1. 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].
2. 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.
3. 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.
4. 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".
5. 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].
6. 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].

1. Hikiryō, see above.
2. Pampas grass (susuki, or obana), see above.
3. 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].
4. Four flying wild geese (kari), see above.
5. 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].
6. 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.

Iron tsuba of round form with design of  hatchet, snowflake, and triple diamond in openwork (ko-sukashi), and inlaid with five concentric circles of brass dots (ten-zōgan) and brass inner circular line. Sukashi elements outlined in brass.

Kokusai Tosogu Kai 5th International Convention & Exhibition, October 28-30, 2009 at NEZU Museum, Tokyo, Japan, on page 83 provides the following explanation of the triple diamond symbol: "The pine bark is the form of the Diamonds, "Bishi", mon, seen from Nara period, found on cloth stored in the Shoso In, and used primarily by the Takeda family. The form of Bishi mon [similar to ours] is called "Chu Kage Matsukawa Bishi", (Middle Shaded Pine Bark Diamond)."

Iron tsuba of round form with brown patina decorated with the design of a Buddhist temple bell (tsurigane) in openwork (sukashi), with details outlined in brass wire (sen-zōgan), the outer ring  decorated with two rows of brass dots (ten-zōgan), and the bell details carved in sukidashi-bori as on kamakura-bori pieces.

Small iron tsuba for a dagger (tantō), of quatrefoil form (mokkō-gata), with raised rim (mimi), decorated with flat brass inlay (hira-zōgan) to form an abstract design alluding to the mushroom of immortality (reishi). Opening (hitsu-ana) to the left of nakaga-ana probably cut later and fitted with shakudo sekigane. Maker's signature on seppa-dai: Koike Naomasa (小池 直正).

Iron tsuba of oval form with a shakudō fukurin and rough surface decorated by low relief carving and brass inlay with a centipede emerging from under the rock on both sides.

Size: 78.9 x 73.6 x 3.8 mm

Misumi Kōji Tsuba on p. 163.

Thin iron tsuba of round form pierced with six three-leaf wood sorrels (katabami) in ko-sukashi and inlaid with brass decoration along the rim. Kozuka-hitsu-ana probably cut at a later date.

Tears That Brought Bamboo-shoots From the Frozen Earth: Meng Zong Meng Zong lived during the Three Kingdoms Period of China's past. His father died when he was young, and he and his mother struggled to survive. One winter his mother was stricken with a serious illness, and craved some bamboo-shoot broth as medicine. But in the depths of winter, with snow and ice blanketing the ground, where was anyone to find fresh bamboo shoots, shoots that emerge only in the warm months? Nonetheless, Meng Zong, to avoid disappointing his mother, bravely fetched his shovel and went out into the white landscape in search of bamboo shoots. In the thicket he found only frosted leaves and green stalks coated with snowflakes and ice. Look as he might, there were simply no fresh shoots growing in the winter. The thought of his poor mother lying sick on her bed, waiting for bamboo-broth medicine, made his heartache. Uncontrollably, tears began to fall in rivers to the ground beneath the tall, emerald canes. Even now, as his tears flowed down, he kept a light of faith in his heart. If he was truly sincere in his search, perhaps.... Just then Meng Zong nearly tripped and fell over a sharply protruding lump of earth. He quickly knelt down and knocked aside the dirt with his trembling fingers. How uncanny! Underneath his frozen hands he discovered a bed of fresh, tender bamboo shoots! Overjoyed, he gathered up a coatful and carried them back home. The broth that he quickly set stewing in the pot soon cured his mother's illness. The neighbors, hearing the story, exclaimed that it was the strength of his sincere, unselfish, filial resolve that inspired heaven and earth to respond, and to bring up, out of season, the fresh shoots that cured his mother's disease. Before Meng Zong's prayers generated this miracle, it was normally considered impossible for bamboo shoots to grow in the winter. After the nmiracle took place, however, people were able to gather and to eat bamboo shoots all year round. The winter variety that existed hereafter became known as "winter shoots." The villagers were deeply influenced by Meng Zong's courage and devotion. They renamed the spot where the event took place, "Meng Zong's Bamboo Grove". We can now enjoy bamboo sprouts during the winter as well, and as we do so, it is fitting to recollect Meng Zong's outstanding example of filial respect, and reflect on our conduct as sons and daughter of our parents. A verse in his honor says, His teardrops transformed winter at the roots; Up from the ice crept tender bamboo shoots. Instantly, the winter-sprouts matured; Heaven's will: a happy, peaceful world.