Muromachi Period (1393 – 1573) – Page 3

Tōshō tsuba with a butterfly and a dragonfly motif. Muromachi period.

A very large and very thin iron tsuba of round form decorated with design of formalized butterfly and dragonfly in openwork (sukashi). The characteristics of the plate resemble those of Kamakura period ko-tōshō tsuba. However, the design seems too 'modern' to me, but it's hard to tell; it may be a late Muromachi or Momoyama period work. Tōshō or Ko-Tōshō school (or a Katchushi). Muromachi period. However, Boris Markhasin and Skip Holbrook insist this is a 20th-century machine-made tsuba. Dimensions: 99.6 x 100.5 x 2.1 mm. This is what Jim Gilbert says about old tsuba:
"Traditionally the old iron plate tsuba are classified into Ko Tosho (old sword smith), and Ko Katchushi (old armor maker) styles. It is sometimes difficult to justify attribution of a given tsuba to the Tosho or Katchushi category. Generally guards with raised rims or relatively complex designs tend to be assigned to Katchushi. This is basically a convention we follow out of habit and convenience." [...] "In Token Kai-Shi part six, Articles by Akiyama Kyusaku, Robert Haynes comments: "…from 1300 to 1400 over 150,000 MOUNTED swords were made in Japan for export alone. This means that over four tsuba a day were made for 100 years. This would mean that at least 3000 persons were making nothing but tsuba, let alone all the other fittings needed to complete these swords. With sword smiths, fittings makers and all the other artists need to complete a sword for export, at least 10,000 sword artists were working together, in any one of these hundred years."
Another tsuba of similar design, Tōshō school, is illustrated in this collection; see TSU-0319.2015. Reference to this design can be found in LIB-1359.2017 Japanese Swords and Tsuba from the Professor A. Z. Freeman and the Phyllis Sharpe Memorial collections, Sotheby's, London, Thursday 10 April 1997; p. 18-19, lot № 37: "A Kamakura-bori Tsuba, Momoyama Period. ...pierced with two large formalised butterflies..."
A Kamakura-bori tsuba of octagonal form, Momoyama period.

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Tōshō tsuba with design of dragonfly. Muromachi period.

Iron tsuba of round form decorated with design of dragonfly in negative openwork (in-sukashi). It may be Ko-Tōshō (old Tōshō) or just Tōshō school, without a 'Ko'. Probably the dragonfly here is used as a family crest (mon). Muromachi period. However, Boris Markhasin and Skip Holbrook insist this is a 20th-century machine-made tsuba. Dimensions: Height: 95.0 mm. Width: 93.6 mm. Rim thickness: 2.1 mm. Center thickness: 2.3 mm. Nakago-ana: height = 30 mm, width = 7.8 mm. A dragonfly design is described by John W. Dower as following "During the period of feudal warfare, the dragonfly is reputed to have been am especially popular design applied to arrow quivers, and some warriors adopted it as a family crest. One reason for this was the insect's alternative names of katsu mushi and shogun mushi, both meaning 'victory insect'." Merrily Baird is even more talkative regarding the matter: "The dragonfly (tombo) in Japan 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. This legacy has led to the use of dragonfly as an emblem on arrow quivers and as family crest. It also appears occasionally in conjunction with such imperial motifs as the chrysanthemum. Used in a context devoid of historical associations, the dragonfly is a seasonal symbol of late summer and early autumn." Dragonfly was an extremely often motif for the tsuba in all times, primarily in earlier times, before Tokugawa pacified the nation. The same motif is used on Ōnin tsuba in this collection:

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Tōshō tsuba with design of rudder and oar. Muromachi period.

Round tsuba of iron; well forged thin plate decorated with a rudder (kaji) and an oar, or paddle (kai) with a water drop, executed in a combination of negative (in-sukashi) and positive (ji-sukashi) openwork. It may be Ko-Tōshō (old Tōshō) or just Tōshō school, without a 'Ko'. The characteristics of the plate point toward an older piece, however the combination of negative and positive silhouettes pulls the date of manufacture in an opposite direction. Muromachi period. Height: 90.0 mm. Width: 89.0 mm. Rim thickness: 2.1 mm. Center thickness: 2.3 mm. Nakago-ana: height = 29 mm, width = 8.8 mm. A rudder and an oar design is classified by John W. Dower as "Sailing vessels and gear": "Unlike many other motifs, sailing vessels and sailing gear failed to collect an interesting lore or to develop levels of meaning." Merrily Baird does not say anything about these symbols. Yuzuri Okada says: "Ships, sails, rudders, etc. also supply motive of the same class as wheels." He does not provide us with the description of the motive supplied by the wheel. The same motif is used on Ōnin tsuba in this collection:

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Tsuba with design of melon flowers. Muromachi or Momoyama period, 16th century.

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":
Jeanne Allen. Designer's guide to Samurai Patterns. Chronicle Books, San Francisco, 1990. Page 114, №130.
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].

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