second style is iron plate usually with fan shaped or diamond shaped plates of soft metal inlaid on the surface. These inlays are decorated with gold and silver nunome or carving. The designs are flowers and landscapes. In some cases suemon zogan is used instead of carving. The inside surface of the carved lines may be covered with nunome inlay. Those Awa tsuba of iron plate are of later workmanship than those of brass plate. The first style is not as common as this second style. Those of iron plate were probably made at the time of the fifth generation and after.

Bizen-Shoami

This family of artists was regarded highly by Lord Ikeda of Bizen Province. For their services they were given an allowance from the castle stores. From the provincal records and those of the Ikeda family, the history of the Bizen Shoami school is very well annotated. These records are in good order and reveal a wealth of information heretofore unknown to the authors of the past. The style of the Bizen Shoami school is rich in its decorative quality. The designs are naive but very tasteful. It has a resemblance to the Kyo-Shoami tsuba of the same period but it is not as delicate nor sophisticated as the work of the capital. The subjects of the designs are more applicable to the countryside, having a strong and bold quality. The majority of the subjects of the designs are of openwork in ubuzukashi style. They are decorated with nunome and/or iroe inlay.

Iyo-Shoami

One hears that the Iyo-Shoami school existed from very early times. They are thought to have struggled with the Kyo-Shoami workers for leadership of the Shoami family. There does not seem to be any documentation to support the idea that the Iyo-Shoami school is older than any other branch school. It is more likely that it was formed at the same time as the other schools that were dispersed to the provinces. If any branch school may be considered anterior to the others it would have to be the Kyo-Shoami school, for they were the direct descendants of the Ko-Shoami and remained at the capital. All other Shoami schools were formed slightly later than the Kyo-Shoami in the early Edo age. The majority of work of the Iyo-Shoami school is in low relief carving, line carving, flat inlay, large areas of raised inlay, or mixed inlay. The common characteristic of most Shoami schools, i.e. nunome inlay, is rarely found in the work of this school. In essence the style is simple, naive and has a country feeling. Nevertheless, it is not without interest.

Aizu-Shoami

There are numerous opinions to explain the origin of the Aizu-Shoami school. The most logical of these theories was the one put forward by the late Nagaoka Tsuneki, author of the Shonai Kinko no Kenkyu. In this kenkyu, Nagaoka stated that Jirohachi was the founder of the Aizu Shoami school. There does not seem to be any tsuba by Jirohachi bearing his place of residence. In fact, we are not sure that he ever worked in Aizu. He seems to have been an independant artist without apprentices who might have carried on the style of his school in the Aizu area. Thus we cannot state for certain the origin of this school, for there do not seem to be enough facts to tell us anything of the early period of the Aizu Shoami. By the Genroku era and after, the style was a combination of Shoami and later Umetada school styles.
Aizu Shoami tsuba mostly have an iron ji, and kinko works are very rare. The shinmaru gata (true circle) shape is encountered regularly. Most round tsuba are a bit taller than they are wide. Both hitsu-ana are often shaped like kogai-hitsu as opposed to the standard kozuka kogai configuration. A motif showing a person or thematic object with a natural landscape in the background is common. Motifs such as a bird or a group of birds, an animal or animals, or insects, are also often seen. The bottom right section will contain the main design carved in takabori and/or detailed with nunome or inlay work, while the upper left section area is carved with comparatively less detail - moresoft and suggestive. This effect implies visual distance, draws our eye to the main section of the work and gives the illusion of depth to the overall design. It is common to see some details in gold nunome as with all Shoami works. Also, often small design elements such as foliage, branches, etc. are inlaid in shakudo. Aizu shakudo inlay is often of good quality with a deep luster. Sukashi work executed on the entire tsuba is rare to non-existant with the exception of the 'cloud' motif favored by Shigenobu. Some makers liked to use small sections of sukashi as a design element, but it is normally a secondary embellishment to the main theme of the work. Iron ji can be encountered in several varieties. One is a thick plate with a dark brown patina and strong variations in the surface, having a rough appearance. This type of ji is often highly tempered and will show abundant hard martensite crystals on the surface. A second type is a more polished ji with a chocolate brown patina. Another type has a deep rich purple-black patina on a thick plate having a similar luster to first tier iron sukashi works from Genroku times.

Shonai Shoami

Shonai is located in the remote northern part of the main island of Japan. This detachment from the rest of the country has given the work of this school a simple elegant feeling. The quiet sincerity of the work of the Shonai Shoami rarely fails to be interesting. The Sakai family controlled the extensive lands of the Shonai area and for this received one hundred and forty thousand koku of rice annually.
This school originated from the great-grandson of Jirohachi, Shoami Matahachiro, he was a retainer of the Sakai family after he came from Edo in Kambun 4 (1664). The earliest style of work from the Shonai area is that of the Ko-Shoami school. This style was used by the Yoshida family of the Shonai Shoami. Their work is later than the Ko-Shoami tsuba produced in Kyoto, but it has about the same feeling. It may be separated from the Kyoto work if one observes the iron plate which is considerably later than the Ko-Shoami. The school of Matahachiro was greatly over shadowed by that of the first Yasuchika, who was a native of Shonai. When the style of Yasuchika became popular he greatly influenced the schools of Edo and, in turn, those of Shonai. This cross current of style and influence was very strong at this time and the winds that blew the popular styles of the early Shonai Shoami toward Edo were to be reversed later and the Edo style (with Shonai influence) returned to Shonai in later years. It is interesting to note when comparing the work of Kiyonari and the first Yasuchika that Kiyonari was twenty-three years older than Yasuchika. Though he was senior in years, Yasuchika was to influence his work as his fame grew.
Another school of the Shonai area is that of Sato Chinkyu, and his father Shirozaemon. It is not known if they were members of the Shoami family, even though they worked in pure Shoami style. Little is known of Shiozaemon, but Chinkyu is famous as the teacher of the first Yasuchika and of Arinari. Their early style closely resembles that of Chinkyu and is strong in the Shonai Shoami style. This was before Yasuchika created his own style after moving to Edo.
The work of the Shonai Shoami is diverse, but with a common bond in the old Shoami style. A clue to the work of this school will depend on a feeling for the mood of the area and an understanding of the influences and trends of the age.

Akita Shoami

In the past there have been four opinions as to the origin of the Akita Shoami school. One says Dennai was the originator of this school when he camefrom Edo. Another says that he founded this school coming directly from Shonai. A third idea put forward by Nagaoka says that "Dembei was the creator of the Akita school." A fourth idea is that there was a Ko-Shoami school line working in Akita before any of these artists reached there. The fourth idea seems to be the most logical. The name Yoshinaga is to be found from an early period in the Akita area. He is said to have been the teacher of Dembei, but their full relationship is not known. Nor do we have any names of artists before that of Yoshinaga. However, from an examination of the work of these men it would seem clear that Yoshinaga introduced the Shoami style into the Akita area, and if anyone can be called the father of the Akita Shoami school it would have to be he. Dembei is the most important artist of Akita and his master works resemble fine Umetada tsuba or Ko-Shoami work. He occasionally worked in a style closely resembling that of Oda Naonori of Satsuma. His work is about equal in rank to that of Kiyonari of Shonai. By the Kansei era (1789-1800) the work of the Akita school cannot be found. From that time forward it seems the school disappeared without leaving a trace of the artists who had lived there.

Subsidiary Schools of the Shoami

There were a number of other Shoami workers in various provinces who were either independent artists or members of such small groups that their existence has been overlooked. The late Akiyama doubted that there had ever been a Shoami school in Edo, but after careful investigation he found evidence indicating its existence. This school is now called the Bushu Shoami. These workers must have been the descendants of Jirohachi who had remained in Edo. The work of this group is in the Kyo-Shoami style or that of Jirohachi. The Bushu Shoami tsuba in Kyo-Shoami style are often mistaken for the work of the Kyoto school. This may be avoided by an examination of the iron plate. The Bushu Shoami plate is not as old or rich as that done in Kyoto. The Bushu Shoami school existed at a later date than did the Kyo-Shoami school.
Another school of note is that of the Sakushu Shoami of Mimasaka Province. Their style resembles the Inshu Suruga school work. In this respect the work of the Sakushu Shoami differs from that of all other Shoami schools. With this adopted style a provincial feeling is also to be found.
By the middle of the Edo age the Shoami style had lost much of its popularity. The rise of the BUSHU (Ito family) and the CHOSHU schools as well as the power of the new kinko aided in the decline of the power and prestige of the Shoami. They were forced to copy the style of these more popular schools until the original Shoami style was lost altogether. Only the Bizen Shoami school retained its original style to the end of the Edo age.
Read about Early Inlays from 'Jaspanese Sword Mounts' by Helen C. Gunsaulus.

	'KAWATSU CHOZA TAIRA IESADA'  NOT FOR SALE "Complete write-up impending. Refer to Haynes Index H 01802.0. Published in Zabo Tansen, page 318." (Haynes)
	BIZEN SHOAMI    $8000.00 "An excellent round sukashi iron tsuba, the style being rich in its decorative quality. The design of fishing nets under flowers and clouds is naive yet very tasteful. The subject of this tsuba is applicable to the countryside, having a strong and bold quality. They are decorated with gold nunome inlay. Early Edo period." (Long) Comes with Hako-gaki by Dr. Torigoye in 1964 on the 7th month, 17th day. 7.95cm x 7.80cm x 0.40cm.
	KO SHOAMI    NOT FOR SALE "A Ko Shoami tsuba with grapes design. Muromachi Period." (Long) 7.50cm x 7.30cm x 0.42cm.
	GO SHOAMI    NOT FOR SALE "A Goami Tsuba with a swallowtail butterfly design. Early Edo period (17th Cent.)" (Long) Comes with NBTHK Tokubetsu Kicho (Green) Paper. 8.45cm x 8.35cm x 0.42cm.
	'TENKA CHUKO KAISAN SHOAMI JIROHACHI'     NOT FOR SALE "Presented here is a very rare tsuba with Tomoe designs. It is a masterpiece with a strong iron aesthetic. This is Kyoto work done in ca. 1700." (Long) Comes with Hako-gaki by Dr. Torigoye First Class, Edo period. 8.05cm x 8.20cm x 0.35cm.
	'TENKA CHUKO KAISAN SHOAMI HIROYOSHI'     NOT FOR SALE "Hakogaki by author. Edo Period (ca. 1700). See Haynes Index H 01452.0. "A fine classic Kyoto style work on iron plate." (Long) Published in ZABO TANZEN, pg. 310 no. 339. 8.50cm x 8.20cm x 0.38cm.
	KO-SHOAMI     $2500.00 Two full circles, the outer making up the rim and the inner circle are the frame work for this wonderful first class piece. The two remaining circles, each as half circles, arranged symetrically add strength and spirit to the design. The rim of this expressive sword guard displays linear tekkotsu in abundance. The very high quality finish and the elegance of its age elevates this masterpiece to amoung the earliest examples of Ko-Shoami tsuba. Dates to ca. 1400 or earlier. 7.95cm x 7.92cm x 0.48cm.
	'SHOAMI ?DENBEI?'    Serious Inquiries Only "Large rounded square iron plate nicely forged and hammered with excellent patina and color. Further study of mei and description coming soon." (Haynes & Long)
	KO-SHOAMI     $1200.00 "Presented here is a early Shoami tsuba around the late Muromachi/early Momoyama period (ca. 1550). In terms of era division, the Northern and Southern Courts, Muromachi, Sengoku, and Momoyama periods were traditional for Katchushi and Tosho style tsuba. This is a very bold, strong plate of well forged iron. The iron base has hammer marks as a whole, and the rim is square and stout. The sukashi openings represent a sake cup and gourd." (Long)
	AIZU SHOAMI $900.00 "Presented here is a well-forged iron plate tsuba of rounded-square shape with thick lustrous brass inlay of lotus plants. The blossoms, leaves and vines are pre-cast. These pieces are then inserted into 'reservoirs' cut to shape in the plate. There are no sharp edges as might be found on carved inlay. The design of the blossoms and leaves are carved after insertion in the plate. The broad areas of inlay are called suemon-zogan. A masterpiece of this school dating to ca.1700, mid Edo period." (Haynes & Long)
	'SHOAMI SHIGENOBU' $2000.00 "This is a classic example of Genroku (1688-1703) period work. He was not as famous as others of his time. He was a good artist in the best Shoami Classic tradition. Haynes Index H 08427.0. ZABO TANZEN pg.315, #344. Oite Namban Tetsu Saku Kore (I made this with Namban iron)." (Haynes & Long)
	KO-SHOAMI  $2000.00 "Very fine iron with a nice natural patina. The motif appears to be a flock of geese." (Haynes & Long) 7.50cm x 7.40cm x 0.30cm.
	Ko-Shoami    $3000.00 "From a square mokko-shape iron plate comes a lattice Shoji design. A very rare design that is not often found. Certified by the N.B.T.H.K. to Hozon Tosogu. Mumei, to Ko-Shoami school. Continued study is under way." (Haynes) 7.61cm x 7.58cm x 0.35cm
	KYO-SHOAMI    NOT FOR SALE "The theme of this tsuba is turnips. It is one of the seven Spring plants that is eaten. The tsuba is mumei but has all the features of this tradition. There are details, dew drops in gold and the refinement of the design along with the elegance of the workmanship leading to a date of Mid Edo period." (Haynes)
	Ko-Shoami    $3200.00 "Write-up to follow." (Haynes)
	'SHIGEKATSU'    NOT FOR SALE "Presented here is a large iron work of beautiful Amidaba accentuated with gold inlays of karatake that extend to the sides. The state of preservation is good, even though there are areas of missing gold inlay. Though a simple design it has a powerful presence. Signed: 'SHIGEKATSU' of the Iyo Shoami school. He was a master craftsman who is believed to have been active in Kyoto in the mid Edo period." (Haynes) 9.00cm x 0.50cm
	'BUSHU JU SHOAMI'    NOT FOR SALE "Presented here is a fully signed iron plate tsuba with gold highlighted red oak leaf each face. Both hitsu-ana filled with shakudo. The rim is delicately carved." (Long) Comes with Hako-gaki by Dr. Torigoye, December 28, 1954. 8.60cm x 8.60cm x 0.45cm.
	KO - SHOAMI    NOT FOR SALE "Five sukashi openings of a 'Kozuchi', a small mallet. Three of the kozuchi are filled with shakudo. Dates to ca. 1700." (Long) Comes with Hako-gaki by Dr. Torigoye December 4, 1954. 8.00cm x 8.20cm x 0.31cm.
	OMODAKA SHOAMI    $2000.00 "Round marugata shape iron tsuba with toru hair carving on the leaves. Both hitsu-ana same though different size. Preservation appraisal by NBTHK Hozon Mumei: Shoami." (Long) 8.60cm x 8.60cm x 0.60cm
	Ko-Shoami    $1600.00 "Write up to follow. NBTHK 'GREEN' paper attribution." (Haynes) 8.90cm x 8.60cm x 0.40cm
	Ko-Shoami    Not For Sale "Write up to follow. NBTHK 'Green' paper. This piece dates to ca. 1500." (Haynes)
	KYO-SHOAMI    $800.00 A marugata niku bori ji sukashi tsuba depicting a table used on an alter of a temple to place offerings on top of. The entire surface of both sides and rim are smooth, made first by filing and then by the use of a whetstone. Dates to ca. 1700. (Long) 7.32cm x 7.33cm x 0.56cm
	KO-SHOAMI   $300.00 "Iron square mokko shape (iri-sumi kaku) of sukashi design of a kanji meaning 'for you'. This was a gift tsuba. Remnants of gold and silver inlay, gold representing the sun and silver representing the moon. A fair amount of the inlay is missing but cherry blossom flowers can be seen. Dates to Momoyama period, ca. 1700." (Long) 7.90cm x 8.15cm x 0.45cm
	'GEISHU JU YOSHIHISA SAKU'    $900.00 Accompanied by a Kanteisho (75 points) certificate number 5360, issued by the N.T.H.K., dated September, 2004. "Round (maru gata) iron plate tsuba with uchikaeshi rim (mimi). The web carved in the design of a weaving spool or bobbin (itomaki) and broken brocade pattern done in gold and silver nunome inlay. Much of the black lacquer is present. Dated ca.1650. Signed: 'Geishu ju Yoshihisa Saku' H 11614.0. Yoshihisa's real name was Seizaemon, 1st generation. He worked in Geishu ju, Aki Province. A very elegant and rare guard." (Long)
	SHOAMI   $1000.00 Momoyama Period (ca. 1600) "The elaborate and detailed design of cloves, the use of refined iron with abundant brass inlay, contribute to the strong impact of this masterpiece. There seems to be two different colors of brass inlay used. Fine tekkotsu on the rim. The representation seen here of cloves (one of the objects of the Takaramono, associated with the Gods of Luck), define Sweetness and Health. Only missing inlay at 8 o'clock position (see at right)." (Long)
	AIZU SHOAMI    $300.00 "Aizu Shoami tsuba mostly have an iron ji, and kinko works are very rare. The shinmaru gata (true circle) shape is encountered regularly. Most round tsuba are a bit taller than they are wide as is the case here. Both hitsu-ana are often shaped like kogai-hitsu as opposed to the standard kozuka kogai configuration. A motif showing a person or thematic object with a natural landscape in the background is common. Motifs such as the Chinese subject shown here, are often seen. The bottom right section will contain the main design carved in takabori and/or detailed with nunome or inlay work, while the upper left section area is carved with comparatively less detail - moresoft and suggestive. This effect implies visual distance, draws our eye to the main section of the work and gives the illusion of depth to the overall design." (Long) 6.90cm x 7.35cm x 0.40cm
	SHOAMI   $600.00 "A round iron plate tsuba with scalloped rim edge. The brass inlay of three leaf plant with vines occurs on both sides. On the ura side, left of nakago-ana, is carved 'Ten' meaning heaven, sky, the air, Imperial, etc. It seems this was added after the tsuba was made. The hitsu-ana show Shoami style influence. Dates to the Momoyama period, ca. 1550-1600." (Long) 7.30cm x 7.85cm x 0.45cm

Throughout the entire history of tsuba one name stands supreme: Kaneiye. It is most curious that the name of Kaneiye was not widely known until the Temmei era (1781-1789), which was already late in the Edo age. There is much conjecture that attempts to explain this belated recognition, but it would seem that there are only two answers. The first will be found in the taste and personal finances of the samurai of the early Edo age. Their taste ran to such austere types as the Katchushi, Tosho, Kyo-sukashi, Owari-zukashi, and the Yoshiro and Heianjo-zogan styles, followed by the Higo and Akasaka schools. The second reason was the rise of the kinko school in the middle of the Edo age. First the Nara school appeared and shortly after came Yokoya Somin, followed by the vast group of late kinko. They were to vie with the old established styles, and soon they won out. During this onslaught the nobility, high ranking samurai, and connoisseurs adhered to the style of such workers as Kaneiye and Nobuiye. Because the work of Kaneiye was so highly regarded by the upper classes it never came into the hands of the masses. With their existence virtually unknown they never were popularized by the early Edo artists.

When the upper classes took to the new kinko styles the work of Kaneiye and Nobuiye was put away and forgotten, but by the end of the late Edo age the nobility began to tire of the beautiful kinko work and they wanted something to take their place. The merchant class was very strong and had the opportunity to see the work of Kaneiye, at this time, when it was brought forth again by the nobility. They appreciated his style and wanted his style for their own tsuba. They thought the quiet good taste was most applicable to this period of peace and prosperity. They made the name of Kaneiye famous in all classes causing the late school of Tetsunin and the Saga Kaneiye into production to fulfill this great demand. By the Temmei era the fame of Kaneiye was spread far and wide.

Today we cannot give credence to any generations but the first two. All later work must be classed as the product of the Saga Kaneiye school, or later imitators. 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). Three distinct Kaneiye who worked before the eighteenth century are thought to have existed, judging from the technique and decoration of specimens determined as originals. Research defines as follows:

DAI SHODAI KANEIYE: The first Kaneiye signed his work Joshu Fushimi (no) Ju Kaneiye. By tradition he is called the 'Great First Kaneiye'. The work of the first Kaneiye was not known to the connoisseurs of tsuba until the Tempo era. At that time Akiyama saw three tsuba that were unquestionably the work of the same hand. To this day these three tsuba are the only work known to be by the first master. Since his work is so rare we may conclude that he began the making of tsuba late in life. In addition much of his work must have been lost in battle or through the many disastrous fires of later times. It is not certain when the first Kaneiye began to make tsuba. The few facts we have are these: From close observation of the three extant tsuba it is clear that he must have descended from one of the katchushi schools. We may find precedence of his style in such early work as the fine inlay of the hoju tsuba or in the brass inlay of the Onin style. It is not unreasonable to suppose that a superior worker of the katchushi school could have combined the best qualities of the schools of the past and created a superior style of his own, and this would seem to be just the case. Each facet of his work, after careful examination, will be found to be finer than anything the past had to offer. Kaneiye the first is commonly thought to have worked in the middle of the Muromachi age, but this is too early. It would be safer to say that he worked about the Eiroku (1558-69 to Tensho (1573-92) period, that being the heigth of the Momoyama age.
The style of the first may be called engraved pictorial style. In design, he followed the style of Mokkei, a Chinese painter (Sung dynasty), and Sesshu, a Japanese painter, who worked after the Chinese style during the 15th century. He used high relief in his decoration combined with inlay of various metals. His iron is of the oroshigane type. It is of the highest quality, forged to perfection and remarkable for the brown or reddish color of the iron and their wonderful finish, unsurpassed by that of any other tsubako. He commonly used the final-two-fold method of the katchushi to form his plate, but with such perfection that one cannot readily see the line of the final folds. His tempering is exceedingly fine. The iron bones are similar to those found in the later Kanayama school. The ground of the plate has an irregular hammered surface well under his control. It shows careful work with close attention to detail. The small hammer marks are in groups and patterns that give variety and change to the surface. This attention to the aesthetic beauty of the plate surface sets the time of production in the Momoyama age.
His style closely resembles the old katchushi with a mixture of Heianjo-zogan and Ko-shoami styles of inlay. The decoration is a summation of the best of the best of the Heianjo-zogan and Ko-shoami schools. From this we may deduce that he was slightly later in time than the high point of these schools in the Muromachi age. He brought to perfection the styles they had originated, thus giving us the indication of his period being the Momoyama age. It might be said that he was the climax of the true aesthetic feeling, for later artists were only rarely to touch his genius.

MEIJIN SHODAI KANEIYE: The artist referred to as the second Kaneiye worked during the Tensho to Keicho period (1573-1615). His work was known long before that of the first Kaneiye, which is the reason why he was originally called shodai. An analysis of the styles of the second based upon extant examples tells the true story. He used many designs, always of a noble nature. They are quiet, graceful, and show somewhat the contemplative feeling seen in the work of the first master. Occasionally he used openwork designs such as the tomoe shape or undetermined shapes. It has been said that the inspiration for his designs came from the work of the famous painter Sesshu. If this is so it was not a direct relationship, for Sesshu died in Eisho 3 (1506). It is more likely that he took some designs from the work of Tohaku and others of the Unkoku school, especially the second, Unkei. His designs are commonly of naturalistic landscapes in the Chinese manner, or a few religious subjects. These themes were the accepted fashion of the Muromachi and Momoyama ages. He no doubt took his early themes from the subjects used by the first Kaneiye, for a few of his pieces show the direct inspiration based on the first, such as the Bishamonten tsuba which is a close replica of the one by Dai Shodai Kaneiye. His work is not as strong or bold as that of the first nor as great in feeling, but there is no doubt he must have received his training from the first master. His relief carving is not as high as that employed by the first, and his inlay work shows a more direct connection with the contemporary Heianjo-zogan school. Even more important is the technique used in the application of his inlay. This will be found to be firmly grounded in the style of the Goto school of his period.

SAGA KANEIYE SCHOOL & TETSUNIN SCHOOL: The true story of Tetsunin is clouded with many legends. Some say he was the preparer to the first and second Kaneiye. He was thought to have forged the plates that they decorated. Others say he was a student of the second Kaneiye. All that can be said for sure is that he was to use the style of the second Kaneiye as his own and probably developed a school based on that technique. We do not know when he moved from Fushimi to Higo, or if he ever lived in Fushimi. It is more probable that he only studied there for a short time. He seems to have moved from Higo to Saga in Hizen Province, or at least his school did. The majority of the pieces turned out by this school are signed with a facsimile of the signature of the second Kaneiye. Occasionally we see the signatures of the artist who actually made the piece. The best of the Saga Kaneiye work is either unsigned or with the artist that actually made the piece. The unsigned pieces, in later work, sometimes show the best craftsmanship.

	'Yamashiro no Kuni Fushimi Ju Kaneiye' $450.00 This fine iron tsuba for a Japanese sword has a maru gata circular form, with punch marks in the nakago ana, a look of great strength and a well patined surface. It is ubu, no hitsu-ana. The well patined surface is carved in a delicate manner in katakiri borion both faces. The subject depicts a peaceful landscape, with two Tsuru alighting above, and mountains rising in the distance. The design looks like a painting, it is in the tradition of Chinese Sung dynasty landscape painting, and of the ink drawings of the Japanese painter Sesshuu. The metal is good, the workmanship excellent, the design lofty, dignified, and carefully worked, and the surface with a deep dark brown patina. This tsuba exhibits many usual characteristics, is very well hammered, and the entire guard has a rustic appearance. All of these traits make this an excellant work of the Saga Kaneiye school. Dates to ca. 1700.
	'Yamashiro no Kuni Fushimi Ju Kaneiye' $400.00 A large iron plate tsuba in maru-gata circular form, with punch marks and sekigane in the nakago ana. Both hitsu ana are filled with shakudo. The well patined surface is carved in a delicate manner in katakiri bori. The carving repeats on the reverse, with engraved details, and the iron of good color. The concept of the design encompasses the total surface of the tsuba. The metal is good, the workmanship excellent, the design lofty, dignified, and carefully worked, with minimal inlay of gold, and the surface with a deep chocolate patina. This Tsuba exhibits an unusual outline of the entire seppa area to include the hitsu-ana on both faces. The entire guard has a rustic appearance. Dates to ca. 1750.
	'Yamashiro no Kuni Fushimi Ju Kaneiye' $300.00 This iron plate tsuba has a largely squared circular form known as Okaku Maru. It is provided with Hitsu Ana. The well patined surface is carved in a delicate manner, a carving with lines of varying thickness and depth in imitation of the strokes of a painter's brush, the carving repeats on the reverse, with engraved details. The subject depicts the usual scene of a boat on the shoreline amongst the bamboo, under a chrysanthemum growing in the hills. On the ura, the landscape below and the hills above surrounding a temple. The workmanship is not only found in the Saga school pieces but also in Mito and Shoami schools. The design is dignified, and carefully worked, the forms full bodied, and the surface with a deep brown patina. This tsuba exhibits many usual characteristics, and the entire guard has a rustic appearance. Dates to ca. 1800.
	'KANEIYE SAKU'     $900.00    "An iron tsuba in round form, with sekegane in the nakago ana. Both surfaces display a fine patina. This tsuba is signed: 'KANEIYE SAKU'. H 02465.A. Though the work of this artist has been illustrated in several books, such as Wakayama, Kokubo, and others, he is not recorded as a known artist who was a legitimate part of the Kaneiye school." (Haynes & Long)
	'JOSHU FUSHIMI JU KANEIYE'   $1000.00 Refer to H 02463.0. AIZU SHOAMI-FU "This 'MEI' belongs to the artist referred to by Dr. Torigoye as Dai-sho-dai. Tsuba with this signature can be seen, illustrated together, in the first edition of TSUBA KANSHOKI, by Dr. Torigoye, 1964, pgs. 74 to 77. The number of artists who might have been involved in the making of these tsuba, and their time periods, is still open to conjecture. The question is, "What is the relationship between the artist of this tsuba and the Daishodai Kaneiye?" (Long)
	'YAMASHIRO KUNI FUSHIMI JU KANEIYE'    $5200.00 "An iron tsuba in rounded square form, with punch marks in the nakago ana. Both surfaces display a fine patina. It is provided with two kozuka ana, one being plugged with shakudo, and are original to the piece. The design is of two gourds in sukashi, the largest being among its stem with leaves in gold inlay. This same stem and leaf design appears on the reverse but across from the large gourd. This tsuba is signed: 'YAMASHIRO KUNI FUSHIMI JU KANEIYE'. H 02464.0. This Tsuba is accompanied with a hakogaki by Dr. Kazutaro Torigoye stating that the signature is genuine." (Long) 8.00cm x 8.80cm x 0.50cm
	'KANEIYE SAKU'    $2000.00 "Iron round (maru-gata) tsuba with one very small sukashi and few punch work and carvings representing 'tide pools'. The silver and brass ten zogan and fine copper inlay represent kelp, seaweed and other vegetation found on the shoreline of Japan. Subtle tekkotsu appears on the rim. This tsuba accompanied with origami issued in Japan in 2014, by the NTHK-NPO. The paper attributes this excellant tsuba to 'KANEIYE SAKU' and early Edo period." (Long) 8.1cm x 8.4cm x 0.5cm
	'YAMASHIRO no KUNI FUSHIMI JU KANEIYE'    $1200.00 Accompanied by a Appraisal certificate number 205179, issued by the N.T.K., dated Heisei 17 (2005). "Muromachi period (ca.1450-1600). There are a large number of tsuba with this signature. They are of varying quality and period. There are enough variations in the signatures, that Akiyama Kyusaku thought there might be several generations. They are better classified as a school or group of artists, who may have had more than one person signing their work. An excellent piece with trace amounts of inlays." (E. Long)

NOTE: The work of the first Kaneiye employed only the uttori style of inlay (the sheet of metal to be inlaid is fastened to the plate by hammering its edge into a groove cut in the plate to secure it), while the work of the second Kaneiye has both uttori and the new iroe style (silver solder is used to affix the sheets of inlaid metal). From this evidence it would be safe to say that the first Kaneiye lived before the time of Goto Kojo and that the second was contemporary or later than the time of Goto Kojo. The first Kaneiye worked about 1558 to 1592 and the second Kaneiye about 1573 to 1615.

Read about Kaneiye and Myochin Nobuiye from 'Japanese Sword Mounts' by Helen C. Gunsaulus OR
read Takeuchi Fumio's ONE WAY OF LOOKING AT KANEIYE

The opinions about Nobuiye soon reveal that no-one seems to agree upon any of the facts that we would consider relevant or usable in a search for examples.

Starting with the commentary of Henri Joly - and recognising that in his time he was, like all the late 19th century collectors and students, at the mercies of those who advised and helped him arrive at his judgements. Joly says in 1912..... He was the same man as the Miochin Nobuiye, 1496-1564, whom we know as the Armourer. That he did make tsuba, but not why, and that the story of his having received the character Nobu from Takeda Shingen (also known as Nobuharu) is possible. He goes on to say that tsubako of this name worked in various locations at different times in places such as Koshu, Geishu, Kyoto, Akasaka, Kaga and Echizen.  Some of these locations actually do fit in quite well with the accepted story of Nobuiye’s progress through life. Koshu is Kai Province , the home of the Takeda, Kaga is the home of the Maeda, branch family of the Tokugawa, and Akasaka is a site where an offshoot of the Miochin relocated after Nobuiye’s time. The standpoint on signatures is simple and logical; Only one tsuba signed Miochin Nobuiye is known to Joly and that is of a quality that invites scorn as a later reproduction by ‘someone’, though who we will never know.  The Tsubako Nobuiye signs just those two kanji and only later ‘inheritors of his tradition’ (rather than later generations) use such prefixes as ‘Geishu Ju’. So says Joly.

The next book is the Nihon To Koza circa 1935, translated by Harry Watson in the USA, who begin's by saying that the Tsubako Nobuiye was the 17th generation of the Masuda Myochin working in the last part of the Muromachi period.  The story of his service to Shingen in Kai Province (Koshu) is repeated as fact and there is a decent critique of the various signatures that can be encountered, including a version that is described as being’ thin and tall’ and neatly composed with a thin tagane– this is considered to be the signature of the Shodai. Secondly there is a ‘thick’ version of the name, inscribed with a broad tagane, that is a bit scrunched up and done in a compressed form and is seemingly regarded by them as the signature of the Nidai.  There is also a very scratchy and weedy form of the signature that is present on a variety of tsuba described as ‘beautiful’, but they do not say how or why. This last group is regarded by the Koza Team as having been the most desirable variety in the past (presumably because the tsuba demonstrated good quality, rather than because the mei demonstrated indisputable veracity) and because of this they spawned a lot of spurious fakes.  It then (from the 1935 viewpoint) appears that the ‘thick’ mei versions became more desirable due to their being very ‘masculine’ in style – and also because of the number of fakes of the ‘thin mei’ version undermining confidence in the buying public.  Geishu Ju Nobuiye (or Geishu Ju Fujiwara Nobuiye) is admitted to be probably a pupil of a later time, as is the most enigmatic of all the Nobuiye signatures; Mitsu Nobuiye. Sticking to the subject of mei, they go on to say a most surprising thing; that these major, and several other minor, variations in mei point to there having been a ‘Collective’ or perhaps even a Workshop of Tsubako  ALL signing Nobuiye!!  Even more surprising there seems to be no resentment of this possibility, only a placid acceptance of a situation whereby several skilled craftsmen working closely and cooperatively could actually maintain a high standard which finds approval in the eyes of the many Sensei who have judged their works ever since. 

It is impossible to ignore the opinion of Masayuki Sasano. Sasano says that he has experienced seven different mei without saying what they are (I suppose he wants to make us go hunt them down for ourselves and benefit by the effort!).  Armour enthusiasts won’t like this at all but he goes on to say, in a very gentle fashion, that the two men, Armourer and Tsubako, are not the same person because the works of the Armourer Nobuiye are simply not up to the quality of the Tsubako Nobuiye.  Obviously the differences in the simple intention of forging a typically thick tsuba of Nobuiye at around 3-4 mm and a plate for, say, a Shikoro, are going to be vast but he seems to make no allowance for this I think he just believed instinctively (from the evidence of the Tsuba before him) that a Katchushi of this time could never have made the switch to Tsubako, or perhaps he could just not admit that possibility because to do so would be stepping beyond the bounds of convention.  I have noticed something that is never mentioned in catalogues, books or articles that include Nobuiye and it may be something or nothing. Look at the pictures of Nobuiye tsuba in the Naunton Catalogue, Sasano’s own work on Sukashi, and anyone else’s publication that you feel is beyond reproach and see if in thinking it strange that every (claimed) Shodai signature is almost always partly cut away to allow entrance for the last blade it was mounted on.  Does this indicate to you, as it does to me, that the blade for which the tsuba was originally made was of rather slender form, without the niku or indeed the kasane of the last blade to find a home there?  If not then why cut away part of the seppa dai, and part of the mei, to accommodate that last blade?  It seems like heresy to attempt to question the opinions of our predecessors but, whereas he brought a lifetime of learning to bear upon the subject, I bring only my ignorance and a certain naïve objectivity. Sometimes the simple question bears fruit that a more intense examination does not reveal. I think it entirely possible that these very fine pieces that bear the name of Nobuiye partly cut away are actually as old as Sasano would not, or could not, admit.  Sasano’s final point in judging a potential Nobuiye tsuba is this; if it is a work of originality and nobility, with a ‘feeling’ of masterpiece that every Shodai of any school always displays, then it probably is a Nobuiye. If it looks like a fake, then it probably is. 

When examining tsuba made by Nobuiye, there are those deemed shosaku (genuine work) whose signatures do not adhere to just one style. There are many variations. For one person’s style of mei to vary so much is the question of all questions. The experts say it is due to his longevity, variations due to the different stages in his life. Being a member of the Myochin family, Nobuiye moved from Sagami to Kozuke and finally to Kai (in obedience to an invitation of the Takada family). Though people speculate that he was a tsuba smith, he was of an honorable family of a line of armor makers. This was the period of continuing warfare and katchushi (armor maker) were kept very busy. I don’t believe that he would abandon his main occupation of creating armor to engage in making tsuba. Since Nobuiye had many pupils, he might have had them do his work on his behalf.

Among his tsuba with various types of mei, there are a small number of katchu-mei (armor maker’s signature) pieces. These signatures have the same characteristics as those on his armor and the tsuba styles are slightly different. Upon examination of the shosaku (genuine work) of Nobuiye, these should be attributed as his own and all other mei-furi (appearance, or style of signature) pieces as those of his disciples. There is a distinction among the daisaku (ghostwriting; a stand-in; double) work; mei is separated with ko-sukashi and kikka uchikomi (chrysanthemum pattern hammered in), and there are other signatures with many kikko (tortoise shell) patterns, many with monji (Japanese written characters) designs, and some with jimon (patterned surface). To copy a style, one should try to create an extremely believable work. These Nobuiye have various mei-furi (style of a signature) with no evidence of copying, they all endeavor to demonstrate their skill. Perhaps it is closer to the truth to see them as daisaku (a stand-in; double).

Now for styles.  The Shodai Nobuiye is credited with a particularly apt form of Mokkogata which everyone agrees is a shape that sits just perfectly with the sword and, in fact, does not really work well in the eye until it is fitted to a sword. I cannot believe that he stuck rigidly to this shape alone and actually there are a couple of Nadegaku (rounded square shapes) illustrated in the Koza which seem to me to sit very well indeed for the time of the Shodai and the style attributed to him. (see pages31-33 in the Kodogu part 1 volume.)  He demonstrates his skill as a Smith in the way he forges his thick plates (Tsuchime finished and about 4mm in thickness) and very subtly turns up the rims, (Uchikaeshi Kaku Mimi). Also the sheer strength and quality of his iron appears to universally impress, and the way he handles it to reveal its structure in such features as the rim, the Ji etc. If you look carefully at a few examples you begin to realise that this was a craftsman who knew when to stop hitting the thing with a hammer.  Decoration seems to be quite limited with Kebori engraving often done to about the same depth as the Mei, and a very restrained amount of Ko-Sukashi piercing.

At this point I don’t know quite how to put it but, returning to the Koza, I see that under Work Styles they disavow their previous certainty and state categorically that, because of the great thickness of the tsuba in question, they cannot admit that the Tsubako Nobuiye can possibly be the same man as the Katchushi Nobuiye.  The stated reason for this is that Katchushi tsuba are almost always very thin (about half the thickness of a Nobuiye) and so he obviously did not come from an armourer’s tradition of forging. Far from giving up here, we should actively argue a point that they have already made; that the works of Nobuiye stand out as being totally unlike the other, more standard, Katchushi works of the time.  This is what seems to have made them admirable and desirable in the eyes of the Samurai of that period, and they bought them because of it. Is it therefore unreasonable to dismiss the possibility that he could be the same man on that basis? Perhaps, but I think that single reason a bit thin and would have liked to hear something else in support of the contention.

The Kebori engraving is not just the rather quiet type of Karakusa vines we often see, it is also in vivid tortoise shell patterns like Kikko, floor tiles, peonies, clouds, dragons and Ho-O birds. Another specialty is to use Sosho inscriptions such as the Namu Myoho renge Kyo Sutra, or the more common Hachiman Daibosatsu invocation.  The sukashi designs, though usually small, are also vibrant in their choice and their placement. (See the one on page 32 of the Koza with an Ono – axe- for a lesson in how to place a sukashi design in just the right place on a plate).  You can find Gunpai, Water Wheels, Mitsu-Tomoe, and the enigmatic Matsukawabishi Mon used in the ‘less is more’ sense of a Master Sukashi worker.   The only large scale Sukashi piece I know of is the famous Kamo Shrine tsuba in Sasano’s book where the Torii and its surrounding bushes are given a flourish that only someone very confident of his skill can accomplish.   Using themes such as these I find it very understandable that the Samurai of the late Muromachi could take these to their hearts with enthusiasm. Up to that time tsuba for the average Samurai would have had to be sober to the point where only he could find something in them to like. Nobuiye gave his patrons strength, style and feelings with his bold offerings and they liked them to the point that, Sasano says, in 1800 a Nobuiye tsuba changed hands for the equivalent of 100 pounds sterling in the 1960’s.

The truth about NOBUIYE

Despite the fact that the name of Nobuiye is well known, the mis-understanding concerning this artist is huge (read above). Far more than was evident in the case of Kaneiye (see Kaneiye above). The information presently available is so vague concerning his life and history that it is difficult to make a conclusive statement about him. The majority of facts available at the present time were uncovered by writers of the past. We would hope to glean some information from this mass of material, but most of it is so erroneous that it will only hinder a proper study. It is best if at first we set the record straight.

Even today it is commonly believed that the Nobuiye who made tsuba was the same man who made armor and is called Myochin Nobuiye, the 17th master of the family. It is true that the man who made tsuba came from an armorer family. But, we cannot look for his origin in the Haruta, Saotome, or Iwai schools of armorers. We must go to the Myochin family for his origin. The genealogy of the Myochin family is far from certain, and not nearly as reliable as the authors of the past and present would have us believe. The first tsuba made by members of the main line artists of the Myochin family do not appear until the time of the Myochin Munetoshi, 21st master of the family, about 1625. This was considerably later than the working period of the tsuba Nobuiye. The main line masters of the Myochin family made tsuba as a side line. On the other hand Nobuiye was a professional maker of tsuba. We have a great many pieces bearing the signature of Nobuiye. There are too many extant examples for any one artist to have made tsuba as a side line when not engaged in the making of armor. To show the reason why the 17th Myochin is not the same man who made tsuba, it is necessary to give the background and an analysis of the characteristics of their signature. The style of signature used by the armorer Nobuiye is of two types. Though these two styles show a similarity they are vastly different from the style of signature found on the tsuba. To complicate matters, there are some who feel that all the helmets bearing the Nobuiye signature are forgeries. Even if we accept the few pieces thought to be the real signature, the signature found upon them bears no relationship to that of the tsuba Nobuiye. It seems unnatural for an artist to use such radically different styles in his signature.

It is clear from a comparison of the technique used in the tsuba, with that used in the armor, that the tsuba artist was far superior in ability. Every indication of the work and the signature points to there having been two separate artists with the same name. These two men must have lived about the same time. Two artists living in close proximity would not usually wish to have the same art name, unless theyweremembers of the same family. We may deduce from this that these two men were related in some way. Since it is clear that the tsuba Nobuiye was not the 17th Myochin, we shall have to determine his relationship to other members of the family. It is most probable that the tsuba Nobuiye was the younger brother of the armorer Nobuiye or he was the son or younger brother of Sadaiye, the eighteenth Myochin. In any event he did not inherit the title of the family leading us to believe he wasthe second son, thus the family title passed to his elder brother. The working period of Nobuiye is very close to the time of the 19th Myochin, Muneiye, which would place him in the Tensho era (1573-1591).

His style very definitely shows his Katchushi family background. He used the two-fold method in the construction of his plate. In fact, all the characteristics of his work are katchushi but far superior to the common non-professional katchushi tsuba maker. There is common thought that his style came from the Owari school group and that there is a strong relationship between his work and that of the 1st Yamakichibei and the 1st Hoan. It may besaid that the work of Nobuiye is in no way directly associated with the schools in Owari Province. It is true that his tekkotsu resemble those found in the Kanayama, and other Owari schools, and that he was as skillful in his tekkotsu as they were. This similarity may be explained through the fact that Nobuiye and the various schools of Owari have a common origin in the katchushi tsuba makers. The schools of Owari did not need Nobuiye to teach them the art of making tekkotsu, as is often stated, for it was a family art with the artists of Owari and will be seen on their tsuba long before the time of Nobuiye.

Rather than the Owari schools we may find the origin of the style of Nobuiye closer to home. Namely in the work of Myochin Takayoshi. He used a style of yakite shitate that is very similar to the style used a little later by Nobuiye. There is some speculation that he might have learned some of his technique directly from Takayoshi,but the famous tsuba by Takayoshi seems to date earlier than the time of Nobuiye.

The area where Nobuiye worked is not clear. He seems to have been a traveling tsuba maker, for he is mentioned as having lived in several places. During his time the great center of samurai culture was the area called Kiyosu (a town between Kyoto and Nagoya). Naturally Kyoto was another great center of culture and the area between there and Kiyosu was much traveled. We may be sure that Nobuiye took this course often in his wanderings. There is no evidence to tell us the length of time he might have spent in either place. We are not even sure where in this area he might have died. It is traditional to speak of Joshu or Koshu as the areas familiar to Nobuiye. These places are the ones that should be associated with the 17th Myochin, the armorer Nobuiye.

The spirit of the Sengoku Jidai (1490-1600), will be seen in the religious, moral, and inspiring words that were the mood of the day. These incantations will be found emblazoned on the works of Nobuiye. This spirit of his time we see expressed often in his work, showing that he must have been well versed in the current thoughts of the day. In addition to the philosophy of his day there is a direct connection between Nobuiye and the great men of his period, such as Nobunaga, Hideyoshi, and Gamo Ujisato the Christian. The Christian religion had been brought to Japan only a few years before the time of Nobuiye and the tsuba artists were greatly interested in using the designs and signs of the new religion as decorations for their work. From this it is very easy to place the time of Nobuiye at the Momoyama age.

Thus far there has been mention of only one tsuba Nobuiye. We know through the rubbings of Nobuiye tsuba (seen in Nobuiye Tsuba Shu, 1926) that there are several distinct styles of signatures to be found on the many Nobuiye tsuba. These various styles were classified at great length by Akiyama. Though it would seem that several men with the same name might have made Nobuiye tsuba it can be stated that these various signatures should be grouped into two styles, thus giving us only two tsuba Nobuiye, a first and second generation. It is not difficult to distinguish between them. The first generation may be termed Gamei (elegant signature), this being the style called 'hanare' by Akiyama. This style is gentle, slight, and tasteful. It shows the quiet nobility of the subjects used in his decorations. The second generation which Akiyama called 'futoji-mei', 'katchu-mei', 'sakei-mei', and 'sumari-mei' are all the signature of this one generation. This style of signature may be called 'Chikara-mei' (mighty signature). It shows the strong,bold style seen in the thick plate and forceful carving. It can not be stated with any certainty what the exact relationship was between these two artists. It is possible that they were father and son, son-in-law, or brothers. In any event they seem to have been closely related. From the evidence, based on the style and subjects used, we have placed the working period of the first Nobuiye in the Momoyama age, from the Kiroku era to the Keicho era (1558-1614). The working time of the second generation is about the Tensho era to the Kanei era (1573-1643).

Nobuiye tsuba possess the highest form of the true aesthetic art. They are the work of master artists who could make their media bend to their slightest command. On close inspection one will see the detail of the hammer work and the quality of the forging rarely to be seen in any other tsuba. There are several artists who worked after the middle of the Edo age who signed Nobuiye. Though in appearance they may resemble the first and second Nobuiye, their work is inferior,though the signature is legitimate. The most important of these artists are: Joshu Nobuiye (H 07072.0), Kashu (Kaga) Nobuiye (H 07066.0), Akasaka Nobuiye (H 07065.0), Owari Nobuiye (H 07058.0 & H 07070.0). Two other artists of note are Echizen Nobuiye (H 07064.0) and Shoami Nobuiye (H 07069.0).

When the work of Nobuiye became famous through the rubbings of Nakamura and others in the late Edo age, the demand for his work and style grew very quickly. The armorers and sword-smiths who made tsuba in the late Edo age attempted a revival of the style of Nobuiye. The revival pieces show only the most cursory resemblance to the spirit and quality of the real Nobuiye tsuba. The best of the late imitators is only a shadow of the aesthetic principles expressed in the tsuba of the Momoyama age. The revival style tsuba are either unsigned, signed by the artist who actually made the tsuba, or forged with the name of Nobuiye.

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

An on-going study about the Wide - Space signature of NOBU     IYE

H 07074.0

	Published: NOBUIYE TSUBA by Iida Kazuo, Tokyo, 1981. 'JOSHU JU NOBUIYE'  H 07066.0    NOT FOR SALE "Momoyama/Early Edo Period. Mokko form with high raised mimi (the rim of this tsuba shows great cleverness and ability in its foundation, displaying every kind of tekkotsu), engraved with an overall design of scrolling foliage, probably Hagi plant, in kebori above two udenuki-ana. The ryohitsu plugged with thick gilt metal." (Long)
	'NOBUIYE'     $8000.00 "A well forged iron plate in almost square configuration. Four inome appear at the corners and there is a twisted rope design for the rim. Both hitsu-ana are the same, one has been filled with shakudo. The carving is simple yet robust which makes the entire piece very appealing. The mei is original and points this to the Owari 'NOBUIYE'. Dates to the late Muromachi period." (Long)
	'NOBUIYE'    Serious Inquiries Only "Large mokko shape iron plate nicely forged, hammered and carved with excellent patina and color. Further study and description coming soon." (Haynes & Long)
	'NOBUIYE'     $1200.00 "A round plate that is well hammered in true Nobuiye style with uchikaeshi rim. Kiri mon hot stamp appears at the same cross points on both sides. Almost all of the original black lacquer is intact with the exception of a few small areas. Signed: 'NOBUIE' H 07061.0. This is a masterly example of a Shoami Nobuiye tsuba. The shapes of the hitsu-ana and the surface treatment confirm a date of ca. 1500." (Long)
	'NOBUIYE'     $2500.00 H 07072.A "Owari Nobuiye, H 07070.0 dates to 1700-1750. Sato Kanzan hakogaki 1963" (Long) 7.70cm x 7.10cm x 0.35cm
	HIZEN 'NOBUIYE'     $2500.00 H 07072.A "Katana size iron mokko plate tsuba with the web carved in low relief of a male dragon in clouds. The seppa-dai is in the shape of the "Chinese" style often seen on the tsuba made in Hizen Province at the city of Nagasaki. The face is signed 'NOBUIE', in two large kanji. This style of the Nobuie signature does not match any of those recorded so far. It would seem this is an unrecorded Nobuiye who was living in the Hizen/Nagasaki area in the mid to later Edo period." (Long) 8.50cm x 7.50cm x 0.60cm
	MYOCHIN NOBUIYE     $1200.00 H 07075.0 (ca. 1550) "This artist worked in Shiroi in Kozuke Province who made helmets and signed them with his full signature. Wakayama vol. II p. 294 has 3 examples of these signatures. They are a good comparison to the Nobuiye signature found on tsuba. Dense well-forged iron plate (kurikomi-mokko-gata) with ample tekkotsu on the mimi." (Long)
	'NOBUIYE'     $1200.00 "Echizen Nobuiye, H 07064.0 dates to ca.1650-1700." (Long)
	'NOBUIYE'     $1000.00 "A small iron plate with the cherry blossom and omodaka design of Nobuiye's. There are vestiges of the NOBUIYE signature, only the first kanji is visable." (Long)
	'MINAMOTO no YOSHIYUKI'     $800.00 "Worked in the style and made copies of Nobuiye school tsuba. Large rounded square iron plate tsuba with raised rim, the plate carved with the classic tortoise shell pattern found on many Nobuiye tsuba. The plate surface well worked and showing the forging patterns that are famous in Nobuiye tsuba. The hitsu-ana are both kozuka shaped, one a little larger than the other. Mei: 'MINAMOTO no YOSHIYUKI'. See Haynes Index H 12327.0." (Long)
	SHOAMI 'NOBUIYE'     $500.00 H 07069.0    (Hosoji-mei)  (ca.1750-1800) "This artist was one of the last to use the Nobuiye name. He worked in Sanshu Okazaki ju, Mikawa Province using mostly the kinko style and did not make any Kiyosu Nobuiye tsuba." (Long)
	'SUNSHU JU NOBUIYE SAKU'     NFS "This artist is one of the few whose existence has been confirmed among tsuba craftsmen who call themselves Nobuiye with the name of their place of residence. Inscribed by the Sunshu family working in the Suruga Province. His style is Owari which is different from Nobuie's. Mei: 'SUNSHU JU NOBUIYE SAKU'. This is H 07071.0 in Haynes Index. Also refer to ASHIFU, H 00157.0." (Long)
	'NOBUIYE'     $2000.00 H 07074.0  (ca.1600-1650) "There are examples of the Nobuiye signature that have come to be called, the 'wide spaced signature', these tsuba are signed just Nobuiye, but the kanji are carved at the top and bottom of the seppa-dai area. Possibly the work of two different artists and their relationship to the Kiyosu Nobuiye is not known, but the quality of their work is very close to that of the Kiyosu group." (Long)
	'NOBUIYE'     $3000.00 H 07074.0 "Large oval mokko iron plate tsuba with raised rim, the edge and the plate carved with the classic tortoise shell pattern found on many Nobuiye tsuba. The plate surface well worked and showing the forging patterns that are famous in Nobuiye tsuba. The hitsu-ana are in the form of the Matsukawabishi mon, half forming each side. All these elements are repeated on the reverse side. The face is signed: 'NOBUIYE', see H 07074.0. This is a new, unrecorded example of what I have called the "wide spaced" Nobuiye signature." (Long)

Yamasaka Kichibei was the name of the first tsuba artist of this family. Later members of this school shortened the name to Yamakichibei, still later on we see the name Yamakichi. The working period of the first Yamasaka Kichibei is from Tensho to Keicho eras (1575-1615), about contemporary with the second Nobuiye.
Yamakichibei tsuba are among the very best iron sword guards ever made. Their mastery of certain features/processes such as tsuchime, yakite, and tekkotsu, especially in combination, reached heights never to be surpassed, and rarely equaled, resulting in tsuba with great predominance.
Study has shown that from the 1570's on up to the 1620's or so, the Yamakichibei atelier featured five or six supremely talented tsubako. There clearly were some fundamental ideas concerning aesthetics and techniques of production, but each tsubako was an individual whose work as an individual becomes clear when we take the time and trouble to study them carefully.

"In a world where the term 'unique' is among the most overused, Yamakichibei tsuba are unique. Nothing else looks like a Yamakichibei tsuba. They are distinct from all other sword guards, offering an instantly recognizable aesthetic. No other tsubako combined tsuchime, yakite-shitate, yasuri, and tekkotsu so distinctively and masterfully as did the Yamakichibei smiths. No others brought together design and motif as they did. The bold power of their expression is matched by few if any others. But even beyond their appearance, the sheer quality of workmanship in genuine Yamakichibei guards is second to none. And as metalworks embodying and emanating the values and principles informing the exquisite aesthetics of Buke Tea in Momoyama Japan, they are at the top of the mountain, superior to all others. The Yamakichibei tsubako stand with the few who produced the very finest sword fittings in Japanese history, and absolutely should be so recognized." ( Steve Waszak )

	'SAKURA YAMAKICHIBEI'    NOT FOR SALE "This artist often used a hot stamp in the form of a cherry bloom, following his signature. Thus he is known as Sakura Yamakichibei. In the past he was said to be the 3rd generation Yamakichibei, but he may have been a student of the school and not directly related. Examples of his work are very rare. Presented here is a rare iron plate tsuba in kawari mokkogata (12 sided) shape. There are file marks cut radially outward from the center to the circumference, very closely and compactly spaced, known as 'amida yasurime'. A stylish masterpiece with two cherry blossom sukashi, a work signed 'BISHU Sakura YAMAKICHIBEI' that is rare. This tsuba is very well finished and in good condition." (Haynes & Long)
	'YAMAKICHIBEI'    $2500.00 "A very fine example with family mon and dragon fly motif. The design and treatment of the plate, featuring outstanding tsuchime, tekkotsu, and yakite treatment, confirms the superb ability of this smith, all in a mokko-gata shape." (Haynes)
	'YAMAKICHIBEI'    $3000.00 "A mokko-gata iron tsuba with rustic sobriety and unpretentiousness as achieved by the Yamakichibei lineage is perfect in keeping with Zen aesthetic sensibilities that were popular during its time of manufacture. Furthermore, the overall quality, brown-ish color and abundance of globular and linear tekkotsu illustrates the close relationship to the origin of the school. The tsuba features two sukashi of 'katsumushi'. Both hitsu-ana are present, one being filled with shakudo. The nakago-ana has copper inserts. Signed: 'YAMAKICHIBEI'. Appears to have been made by the master, rather than being a daisaku/daimei piece. The workmanship expresses more feeling and power. Dates to ca. 1600." (Haynes)
	'YAMAKICHIBEI'    $3000.00 "Fine granular tekkotsu in the rim gives a moist luster. The beveling in the rim is very fine and creates a distinctive mood. The shape, a variation of the mokko-gata motif, was a speciality of the Yamakichi school. This work is very powerful and reveals the strength of the first hereditary Yamakichi master. On the left side of the upper surface of the seppa-dai are the very indistinct letters of the name Yamakichibei. Attributed with NTHK Kanteisho. With six Appraisers seals." (Haynes) 7.00cm x 7.60cm x 0.45cm

	'SADAHIRO'     Under Study - NFS 1st SADAHIRO "Sadahiro's signature iron tsuba published on page 359 of ZABO TANZEN Selection/Written by Kenichi Kokubo and Kenzo Otsubo''. The dark period rust is beautiful and the iron taste is very good. A Sanskrit character or a flame-like pattern is repeatedly carved or engraved along the inside part of the rim. The ears have streaky or granular steel bones." (Long & Haynes)
	'SADAHIRO'     Under Study - NFS 2nd SADAHIRO "This tsuba has an irregular octagonal shape with a slightly thinner structure from the face to the ears, allowing the base paper attached to the fan to be seen through. The style of deformed plate tsuba with watermarks is common to Yamayoshi's first generation. Although it is a simple shape, the flat ground has subtle variations with hammered marks and is grilled, giving it a mysterious atmosphere when combined with the soft shape. When you look at it, it creates a profound atmosphere that makes you feel as if you are having a Zen discussion with the author. Sadahiro is a forgotten figure, and his current reputation is not very high, but since a relatively large number of his works remain, at the time he was considered to be on a par with Nobuiye, Yamayoshi, and Hoyasu. It seems that he was a popular smith." (Long & Haynes)
	'SADAHIRO'     Under Study - NFS 3rd SADAHIRO "Sadahiro's signature iron tsuba published on page 359 of ZABO TANZEN Selection/Written by Kenichi Kokubo and Kenzo Otsubo''. The dark period rust is beautiful and the iron taste is very good. A cloud-like pattern in sukashi along the bottom of the plate. A paulownia above on the right. The ears have streaky or granular steel bones." (Long & Haynes)
	'SADAHIRO'     Under Study - NFS 3rd SADAHIRO "Sadahiro's signature iron tsuba published on page 143 of NIHON TOBAN ZUSETSU. The dark period rust is beautiful and the iron taste is very good, with high engraving of eggplants with gold inlay. The rim has granular steel bones." (Long & Haynes)
	'SADAHIRO'     Under Study - NFS 4th SADAHIRO "Attribution by Dr. Torigoye, 4th Sadahiro First Class Pre Edo, 1961." (Long & Haynes)

	'SADAYUKI'     Under Study - NFS "A large tsuba with an image of a toad in the shape of an iron plate, inscribed, made by Sadayuki (H 07929.0), with kogai hitsu-ana, sukibori carving, and uchikaeshi rim. This is a unique iron tsuba that is original and has an impact. Since it is the work of a swordsmith, it is well-trained and has a nice tone." (Long & Haynes)
	'SADAYUKI'     Under Study - NFS "Presented here is an exquisite iron tsuba with design of a rain dragon with golden eye. Known for his unique work of tsuba with frogs, this dragon complements his very notable world view. Made by Sadayuki (H 07929.0)." (Long & Haynes)

The OWARI school should be divided into three periods. The first period comprises those pieces made in the Muromachi age. The earliest tsuba of the first period are a little younger than the earliest Kanayama tsuba. The second period is the work of the Momoyama age. The third period is from the early Edo age to the Genroku era (1688-1703). A few facts may be stated based on examination of the work of this school. They are always of positive silhouette design. The subjects of the designs vary greatly but they always have in common a strong masculine feeling. They are a noble tsuba whose influence may be seen in many contemporary schools. Yamasaka Kichibei was the name of the first tsuba artist of this family. Later members of this school shortened the name to Yamakichibei, still later onwe see the name Yamakichi. The working period of the first Yamasaka Kichibei is from Tensho to Keicho eras (1575-1615), about contemporary with the second Nobuiye. The first generations lived in the Kiyosu area, but the later generations lived at Nagoya in Owari Province.

	PROTO-OWARI     Not For Sale "A Owari-Sukashi tsuba with lightning flash in the sky over waves. Momoyama period, ca. 1550." (Long & Haynes)
	'TODA HIKOZAEMON'     Not For Sale "Owari master craftsman, Hikozaemon Toda 's inscription, it is the actual product in the Zabo tsuba collection. Page 361, No. 404. Haynes Index H09700.0. Iron plate cherry blossom watermarks. Edo period." (Long & Haynes) 8.14cm x 8.17cm x 0.45cm
	OWARI     Serious Inquiries Only "This guard clearly has an Owari design, and the iron quality is excellent, a deep dark grey color approaching black. The rim is slightly rounded and is beautifully finished. Overall, this work is an expression of boldness and strength. A 1st Class Owari tsuba dating to ca. 1500-1550." (Long & Haynes)
	OWARI  School.  $2500.00 "An iron nade-kaku-gata (square with rounded corners) shape tsuba with four plant stems with dew drops, a design that is symetrical and connects the rim to the seppa-dai. Each hitsu-ana has a brass pillow and the nakago-ana is completely lined with brass. This guard clearly has an Owari design, and the iron quality is excellent, a deep dark brown color approaching black. The rim is slightly rounded and is beautifully finished. Overall, this work is an expression of boldness and strength. Dating to the early Edo period, ca. 1600." (Long & Haynes)
	OWARI    $2000.00 "An iron plate with tomoe motif. Dates to ca.1500, Muromachi period." (Long) 7.30cm x 7.00cm x 0.50cm
	OWARI    $600.00 "An iron nade-kaku-gata (square with rounded corners) shape tsuba with four flower petal design carved symetrical and straight. Each flower petal is linked with two chidori. There is no evidence of tekkotsu. Overall, this work is an expression of boldness and strength. Many Owari features can be seen demonstrating the highly creative ability of the artist and is among the best of ji-sukashi sword guards. Dating to the Mid Muromachi period." (Long) 7.40cm x 6.70cm x 0.50cm
	OWARI    $1500.00 "The guard depicted here, is a refined, solid-looking example. Its design is well balanced and the Ji-sukashi execution is sharp and crisp. The well forged iron has a dark, rich patina with a slight purplish hue. It is indicative of the quality of iron used for early Owari guards. The seppa-dai is somewhat elongated. The rim shows strong linear tekkotsu and its squared shape compliments the decorative forms." (Long) 6.60cm x 6.50cm x 0.55cm
	OWARI    $900.00 "A hard, refined iron tsuba with dark brownish patina. The rim and body of the guard together have pleasing movement which enhances the floral motif of the iris. As a design, the iris motif followed the familiar course of first appearing as a purely decorative device on clothing and carriages of the court nobility and then later being adopted as a family crest in both court and warrior circles." (Long) 6.55cm x 6.70cm x 0.65cm

There is another name by which Hazama tsuba are known, Kameyama school tsuba. In the period from Hoei to Kyoho (1704-1736) at Kameyama, in the province of Ise, the Kunitomo family made this style of tsuba. The original members of this family were from Kunitomo village in the province of Omi, just east of Lake Biwa. In the Momoyama age they had been gunsmiths. The later descendants moved to Ise Province. The sahari style of inlay had been used by this family for generations in the decoration of gun barrels. The Kunitomo family adapted the technique from the decoration of guns to that of tsuba. The two artists who are best known for the sahari style of inlaid tsuba are Sadahide and Masahide.

	HAZAMA     $1100.00 "The Hazama tsuba is one of the most sought after styles. The reason for this is the use of sahari inlay for the decoration of the bamboo. Sahari is an alloy of several metals that is very hard. The inlay is made from a combination of copper, tin, zinc, and lead. The mixture is then made into the shape of a stick. The stick is ground to powder and the powder is placed in the crevices on the plate that have been engraved to form the design. Then the powder is melted by fire. After the alloy has melted, and filled the areas of the design, the excess is filed from the plate and the surface is polished smooth to the face of the plate. Because the alloy fills the area of the design unevenly, and air pockets are left in the metal from the melting process, the resulting inlay has a corroded appearance. This is natural to the alloy and its method in melting. If it does not have this appearance it is not true sahari inlay." (Long) 7.90cm x 7.40cm x 0.20cm
	HAZAMA     $1800.00 "Sahari is an alloy of several metals that is very hard. The inlay is made from a combination of copper, tin, zinc, and lead. The mixture is then made into the shape of a stick. The stick is ground to powder and the powder is placed in the crevices on the plate that have been engraved to form the design. Then the powder is melted by fire. After the alloy has melted, and filled the areas of the design, the excess is filed from the plate and the surface is polished smooth to the face of the plate. Because the alloy fills the area of the design unevenly, and air pockets are left in the metal from the melting process, the resulting inlay has a corroded appearance. This is natural to the alloy and its method in melting. If it does not have this appearance it is not true sahari inlay." (Long)
	HAZAMA     $2100.00 "The technique is based on sand inlays on guns. This is created using a special inlay technique using lead called Sahari Zogan. The sand-bari inlay, which may seem plain at first glance, but when you look closely, it emits a unique iris, and even though it is plain, it has depth and is very wonderful. The NBTHK Hozon certification designates 'Mumei' to HAZAMA." (Long)

The Kinai style originally came from the Shoami school, in all probability, but it also was to borrow from the Choshu style as well. This combination of the Shoami-Choshu styles is the basic feeling of all Kinai tsuba. In considering the work of the Kinai school it is also necessary to mention the Akao school, for the fortunes of both are integrally entwined.
The tsuba of the Akao school for the most part, whether made in Echizen of iron plate, or in Edo of kawarigane plate, are better than the late work of the Shoami school and the kinko. The early work of this school shows the superior ability above that of the majority of the contemporary workers of their period. The number of pieces made by this school was few, for they worked exclusively for daimyo families. The general public very rarely had a chance to see the work of these artists.

	'ECHIZEN JU KINAI SAKU'     $1500.00 "Kinai tsuba for wakizashi, maru gata, dote mimi, kozuka and kogai ana are filled. Katachi bori sukashi design of a single aoi leaf shaped to be rounded, convex on ura and concave on omote. Ura mei “Echizen no Ju” “Kinai Saku”, probably Yondai Takahashi, late 1700’s."(Long) 7.65cm x 7.64cm x 0.54cm (seppa)
	'ECHIZEN ju AKAO'     NFS "Design is a temple bell, very large hanging several feet high. Signed: 'ECHIZEN ju AKAO'. This is a very early signature of a classic design of the school, about ca.1600. Dr. Torigoye illustrates this tsuba in the First Tsuba Kanshoki, page 249, top photo #479. This tsuba belonged to Robert Haynes about 1955 and he has not seen it for 50+ years. He just got it from a European auction a few months ago. Dr. Torigoye thought this piece to be the work of the 1st. generation Akao master. See Haynes Index H12225.0, 1st Akao Yoshitsugu. A piece is dated 1677 but not signed - (the 1st Kinai of Echizen was contemporary with the 1st Akao)." (Haynes)
	'ECHIZEN ju AKAO'     NFS "A katana size Akao school tsuba with design of informal Kiri mon. Katana size Akao examples are rare. Were this not signed we would have no idea who made it. This artist is said to be the founder of the Akao family school and worked about 1650. His work is very rare. Signed: 'ECHIZEN ju AKAO JINZAEMON no JO SAKU'. Refer Haynes H02059.0. See bottom of entry for full signature in kanji." (Haynes)
	"ECHIZEN JU" "KINAI SAKU"     $1200.00 "Dai (7.15cm x 7.40cm x 0.45cm) Sho (6.90cm x 7.20cm x 0.45cm) Kinai tsuba in the design of two aoi leaves with long stalk, showing front and back, nademaru gata, kaku mimi. Kozuka and Kogai ana filled with shakudo on Dai tsuba. Omote mei on both "Echizen no Ju" "Kinai Saku", both by same artist. A common decchi Kinai design of Rokudai period." (Haynes & Long)

'GOTO RINJO'     NOT FOR SALE "A shakudo plate with the finest and most delicate nanako surface. This decoration appears on both faces and the rim. The size of the dots and the regularity of the work is marvelous as the dots must be placed entirely by touch. On the omote we find peonies and butterflies along with other foliage inlaid with gold and shakudo. On the ura are more butterflies and chrysanthemums inlaid with gold and shakudo. The mei reads: GOTO RINJO with Kao. (H 07553.0) This is the only known and rare example of his signature. He is considered the founder of the Goto Hanzaemon family line and the third son of Goto Kyujo (H 03741.0)."(Long) 7.15cm x 7.70cm x 0.40cm plate

GOTO Den     $4000.00 "It is the Hinode Tsuru figure tsuba that was identified as Goto Den, though it was unnamed. The workmanship is classified as mokko shape shakudo with fine nanako ground and takabori with iroe ornamentations resembling that of Goto Jujo. The carvings as the iroe are very delicate and result in a finely detailed and elegant style."(Long) 6.25cm x 5.55cm x 0.70cm (seppa)

The artists of the Kaga school followed the designs of the Kano painters and the style of the Goto school of metal carvers. The earliest artists, Yoshishige, who was also a painter, and his brother Kuninaga, were connected with the house of the Daimyo of Kaga province about the middle of the 17th century. Yoshinori, Yoshikuni, and Yoshitsugu were noted pupils of this school. Morisada, a distinguished inlay worker of Toyama, a town in the same daimyate, is also classed with them. Ujiiye,a pupil of Goto-Kenjo of the Goto school, came to Kaga from Fushimi about 1650 and joined the ranks of the Kaga artists. As a school they are famed for their great skill in inlay work (hira-zogan, also known as 'true zogan').

In former times at Edo, Shinchu-zogan tsuba were called Yoshiro tsuba. In Edo this name applied to all brass inlaid tsuba with floral designs. Yoshiro tsuba originate from the Heianjo-zogan school and are not of independent origin. They represent one derivative style of the later Heianjo-zogan tsuba. The term 'Yoshiro' is part of the name of Koike Yoshiro Naomasa. The Kaga inlay style, native to the province, was far different from that used by Koike Yoshiro, and it would seem that after his period his style was no longer practiced in Kaga. The native Kaga inlay style was in parallel production to that of Yoshiro. Although the iron quality is good in the Yoshiro work the most admirable quality is the fine brass inlay. The contrast of the color of the iron with that of the brass is very fine in the Kaga Yoshiro work. This is not to be found in other brass inlay.

	'BIZEN YOSHIRO NAGATSUGU SAKUKORE' Serious Inquiries Only "This is a masterpiece made by 'NAGATSUGU', H 06536.0 in the Haynes Index. A fine shakudo plate with the finest of gold inlay. See the 'Tsuba Kanshoki' II on pg. 66 for an iron example of his work." (Haynes & Long) 7.70cm x 8.30cm x 0.50cm
	BIZEN YOSHIRO  Tsuba  POA "An excellant example of a unsigned Bizen Yoshiro tsuba. The inlay is excellant and even extends over the edge of the eight-petal chrysanthemum area. The design between the mon are bamboo stems. Dates to the Muromachi period, ca. 1400." (Haynes & Long) 7.90cm x 7.90cm x 0.40cm
	KAGA Province   Serious Inquiries Only "Presented here is an excellent example of Yoshiro work from the Kaga Province. Iron plate in mokko shape with four inome, with shakudo fukurin and brass flat inlay. Also line inlay needle stone. It has a simple pattern of chestnut, rat, and clouds on a moist and smooth surface with good iron taste and the shakudo fukurin is carefully and skillfully attached. There are no omissions in the brass inlay and it appears like a golden painting depending on the lighting. Consider that in the sixteenth century, brass was still a metal imported from China and considered extremely valuable. Dates to ca. 1500-1550." (Haynes & Long)
	YOSHIRO  Tsuba  $8000.00 "Presented here is a fine example of a YOSHIRO tsuba. In Edo this name applied to all brass inlaid tsuba with floral designs. Yoshiro tsuba originate from the Heianjo-zogan school and are not of independent origin. The term Yoshiro is but part of the name of Koike Yoshiro Naomasa. Naomasa worked about the Keicho era (1596-1614). The plate metal is iron of good quality and hardness like Heianjo-zogan work. The forging is very good. As seen here, the iron quality is good with the most admirable quality being the fine brass inlay making the contrast very elegant. An exemplary example of a YOSHIRO tsuba." (Haynes & Long)
	YOSHIRO  Tsuba    NOT FOR SALE "A well forged iron plate with eight roundels - circular emblems of family crests (mon) made of cast brass, pierced and chiseled in kebori, with Kiri mon at the top. Also with flat brass inlay (hira-zogan) of bamboo stems between each pair of mon. There are eight different kamon in sukashi, which are obviously visible on both sides. These sukashi sections that are inlaid into the plate are refered to as ranma-bori because they have the appearance of the ranma (transom panels with openwork carving) that are seen in Japanese temples and other important buildings above walls and doorways. Dates to ca. 1500-1550. Attestation by Dr. Torigoye hakogaki signed 'SOTO' dated 1954, First Class, Muromachi period."(Long)
	KAGA YOSHIRO  Tsuba  POA "A well forged iron plate with eight roundels - circular emblems of family crests (mon) made of cast brass, pierced and chiseled in kebori, and with flat brass inlay (hira-zogan) of bamboo stems between each pair of mon. There are eight different kamon in sukashi, which are obviously visible on both sides. These sukashi sections that are inlaid into the plate are refered to as ranma-bori because they have the appearance of the ranma (transom panels with openwork carving) that are seen in Japanese temples and other important buildings above walls and doorways. Dates to ca. 1450." (Haynes & Long) 7.95cm x 8.01cm x 0.30cm
	YOSHIRO  Tsuba  $3800.00 "A maru-gata and maru mimi tsuba of well forged iron plate with eight roundels - circular emblems of flowers and/or family crests (mon) made of cast brass, pierced and chiseled in kebori, and with flat brass inlay (hira-zogan) of floral stems. This inlay style is Kaga Yoshiro zogan where the brass is inlaid into channels and then filed back to be flush with the surface of the iron plate. All inlay is present. The hitsu-ana are original and outlined in brass. There are eight different kamon in all on both sides. All kamon are in sukashi, which are obviously visible on both sides, are of various daimyo families. These sukashi sections that are inlaid into the plate are refered to as ranma-bori because they have the appearance of the ranma (transom panels with openwork carving) that are seen in Japanese temples and other important buildings above walls and doorways. Traditionally the Yoshiro school (Kaga-Yoshiro) produced tsuba decorated in silver, brass, and shakudo hira-zogan. This very fine example dates to ca. 1500." (Long)
	KAGA YOSHIRO  Tsuba  POA "A well forged iron plate with five roundels - circular emblems of flowers and/or family crests (mon) made of cast brass, pierced and chiseled in kebori, and with flat brass inlay (hira-zogan) of stems. This inlay style is Kaga Yoshiro zogan where the brass is inlaid into channels and then filed back to be flush with the surface of the iron plate. The hitsu-ana are outlined in brass. There are five different kamon in all on both sides. All kamon are in sukashi, which are obviously visible on both sides, are of various daimyo families. These sukashi sections that are inlaid into the plate are refered to as ranma-bori because they have the appearance of the ranma (transom panels with openwork carving) that are seen in Japanese temples and other important buildings above walls and doorways. Dates to the end of the Muromachi period, ca. 1500. Accompanied with a Hakogaki by Sato Kanzan" (Long) 8.15cm x 7.85cm x 0.35cm
	BIZEN YOSHIRO  Tsuba  $3600.00 "A maru-gata and maru mimi tsuba of well forged iron plate with six roundels - circular emblems of flowers and/or family crests (mon) made of cast brass, pierced and chiseled in kebori, and with flat brass inlay (hira-zogan) of vines with flower buds. This inlay style is Yoshiro zogan where the brass is inlaid into channels and then filed back to be flush with the surface of the iron plate. All inlay is present with the exception of four very small pieces. The rectangular hitsu-ana is original as is the kozuka-ana that is outlined in brass. Note the thickness of the sekegane in nakago-ana. There are six different kamon in all on both sides. All kamon are in sukashi, which are obviously visible on both sides, are of various daimyo families. These sukashi sections that are inlaid into the plate are refered to as ranma-bori because they have the appearance of the ranma (transom panels with openwork carving) that are seen in Japanese temples and other important buildings above walls and doorways. Appears to be Mumei but if close study under good light there are vestiges of a mei belonging to SABURO DAIYU. Dates to ca. 1500-1550. This is 100 years earlier than Naomasa." (Long) 8.10cm x 8.30cm x 0.30cm
	'SABURODAIYU' $8000.00 "This is the flush brass inlay artist often with designs of brass sukashi family mon with vines and tendrils with flower buds on the iron plate. Dates to Momoyama period, ca. 1500-1550. A very fine 1st class example of 'SABURODAIYU' of the Koike family. Worked in Okayama in Bizen Province. Refer to H 07660.0 in Haynes Index. Close relationship with Koike Yoshiro (H 06677.0) group.
	KOIKE YOSHIRO  Tsuba  $6000.00 "A well forged iron plate with six roundels - circular emblems of family crests (mon) made of cast brass, pierced and chiseled in kebori, and with flat brass inlay (hira-zogan) of tied bundles of plants separating each mon. There are six different kamon in sukashi, which are obviously visible on both sides. These sukashi sections that are inlaid into the plate are refered to as ranma-bori because they have the appearance of the ranma (transom panels with openwork carving) that are seen in Japanese temples and other important buildings above walls and doorways. It should be noted that these MON represent familys living in the Northern area of Japan. Dates Momoyama period, ca. 1600-1650." (Haynes & Long)
	HOKORU YOSHIRO $4000.00 "A large rounded square iron plate with gold inlay defined as 'Hokori Yoshiro.' Dr. Torigoye labeled this type of inlay as 'gomoku zogan' or trash inlay. There appears on both omote and ura three or four family mon, one being the Hosokawa Mon. A 1st Class example of this very rare style of zogan inlay and design. Dates to ca, 1600. A great deal more study is needed."(Haynes & Long) 8.00cm x 7.50cm x 0.45cm
	KYOTO YOSHIRO $1000.00 "The plate metal is well forged iron of good quality and hardness, normally used in Heianjo-zogan work. The most admirable quality is the fine brass inlay making the contrast very elegant. An exemplary example of a YOSHIRO tsuba."(Long) 7.90cm x 7.90cm x 0.45cm
	'KAGA JO FUJIWARA TOSHISADA' Not For Sale "Early Edo period Kaga iron work with shakudo fukurin. There is a residue of black lacquer. There is the presence of very fine amida yasurime which one could speculate whether this finish was originally intended to have a particular religious meaning."(Long) 8.48cm x 8.50cm x 0.40cm
	FUSHIMI YOSHIRO $800.00 "The school and style is of the Fushimi Yoshiro group. They were living at Fushimi at the same time Kaneiye was there. They did brass inlay but not of the Kyoto style and worked in a style all their own. Landscape and human figures were used in their designs. A well forged iron plate with a design of rain falling amongst the landscape. The plate in mokkogata shape with kozuka-ana. Dates to ca. 1550."(Long) 7.00cm x 7.50cm x 0.40cm
	YOSHIRO MON-SUKASHI  Tsuba  $600.00 "A well forged iron plate with six roundels - circular emblems of flowers and/or family crests (mon) made of cast brass, pierced and chiseled in kebori, and with flat brass inlay (hira-zogan) of stems. This inlay style is Kaga Yoshiro zogan where the brass is inlaid into channels and then filed back to be flush with the surface of the iron plate. The channels are visible in places where the brass is no longer present. The hitsu-ana are outlined in brass. The bamboo motif separates the mon. There are six different kamon in all on both sides. All kamon are in sukashi, which are obviously visible on both sides, are of various daimyo families. These sukashi sections that are inlaid into the plate are refered to as ranma-bori because they have the appearance of the ranma (transom panels with openwork carving) that are seen in Japanese temples and other important buildings above walls and doorways. The un-refined design and style confirm the date of ca. 1450-1500."(Long) 8.00cm x 8.10cm x 0.30cm

	Proto Akasaka   $6000.00 "Round (maru gata) iron tsuba with sukashi of bamboo and leaves. The bold, symetrical design and well forged iron with conspicuous tekkotsu and multiple layers of metal visable, seems to date this to ca. 1500." (Haynes & Long) 7.5cm x 7.5cm x 0.70cm
	KO-AKASAKA   $4000.00 "First generation Akasaka. Iron sukashi tsuba with design of water containers. Mumei. Accompanied with Hakogaki by Sato Kanzan." (Long) 7.40cm x 7.20cm x 0.50cm
	PROTO-AKASAKA   $1200.00 "Iron sukashi tsuba with design of chrysanthemum and kiri (paulownia). The horizontal lines represent water, perhaps with back to back waves. Mumei. Accompanied with NBTHK Hozon paper to Akasaka school." (Long) 7.40cm x 7.20cm x 0.50cm
	AKASAKA   $2000.00 "The theme of this tsuba is Sugawara: Pine tree, Plum tree, and Cherry tree. The concept is based on 'Sugawara and the Secrets of Calligraphy' that is a Japanese play that has been performed in bunraku and kabuki. The main characters of the play are Umemaru (plum tree), Sakuramaru (cherry tree), and Matsuomaru (pine tree), in order to save the son of Sugawaru. Matsuomaru used his own son as a decoy who was killed. It is a famous design crafted by the Akasaka Tradition. It is mumei but has been attributed to the Akasaka Tradition with Hozon Tosogu on November 1st, 2012." (Long)
	Akasaka     $1000.00 A well cut iron Akasaka style tsuba of a motif of grass. Dates to ca. 1750 or later.(Long)
	Akasaka Tadashige     $2000.00 "Iron tsuba with plants in sukashi. This work by Akasaka Tadashige, H 09150.0. Said to be the 3rd Akasaka."(Long)
	AKASAKA     $2000.00 "Presented here is a round iron Akasaka tsuba of a Mantis and Wheel. This is a representation of the mantis that confronts a wheel in a reckless and innocent manner. In the Samurai world it is praised. The condition is relatively good though it displays a sword wound. On page 205 of SUKASHI TSUBA, the work of the 3rd Akasaka Masatora (H 04577.0) is listed. The design is almost exactly the same down to the smallest details. It matches wonderfully."(Haynes & Long)
	Akasaka     $1800.00 "Iron plate in the form of a crane over pine trees and clouds. A classic later Akasaka school design that is seen in many variations. Very fine thin line surface carving on both sides of the crane. A well done later Akasaka work in classical style." (Haynes) Origami of the NTBK, Nihon Tosogu Bi Kan group, dated February 26, 2001. States: 'Well done Akasaka work dating to ca. 1750 or later.' 7.60cm x 8.20cm x 0.45cm
	Akasaka  Myoga-Gan Kintoru   $3000.00 "A classic late Akasaka piece with excellant iron and a familiar design that we see often. The box cover say's 'TADATOKI' but which one is unsure. (Haynes) Accompanied with NBTHK Hozon dated 2014. Mumei to AKASAKA.
	'TADATOKI'   $5000.00 "This is the work of the First TADATOKI (4th Akasaka)."(Haynes) Accompanied with NBTHK Hozon attributed to 'TADATOKI'.
	Akasaka     $1800.00 "A large late Edo period (ca.1800) Akasaka tsuba with excellent black patina and fine tekkotsu. Highly forged iron is used; the hitsu-ana and seppa-dai are very well formed. The shape of the hitsu-ana can be classified as the work of the seventh master and the fourth Tadatoki (H 09168.0). The excavation of the seppa-dai was used by the samurai to conceal something of value, a prayer or gold. The imaginative concept and surprising design are testimony to the great genius of this Akasaka master portraying the energy of the school. A roof made of bamboo and the rectangle shape representing a framed plaque containing an inscription normally hung over a doorway, are two examples of Akasaka motif." (Long) 8.23cm x 8.39cm x 0.52cm

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 sukinokoshi or 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. In the later work of the Saotome school there is a combination of rough hammered surface and kokuin (hot stamped design). On occasion the Nara school or other Kinko used the Saotome plate as a base for their decoration. The Saotome kiku sukashi plate was 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 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. In the later work of the Tembo school we find such signatures as Tempo, Yamashiro Ju Tempo, Sanada Tempo and Sanoda Tempo (see 'Sanoda'). Those Tembo tsuba having signatures are usually of better workmanship than the unsigned.

In summation, there are three periods of kokuin tsuba. First, the original Saotome work and the slightly later Tembo, plus a few of undetermined origin. Second, the work of the Hoan-Heianjo and the first period imitations of the Saotome-Tembo style. Third, are the common late Edo period imitations which are, in turn, copies of the imitations of the second period.

	O - DAI SAOTOME    POA An iron plate tsuba that was mounted on a large katana, pierced in negative sukashi of 48 petals. The spokes join in the center of the plate to the seppa-dai. Some of the spokes appear to be inlaid, some are not but it is very hard to tell based on the age and quality of the work. The iron appears well forged and finished to represent great strength. (Long) 9.80cm x 0.47cm
	DAI SAOTOME    POA "An iron plate tsuba that was mounted on a large katana, pierced in negative sukashi of a 64 petal kiku (chrysanthemum) flower. The spokes join in the center of the plate to the seppa-dai and single hitsu. The hitsu-ana has a pillow. Upon close and magnified study, all of the spokes are inlaid. This was done with precision and aggrandizes the quality of this piece. The age and quality of the work dates to ca. 1550-1600. The iron appears well forged and finished to represent great strength. Accompanied with a NBTHK Hozon certificate." (Long) 8.30cm x 8.20cm x 0.60cm
	'SAOTOME IETOSHI'   NOT FOR SALE "Saotome work of a design of Kiku bloom and leaves. A very original version of this classical Saotome and Umetada design. Signed: 'SAOTOME IETOSHI', H01819.0. Seems to have worked at Hitachi about 1700. Since Wakayama does not list this name we do not know his relationship to other Saotome of his period. We do know that this style of design was used by other Saotome of his period and he was as fine of artist as other members of the Saotome school. A very rare Saotome example and very important for the signature." (Haynes)
	SAOTOME KO SAKU   $3300.00 "An excellant, strongly forged iron ground Saotome tsuba with sukashi of two family mon design. Probably the prized tsuba of a very skilled samurai. The Saotome school originates from the Myochin school, and were very skilled at producing superior iron and iron tsuba." (Haynes) 7.85cm x 7.52cm x 0.28cm
	SANADA TEMBO   $1000.00 "Scattered tsuba with iron mallet joint round inlay, unsigned, one hitsu filled. It is a blunt and artistic fukiyose brass inlaid tsuba. I think it's Sanada Tembo because it's made in a different place and has letters stamped on it. There is an explanation on page 15 of "The Beauty of Japanese Tsuba" by Arthur H. Church. Although there are stains, and rust over time, it is a gem with an old-fashioned taste." (Haynes) 8.39cm x 8.24cm x 0.45cm
	'ODAWARA SUMI SAOTOME IESADA'   $7500.00 "Iron mokko form plate with well hammered surface. Fine iron bones appear on the rim edge. This Saotome school work shows the very best of this important school with the quality of the iron plate, the very fine hammer work, plus the excellant design. More of this write-up to follow. This example was made about ca 1450-1500." (Long) 8.60cm x 9.50cm
	'JOSHU JU SAOTOME IESADA'    NOT FOR SALE "Iron plate of a deep purple black color of great richness. The oval plate formed as 42 petals of a chrysanthemum bloom, with a leaf of the plant folded over the left and right sides. The right leaf showing the face and the left leaf showing the backside. Of katana size (see below). It is interesting to note that this tsuba is very "heavy" and dense when compared to others of its size and form. It may contain meteoric iron. It is signed on the face: 'JOSHU JU' (Hitachi Province) on the right side of the seppa-dai, and 'SAOTOME IESADA' on the left side. The kozuka ana is filled with a shakudo plug." (Long) 8.20cm x 8.20cm x 0.40cm

The quality of this school has appealed to all tsuba connoisseurs for hundreds of years. The finest Higo tsuba are faultless in every area of their craftsmanship, aesthetic taste, and fundamental art. Their wide variety of styles and techniques embrace nearly every aspect of the art of the tsuba.
The four great Higo masters were under the patronage and protection of Lord Hosokawa Tadaoki, Daimyo of Higo Province. Hirata Hikozo, Hayashi Matashichi, Shimizu Jingo, and Nishigaki Kanshiro were four of the greatest artists in the entire history of the tsuba and of the early Edo age.
In soft metal tsuba and those of ita plate the ability of the first Hirata Hikozo stands supreme. In sukashi tsuba Hayashi Matashichi is incomparable. For shinchu zogan no one can equal the power and beauty of the first Shimizu Jingo. The beauty of the sukashi plate of Matashichi and the powerful treatment of the soft metal plate of Hikozo are combined in the work of the first Nishigaki Kanshiro.
A few generalities may be made about Higo tsuba that are applicable to all master works produced by this group. The quality of their iron plate is excellant. The temper is fine and the surface shows rich variation proving their superior ability in hammering. The color of the iron is usually dark with a fine luster and rich color of great depth. The designs of the tsuba, made by these artists, are unequaled in originality and conception in any other school. These designs greatly influenced many of the schools working in the Edo age.
The inlay work of this group has a very pleasing color contrast with the iron plate. The style of the sukashi is always menwo toru, meaning the edges of the perforation have been slightly rounded. The chiseling is powerful but not rough. The shape of the hitsu ana are tasteful but not well designed. In general, the feeling of the Higo tsuba is comfortable, round, smooth, very rich and appealing in appearance, never weak or decadent. The Higo tsuba is a perfect blend of the first aesthetic beauty with the utilitarian aspects that all true tsuba must have.

HIRATA HIKOZO TSUBA

UMETADA HA

BUSHU/CHOSHU TSUBA

MITO School

JAKUSHI-HIZEN

MINO School

KO-NARA & NARA

SADO ISLAND

'SANKEI'

KAZUTSUNE (H 03052.0)

SOTEN

SOFT METAL (KINKO) TSUBA

KO-KINKO, (Ko-Mino, Ko-Goto), and KINKO Tsuba

The  NARA  SANSAKU

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