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Thin iron tsuba of round form with design of family crests (mon) and arabesque (karakusa) in brass or copper inlay (suemon-zōgan) and occasional scattered brass dots or nail heads in ten-zōgan. Seppa-dai outlined with brass wire in the shape of a rope; kozuka-hitsu-ana outlined with scalloped brass wire. Rounded rim with iron bones (tekkotsu). The surface covered with lacquer (urushi). Ōnin school. Late Muromachi period, 16th century. Family crests on the face: 1:30: Two lines (double stripe) encircled (maruni futatsu biki). 4:30: Stylized clove (choji). 7:30: Divided rhombus, or four lozenges incorporated in one (wari-bishi); it is also called Takeda-bishi, the family crest of warrior Takeda Shingen (among the others). 10:00: Stylized Genji-mon (Genji kō-zu) or incense symbol. On the reverse: 2:00 - "Chinese cloud" not a crest. 5:00: Bit (Kutsuwa) 7:30: Number four in a fan (ōgi-san) 10:30: Two dots in a well frame (igeta). -
Iron tsuba of round form profusely decorated with brass inlay of plants, birds, well, and family crests (mon) in suemon-zōgan technique and occasional brass dots (nail-heads) or ten-zōgan. Seppa-dai and kozuka-hitsu-ana outlined with brass inaly, possibly repaired: rope-shaped wire here and there replaced with flat wire. The plate is very thin, with remnants of lacquer. Ōnin school. Size: 75.8 x 75.2 x 2.3 mm. Weight: 77.5 g. On the front side (omote) motif includes the following elements (from 12 o'clock, clockwise):- Water plantain (a.k.a. arrowhead, or omodaka): "a perpetual plant of the water plantain family, was also called shōgunsō (victorious army grass). Because of this martial connotation, it was a design favored for the crests of samurai families" [see: Family Crests of Japan. // Stone Bridge Press, Berkeley, CA, 2007; p. 63].
- Heron (sagi): "...considered an emblem of longevity, and from China comes the practice of regarding the bird as a mount of the gods and the Taoist sennin. [...] heron also reflects an inauspicious connotation, for the word sagi is homophone for 'fraud' and 'false pretenses'." [see: Merrily Baird. Symbols of Japan. Thematic motifs in art and design. // Rizzoli international publications, Inc., 2001; p. 112]. Some may say, that this is not a heron but a crane (tsuru). It's very possible, and in this case the negative connotation is lost, but the reference to longevity and allusion to sennin remain.
- Pampas grass (susuki, or obana): as per Merrily Baird, p. 95 and John W. Dower, p. 66, pampas grass is one of the Seven Grasses of Autumn. When combined with flying wild gees, conveys strong autumnal mood.
- Plum blossom (ume): according to Merrily Baird, the flower has a vast variety of symbolic meanings, including longevity, and a reference to the Chinese Taoists. It is used in 80 family crests [see: Japanese Design Motifs: 4,260 Illustrations of Japanese Crests; Compiled by the Matsuya Piece-Goods Store; Translated by Fumie Adachi. // Dover Publications, Inc., 1972.] Plum is "celebrated for its sweet perfume, delicate blossoms, and habit of blooming at the end of winter".
- Tree flying wild geese (kari): "Wild geese arrive in large flocks in southern regions during the autumn months, and following their migratory instincts, head back north in spring" [Family Crests of Japan, pp. 85-86]. "The importance of geese in Japanese art was further secured by stories of several military heroes who had achieved victory in battle when a sudden breaking of ranks by flying geese signaled an ambush. The protective role of the birds led to their frequent use in decorating sword furnishings and possibly also their adoption as a family crest motif.Finally, the goose in Asia plays a role in religious traditions" [Merrily Baird, pp.111-112].
- Hikiryō (line, or bar, or stripe) - a symbol which consists of one, two, or three horizontal or vertical stripes in a circle. "In wartime, Japanese generals [...] surrounded their encampments with huge cloth curtains. Usually these were made of cloth sewn together horizontally and varying in color [...] to distinguish the individual general and his followers. The stripe thus assumed strong martial connotations, and became a mark of identification on personal military gear as well. In the early fourteenth century the heads of the Ashikaga and Nitta, then the two most powerful clans in Japan, both adopted stripe patterns as a family crest". [See: Family Crests of Japan, p. 111 and John W. Dower. The elements of Japanese design - A handbook of family crests, heraldry & symbolism. // Weatherhill, New York, Tokyo, 1985, p. 144].
- Hikiryō, see above.
- Pampas grass (susuki, or obana), see above.
- Bellflower (kikyo): One of the Seven Grasses of Autumn. "As a crest, it have been adopted among the warriors around the thirteenth century, primarily because of it's beauty" [John W. Dower, p. 48].
- Four flying wild geese (kari), see above.
- Weeping willow (yanagi): "It is commonly represented with water, snow, swallows, or herons. A branch of willow (yoshi) is one of the attributes of the Buddhist deity Senju Kannon (Thousand-Armed Kannon), who is said to use the branch to sprinkle the nectar of life contained in a vase. [Merrily Baird, pp. 66-67].
- Lone plum blossom in a well frame/crib (igeta, izitsu): "Well crib was one of the most popular motifs in Japanese heraldry". As a crest it may stay simply for the first character (i) of the family name, however, with a flower inside the well frame, and together with the other symbols present, it may aggravate the sense of autumn-ness. The ten-zōgan dots in this particular case may represent the snowflakes or autumn stars.
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Iron tsuba of quatrefoil form with design of bamboo stems and leaves, and a plank bridge in openwork (sukashi). Hitsu-ana of irregular form. Iron with smooth chocolate patina. Copper and shakudō sekigane. This piece is illustrated in Sasano: Japanese Sword Guard Masterpieces from the Sasano Collection, 1994 on page 295 under № 254 with the following description:Nishigaki. First generation Kanshiro (died in the sixth year of Genroku, 1693, at the age of 81). Sukashi design: Bamboo (take). Early Edo period, late 17th century (Kanbun / Enppo era). Height: 72.6 mm; Width: 71.5 mm; Rim thickness: .6 mm; Centre thickness: 5.1 mm. Rounded rim. The shape of this sword guard is a quatrefoil and the design is arranged in the form of a saddle flap. Two bamboo trunks with leaves comprise the design. Calm, soothing and sophisticated are the features of this artist in his later years. Such characteristics may remind one of the work of the first Hikozo.
Provenance: Sasano Masayuki collection, № 254. What is interesting, and what had been found by Bruce Kirkpatrick, is that in the earlier photograph of the same piece ['Sukashi tsuba - bushido no bi' by Sasano Masayuki, photography by Fujimoto Shihara, 1972 (in Japanese), page 245, №201] we clearly see kebori - linear carving that decorates the bamboo leaves and the planks of the bridge. The said kebori have totally disappeared between 1972 and 1994. The tsuba became absolutely flat! Now we can only speculate about the reasons for such cruel treatment of the artistically and historically important item.
Sukashi tsuba - bushido no bi. Author: Sasano Masayuki, photography: Fujimoto Shihara, 1972 (in Japanese). Page 245, №201.
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A yamagane (unrefined copper) ko-kinko tsuba of slightly elongated round form with design of wisteria carved in sculptural relief (nikubori). Copper sekigane. Unsigned. Muromachi period, likely the 16th century.Size: 74.3 x 71.8 x 3.2 mm.
NBTHK certificate №4003986: Hozon (worthy preservation). In custom wooden box. -
Iron tsuba of oval form with design of a gourd or aubergine vine with fruits, leaves, and blossoms climbing a trellis, and a fence in yellow brass and red copper flat inlay (hira-zōgan); inlay engraved. Two latticed windows represented by openwork (sukashi). The iron web has deep black patina. The seller attributes this tsuba to Heianjo-Namban school, whatever it means. Momoyama or early Edo period, 17th century. Kaga or Heianjō School. Unsigned. Height: 77.3, Width: 73.1, Thickness at seppa-dai: 3.6 mm. -
Iron tsuba of round form with design of two paper lanterns in openwork (small cut-outs, ko-sukashi ) outlined with brass wire. The plate is decorated with four concentric rows of brass dot inlay (ten-zōgan), with a brass circular wire inside the innermost row of dots (missing on the back). Hitsu-ana of rectangular form is not outlined with brass wire, which let us suppose that it was cut out at a later date. Copper sekigane. Mid Muromachi period (1454-1513). Diameter: 74.0 mm, thickness: 2.6 mm. Tsuba is illustrated at: 新版 日本刀講座 小道具鑑定編 本間 薫山 佐藤 寒山 : Shinhan Nihonto Koza, Volume VI, Kodogu Part 1. Under supervision of Honma Kunzan and Sato Kanzan. 鍔 無名 応仁 鉄地) 丸形 小透 槌目 真鍮据文 点象嵌 丸耳 : Tsuba with no signature, Ōnin style. Base metal iron (jigane), round shape, small perforations (ko-sukashi), hammering finish (tsuchime). Pre-cast brass inlay (shinchu suemon-zōgan); dot inlay (ten-zōgan); round edge (maru-mimi).
English translation of the book indicated above Nihon Tō Kōza, Volume VI, Part 1 by Harry Afu Watson, AFU Research Enterprises, Inc., 1993. Tsuba in question illustrated on page 14 and described as follows: " Tsuba mumei Ōnin. Tetsu ji maru gata ko-sukashi tsuchime shitate shinchū suemon ten zogan maru mimi. Brass suemon". My question remains: why such a text is called 'translation' while it looks more like transliteration of romanization? -
Japanese lacquer writing box (suzuribako) with an eagle sitting on a pine tree over the see waves. Rectangular box with rounded corners, slightly convex overlapping lid. Lacquer on wood with maki-e decoration in gold powder. The lid decorated inside with pine cones and needles over gold maki-e. Edo or Meiji period, 19th century. -
Iron tsuba of round form with design of two parallel crossbars and two rings in openwork (sukashi). Rounded square rim. Moderate iron bones (tekkotsu) allover. Copper sekigane. Kanayama school. Momoyama period (or late Muromachi). Size: 74.5 x 74.0 x 5.5 mm. The rings possibly represent the sun and the moon, or the stars. The parallel crossbars may represent the "two stripes" (futatsu biki) family crest (incl. Ashikaga family). -
Iron tsuba of round form decorated with inlay of four concentric rows of brass dots or nail heads (ten-zōgan) and a circular brass wire inlay inside the innermost row of dots. Copper sekigane. Muromachi period, 15th or 16th century. Unsigned. Ōnin school. Size: 87.9 x 87.8 x 2.2 mm. Ōnin school got its name from the Ōnin War (応仁の乱 - Ōnin no Ran) - a civil war that lasted 10 years (1467–1477) during the Muromachi period in Japan. -
Ko-kinko ymagane cast tsuba of oval form with chiseled diaper pattern of double head waves on both sides and a rabbit cast and carved with its eye inlaid in yellow metal (gold or brass) on the face. Fukurin which holds together the sandwiched layers of metal (sanmai) is about 2.7 mm wide. Possibly, early Mino (ko-Mino) school. Size: 66.6 x 59.9 x 4.0 mm. Some connoisseurs believe that this kind of tsuba was in mass production at the time. Small animal believed to be a fox, however some attribute it to a long-tailed rabbit or a squirrel. I am leaning towards the rabbit. Similar example is found at Robert E. Haynes Catalog №3, April 9-11, 1982 on page 11, under № 15: “Rare design in style of Sanmai (three layers) / Wasei work. With yamagane core and heavy rim cover. The web plates are carved with double head Goto style waves and the face has a fox. The web plates were riveted at the seppadai. See Lot 4, page 8. Ca. 1350. Ht. 6.6 cm, th. 3 mm” [underscore mine]. Quality of photo is so poor that I decided not to provide it here. The only difference betwen my tsuba and his is that his has a square hole on the right shoulder of the seppa-dai. Early Muromachi (if we follow Robert it is even Nanbokucho, 1337-1392) or Momoyama period. The Momoyama attribution is mostly based on a fact that “waves and rabbit” motif became most popular in Momoyama times. Mokkōgata tsuba of similar design in this collection - see TSU-0282.
TSU-0282: Ko-kinko yamagane tsuba with waves and rabbit motif.
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SOLD A Chinese vessel with pomegranates and grapes, of two parts - the vessel and a cup. Blue and white porcelain, decorated under the glaze with a blue pigment by transfer-printing. Imperial reign mark on the bottom in zhuanshu script: Qianlong (1736-1795). -
Fuchi-kashira of copper, carved and inlaid with gold and shakudō, with the design of Kanzan (on kashira), Chinese: Hanshan, an eccentric poet of the Tang dynasty with a scroll (618-906) who befriended Jittoku (on fuchi, Chinese: Shide, a kitchen helper at a mountain temple, holding a broom). Fuchi is signed Josui (如⽔). Fuchi (Jittoku, holding a broom): 38 x 22 x 12 mm. Weight: 23g (Nakago hole: 27 x 8.5 mm); Kashira (Kanzan, reading a scroll): 34 x 17 x 9 mm. Weight: 10g. Materials: Copper, gold, shakudō. Techniques: Tsuchi-me-ji (hammer-marked surface); usu-shishiai-bori or usuniku-bori (low-relief carving which leaves the image somewhat higher than the surface - high relief effect); zōgan (inlay). Josui was a daughter of Jochiku Kamo (Markus Sesko, Genealogies). -
Fuchi: 38 x 22 x 14 mm. Kashira: 33 x 18 x 9 mm Techniques: Usu-shishiai-bori (薄肉合彫) – low-relief, zogan. -
Fuchi: 38 x 22 x 12 mm. Kashira: 32 x 17 x 11 mm Main material: shakudo; surface treatment: nanako-ji; other metals: gold, shibuichi and copper; decorative technique: iroe takazogan. Signed: Nyudo Jounishi 人道 乗西 (possibly) -
Fuchi: 37 x 21 x 11 mm; Weight: 13 g Kashira: 34 x 16 x 6 mm ; Weight: 10 g Material : Shakudo; Gold. Signature: Unsigned Technique: Sunameji Sukibori Zogan Decoration: Nami Chidori zu (wave & plover) -
Signature: UnsignedFuchi-kashira with rock and boar (iwa ni inoshishi zu) motif. Inlay of precious stones or colour glass. Shakudō, gold, gemstones. Technique: Sukibori zogan kiniroe.
Fuchi: 36 x 21 x 14 mm; Weight: 22 g; Kashira: 32 x 17 x 5 mm; Weight: 8 g; Material : Shakudō; Gold; Gemstones (Chalcedony and Rose Quartz). Possibly, Owari school. -
Fuchi-kashira made of shakudō carved and inlaid with gold and red copper with the design of a bat and a fruit (persimmon?). Nanako surface.
Fuchi: 37 x 19 x 7 mm. Kashira: 34 x 16 x 5 mm. Main material: shakudō. Other metals: gold and copper. Surface treatment: nanako-ji. -
Jizai okimono bronze articulated model of a crab. Japan, Meiji period(1868-1912). Size: Body: 6.5 x 6 cm. Total: 23 x 11 cm. Weight: 762 g -
Iron tsuba with brown patina in mokkō-gata form with woven design. Size: 72 x 67 x 5 mm. -
A cast iron painted 19th century style money box in the form of a negro, the arm articulated to insert coins. -
Late 19th-century (1850-1870) Japanese export fan. This fan has a double leaf painted with a different design on either side. Ivory encrusted with gemstones and other materials. Subject matter such as women wearing kimono is also more typical of export than domestic products (V&A). Autumn theme on the reverse. -
Late 19th-century (1850-1870) Japanese export fan. This fan has a double leaf painted with a different design on either side. Ivory encrusted with gemstones and other materials. Subject matter such as women wearing kimono is also more typical of export than domestic products (V&A). Summer (birds and flowers) theme on the reverse. -
Late 19th-century (1850-1870) Japanese export fan. This fan has a double leaf painted with a different design on either side. Ivory encrusted with gemstones (birds and shippomon motif). Painting by ukiyo-e artist and printmaker Katsushika Isai (1821–1880) represents a riverside landscape with figures; birds and flowers on the reverse. Signed: Isai ga (為斎画) - "Painted by Isai". -
Iron tsuba of round form with design of rudder, paddle, and stars in small openwork (ko-sukshi) outlined with brass wire, and further decorated with inlay of five concentric rows of brass dots or nail heads (ten-zōgan) and circular brass wire inlaid inside the innermost row of dots. Two lower round openings may also serve as udenuki-ana. Copper sekigane. Unsigned. Late Muromachi or Momoyama period, 16th century. Diameter: 90.4 x 89.8 x 2.8 mm. -
Iron tsuba of slightly elongated round form decorated with design of melon flowers, vines, and leaves in brass flat inlay (hira-zōgan) on both sides. Slightly raised rim (mimi) carved in a way to simulate ring-shaped covering (fukurin). Kozuka hitsu-ana and kogai hitsu-ana both plugged with soft metal (tim or lead). Copper sekigane. Heianjō or Kaga School. Muromachi or Momoyama period, 16th century. Iron, hira-zōgan brass inlay. Round (maru gata) form, diameter 79 mm. Size: 80.3 x 78.4 mm; thickness at seppa-dai: 3.4 mm; at the middle: 3.8 mm; before the rim: 2.4 mm, rim: 2.8 mm. Note on design: though this design resembles family crests with oak and mulberry leaves, I believe it's a melon flower [see Jeanne Allen. Designer's guide to Samurai Patterns. Chronicle Books, San Francisco, 1990, page 114, №130 "Melon Flowers":Note about the distribution of thickness (niku-oki): "this tsuba has toroid features, niku raises from the rim towards the centre but thins once more out when approaching the seppa-dai" [M. Sesko, "Handbook...", p. 48].
Jeanne Allen. Designer's guide to Samurai Patterns. Chronicle Books, San Francisco, 1990. Page 114, №130.
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Iron tsuba of round form decorated with design of pine tree mushrooms (matsutake) in openwork (sukashi). Hitsu-ana of elongated oval form. Raised rim (mimi) with iron bones (tekkotsu). Copper sekigane. Size: 84.5 mm x 85.1 mm; thickness: 3.0 mm (center), 5.6 mm (rim). Mid Muromachi period, 15th century. The shape and width of the rim, as well as the shape of the hitsu-ana, argue for earlier Muromachi. Tsuba is slightly wider than high, that might suggest middle of Muromachi age. According to Robert Haynes, circa 1450-1500. -
Iron tsuba of round form decorated 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-zōgan) of vines or leaves all over the plate. Both hitsu-ana trimmed in brass. Nakago-ana of rectangular form, with copper sekigane. Four positive openwork (ji-sukashi) roundels at 12, 3, 6, and 9 o'clock; and four negative openwork (in-sukashi) roundels with cherry blossom, bellflower, and two variations on suhama theme. Yoshirō school (Kaga-Yoshirō). The Momoyama or early Edo period, late 16th to early 17th century. Size: diameter 81.4 mm, thickness 4.7 mmat seppa-dai, 4.0 mm at rim. Christie's lot description: AN IRON TSUBA; EDO PERIOD (17TH CENTURY). THE DOLPHYN COLLECTION OF SAMURAI ART. The round iron tsuba pierced with roundels of various floral motifs interspersed among scrolling foliage, all inlaid with brass. 8.1 cm. high. Provenance: Pabst Collection (no. 338). -
Iron tsuba of round form decorated with eight circular emblems of flowers and/or family crests (mon) made of cast brass, pierced and chiseled in kebori, as well as with flat brass inlay (hira-zōgan) of vines, leaves, and flowers all over the plate. Yoshirō school (Kaga-Yoshirō). The Momoyama or early Edo period, 17th century. Size: diameter 80 mm, thickness at seppa-dai 3,6 mm. Symbols: [12:00 o'clock] - Wood sorrel (katabami) and swords ; [9:00] - Cherry blossom (sakura); [7:30] - Bellflower (kikyō), kamon of Toki clan; [3:00] - possibly, a six-petal Chrysanthemum (kiku) or a Passion flower (tessen); [1:30] - Hemp (asanoha). The symbols at 6:00, 10:30, and 4:30 o'clock seem to be geometrical patterns of auspicious meaning: a cross in a square, a four pointing star, and a diamond, respectively. Alternatively, we may look at this piece as purely decorative, with patterns at 12:00, 3:00, 6:00, and 9:00 o'clock in negative openwork (in-sukashi), and at 1:30, 4:40, 7:20, and 10:30 o'clock - in positive openwork (ji-sukashi, or yō-sukashi). Markus Sesko in his Handbook of sword fittings related terms [Herstellung und Verlag: Books on Demand GmbH, Norderstedt, 2011] discriminates this type of openwork in a separate class: Ranma-sukashi: "This term is applied to circular sukashi with family crests to their inside, which are arranged running along the rim area. The description goes back to the opened boards (ranma) between the sliding doors and the ceiling of Japanese rooms. Ranma-sukashi are mostly seen on old Heianjō- or Yoshirō-zōgan-tsuba but also on works of Hayashi Matashichi" [page 30]. -
Iron tsuba of round form with design of military commander's fan (gunbai) in openwork (sukashi). Square rim. Hitsu-ana plugged with lead or tin. Ko-tosho school. Mid Muromachi period. Late 15th century: Entoku era [1489-92] / Meio era [1489-1501]. Height: 80.3 mm, Width: 81.5 mm, Rim thickness: 3.0 mm. Centre thickness: 3.5 mm. Provenance: Sasano Masayuki Collection, №23 in Japanese Sword Guard Masterpieces from the Sasano Collection, 1994: Ko-tosho. Sukashi design: Military commander's fan (gunbai). Mid Muromachi period. Late 15th century (Entoku / Meio era). The military commander's fan (gunbai) was cherished by samurai warriors. This tsuba is relatively thick, with the large fan nicely positioned on the plate. -
Iron tsuba of round form decorated with two boar's eyes (inome) and two dragonflies (tombo) in small openwork (ko-sukashi) outlined with brass wire. The plate also decorated with 2 to 5 concentric circular rows of brass dots (nail heads) in ten-zōgan. Center of the plate outlined with the inlaid circular brass wire. The inlaid metal is of red-ish hue, so it may be copper, and not brass. The surface has remnants of lacquer. Ōnin school. Mid Muromachi period, middle of 15th century. Dimensions: Diameter: 90 mm, thickness: 3.2 mm. Notes regarding design: "According to various sources, the dragonfly (tombo) is emblematic of martial success, as various names for the insect are homophones for words meaning "victory". The dragonfly is also auspicious because references in the Kojiki and Nihongi link it in both name and shape to the old kingdom of Yamato." [Merrily Baird. Symbols of Japan. Thematic motifs in art and design. Rizzoli international publications, Inc., 2001, p. 108]. "The dragonfly (tonbo), was also called kachimushi in earlier times, and due to the auspicious literal meaning "victory bug" of the characters of this word it became a popular theme on sword fittings." [Iron tsuba. The works of the exhibition "Kurogane no hana", The Japanese Sword Museum, 2014, p. 13]. Two other cutouts - in the form of what in European tradition symbolizes the heart, on the top and in the bottom of tsuba disc - may have two different explanations. The most usual one, inome - "Heart-shaped pattern, which is said to go back to the shape of a wild boar's eye" [Markus Sesko. Encyclopedia of Japanese Swords. Print and publishing: Lulu Enterprises, Inc., 2014.]. This understanding is shared by Robert Haynes [Robert E. Haynes. Study Collection of Japanese Sword Fittings. Nihon Art Publishers, 2010.] and elsewhere, with an exception of Okabe-Kakuya [Okabe-Kakuya. JAPANESE SWORD GUARDS. Museum of Fine Arts, Boston. In cooperation with the department of Chinese and Japanese art; - 1908, p. 14], who provides the illustration of inome-shaped cut-outs with the following explanation: " The tsuba shown in Fig. 13 approaches a square form with rounded corners and is perforated with Aoi decoration. But this book was written long time ago, when people even at MFA might not know enough...
The same interpretation of the said heart-like symbol (aoi leaf) is given at Helen C. Gunsaulus. Japanese sword-mounts in the collection of Field Museum. // Publication 216, Anthropological Series, Volume XVI; Chicago, 1923; p. 54: "This mokkō-formed tsuba recalls the aoi form, perforated as it is with the four aoi leaves." It is possible that the "wild boar's eye" theory was developed by later scholars.
There is also a theory, supported by Graham Gemmell, saying that: “In simple terms Onin works are decorated Ko-Katchushi tsuba. … But, not content with iron alone, they began to decorate it with what was, in the early Muromachi period, a rare and valuable metal, brass. The Onin workers cut the design into the iron, using narrow channels, cast the brass, piece by piece, and then hammered it into the iron plate as though they were putting together a jigsaw. When complete the tsuba would be black lacquered exactly as the plain iron ones had been, the brass shining dully through it in a way that fulfilled the goal of shibui or restrained elegance.” [Tosogu. Treasure of the samurai. Fine Japanese Sword Fittings from The Muromachi to The Meiji Period, by Graham Gemmell. // Sarzi-Amadè Limited, London, 1991. An exhibition held in London from 21st March to 4th April, 1991]. The following illustration from Helen C. Gunsaulus. Japanese sword-mounts in the collection of Field Museum. // Publication 216, Anthropological Series, Volume XVI; Chicago, 1923; pp. 43 supports the idea.
Helen C. Gunsaulus' description of the dragonfly emblem is as follows: "This motive, the dragon-fly (akitsu), is generally accepted as a symbol of the kingdom of Japan, and the origin of the idea is traced to the legend recounted in the Kojiki and Nihongo of the Emperor Jimmu's view of the island from mountain top. He is said to have thought the kingdom looked like a dragon-fly touching its tail with its mouth. From this it received its name Akitsu-shima... etc."
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Iron tsuba of round form decorated with floral motif in brass or copper inlay (suemon-zōgan) and family crests (mon) in small openwork (ko-sukashi). Occasional brass dots or nail heads in brass ten-zōgan. Sukashi elements outlined with inlaid brass wire. Seppa-dai outlined with rope-shaped brass wire (nawame-zōgan); kozuka-hitsu-ana outlined with scalloped brass wire. Ōnin school. Mid to late Muromachi period, 15th or 16th century. Height: 88.9 mm; Width: 88.5 mm; Thickness at seppa-dai: 2.9 mm. Family crests (mon) in openwork: cherry blossom (sakura) - kamon of Sakurai and Yoshino clans, four-section lozenge (waribishi) - kamon of Takeda clan, the seven stars of the big dipper (maru ni nanatsuboshi) - kamon of Chiba clan, two encircled stripes (futatsubiki) - kamon of Ashikaga clan. Brass inlays represent flowers, branches and leaves, as well as halved plum blossom, halved chrysanthemum blossom, cloud, and chrysanthemum-on-water symbol - the mon of Kusunoki Masashige. Abundance of family crests of so many powerful warrior clans symbolizes heritage. "The brass trim around the kozuka hitsu-ana andd the seppa-dai are characteristics of Onin work" [Japanese sword guards. Onin - Heianjo - Yoshiro. Gary D. Murtha. GDM Publications, 2016; p. 27.] -
Iron tsuba of mokko form (quatrefoil) decorated with a pair of cherry blossoms (sakura) in small openwork (ko-sukashi) and inlaid in brass (suemon-zōgan) with designs of waves, distant pines, chrysanthemum flowers in halves, tendrils and leaves, lightning or thunder symbol (inazuma), flying geese and family chrests (mon): two interlocked rings (wachigai) on the face, and three encircled stripes (maru-no-uchi-ni-mitsuhikiryo) - kamon of the Kikkawa clan - on the reverse. Hitsu-ana outlined with inlay of brass wire. Surface treated with lacquer. Copper sekigane. Though some consider this type of tsuba to resemble Heianjo school, “...the brass trim around the hitsu-ana is a characteristics of Ōnin work” [Japanese sword guards. Onin – Heianjo – Yoshiro. Gary D. Murtha. GDM Publications, 2016; p. 27.]. The Ōnin origin is reinforced by scattered ten-zōgan elements here and there through the plate. It is possible that the tsuba was initially of round form and later trimmed to mokko shape. Mid Muromachi period; 15th century. Dimensions: Height: 87.2 mm; Width: 87.9 mm; Thickness at seppa-dai: 3.6 mm. -
Iron tsuba of round form decorated with chrysanthemums, pine cones and needles, pampas grass, vines, cherry blossoms, and wild geese in brass inlay (suemon-zōgan) and pierced with designs of water clover (denjiso) and half bellflower (or karahana) to the left and to the right of nakago-ana as well as double bars above and below nakago-ana (possibly with the meaning of number 2 or ordinal 2nd). Most probably the sukashi elements here are the family crests (mon). Unsigned. Ōnin school. Muromachi period; 15th or 16th century. Height: 82.1 mm; Width: 80.9 mm; Thickness at seppa-dai: 2.4 mm NBTHK # 2003827: Tokubetsu Hozon Tosogu Kanteisho (特別保存刀装具鑑定書) - "Extraordinarily Worthy of Preservation". -
Iron tsuba of round form with design of butterfly (left) and dragonfly (right) in openwork (sukashi), outlined with brass wire. Thin plate also decorated with five concentric circular rows of brass dots (nail heads) in ten-zōgan; brass wire outlines of the center of the plate. School: Ōnin ten-zogan. Late Muromachi period, 16th century. Diameter: 88 mm, thickness at seppa-dai: 3.1 mm. Another tsuba of similar design, Tōshō school, is illustrated in this collection; see TSU-0353.Reference to the design has been found at "Japanese Swords and Tsuba from the Professor A. Z. Freeman and the Phyllis Sharpe Memorial collections". Sotheby's, London, Thursday 10 April 1997; p. 18, item 37: "pierced with two large formalised butterflies...".
TSU-0353: Tōshō tsuba, Muromachi period.
A kamakura-bori tsuba. Momoyama period. Freeman & Sharpe Memorial Collections.
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Iron tsuba of oval form with design of cherry blossoms in positive and negative silhouette openwork (ji-sukashi and in-sukashi). Details chiseled in kebori technique. Rounded rim. Copper sekigane. Higo school, Hayashi sub-school. Unsigned. Attributed to third generation Tōhachi (1723-1791). Edo period, 18th century (Hōreki / Meiwa era: 1751-1772). Height: 78.7 mm. Width: 72.2 mm. Rim thickness: 5.2 mm. Center thickness: 5.2 mm. Provenance: Sasano Masayuki Collection, № 289: "Hayashi. Third generation Tohachi (died in in the third year of Kansei, 1791 at the age of sixty-nine). Early 18th century (Hohreki / Meiwa era). " -
Iron tsuba of oval form with design of stylized paulownia (nage-giri) in openwork (sukashi). Leaf veins carved in kebori technique. Rounded rim. Copper sekigane. Unsigned. Attributed to Kanshirō, third generation Nishigaki (1680-1761). Edo period: Early 18th century (Kyoho / Genbun era). Size: Height: 77.8 mm. Width: 71.9 mm. Rim thickness: 5.9 mm. Center thickness: 5.0 mm. Provenance: Sasano Masayuki Collection, № 264: "Nishigaki. Third generation Kanshiro (died in in the eleventh year of Hohreki, 1761 at the age of eighty-two). This oblong shape appears a little amateurish at first, however, it was done intentionally to add flavor to to the design. The neat composition is a feature of the third Kanshiro."
