Iron tsuba of a round form (maru-gata) pierced (sukashi) with two six-petal flowers at 6 and 12 o’clock and modified lozenges at 3 and 9 o’clock, and inlaid in brass (suemon-zōgan) with tendrils and flowers (chrysanthemum, cherry blossom, Chinese bellflower, paulownia); openings outlined with scalloped brass wire. The plate is slightly concave with traces of lacquer on the surface. Nakago-ana plugged with copper sekigane. Some elements of inlay missing. The rim with conspicuous tekkotsu, quite worn. Measurements:  Height 92.0 mm; Width 86.3 mm; thickness at seppa-dai 3.2 mm, at rim 4.2 mm. Time: Late Muromachi (1514 – 1573) or earlier.

Iron tsuba of 14-petal chrysanthemoid form (kikka-gata) with alternating solid and openwork petals, the latter outlined with brass wire (sen-zōgan) and the former decorated with brass dots (ten-zōgan), on both sides. Seppa-dai is outlined with brass wire. Small hitsu-ana probably cut later. Late Muromachi period (Ca. 1514-1573). Ōnin school. Unsigned. Dimensions: 87.0 x 87.8 x 3.2 mm. Similar tsuba in this collection: TSU-0420.2022 Other similar specimens can be found at: Henri L. Joly and Kumasaku Tomita, Japanese art and handicraft, "Swords and sword fittings" section, sub-section “Inlays of Ōnin, Kyoto, Fushimi-Yoshiro, and Kaga Province”, Plate CX, #128: Iron, chrysanthemoid, thin guard with alternate petals covered with brass spots. Ōnin style. 16th century. Compton Collection, Part I, #7: The iron plate is of flowerhead shape with each of the fourteen petals alternating between solid and openwork. The apertures are outlined in inlaid brass as is the seppa-dai and hitsu-ana. The remainder of the plate is similarly inlaid with plum flowers, birds, dots of dew, Genji mon and sambiki mon. 87 mm x 85 mm x 3.5 mm. And at Jim Gilbert website: Onin ten zogan tsuba, mid Muromachi. Size: 7.7 cm T x 7.6 cm W x 0.3 cm. Iron plate with brass inlay. Kiku gata. The Ōnin ten zogan style is characterized by the decoration of small brass “nail heads” and wires on a thin iron plate.  The iron often has a soft, granular texture and seems to be prone to rust.  Unfortunately, this rust will undermine the brass inlay and result in the loss of some of the inlay.  This example is in reasonably good but far from perfect condition.  As is often the case, the backside is better preserved, with the wire around the seppa-dai and kozuka-ana, and all petals still intact.

Iron tsuba of round form adorned with the design of stars, wild geese, floating blossoms, leaves and tendrils realized in brass inlay. The inlay technique includes suemon-zōgan and ten-zōgan. Two smaller openings (hitsu-ana) surrounded by a scalloped brass border. The seppa-dai border inlay is missing, as well as a few other fragments of inlay on both sides. Sword cut at 12 o'clock on the reverse. A tsuba with a strong autumnal connotation, which once belonged to a great battle weapon. One of only three known jūyō Ōnin tsuba. Translation of the paper, issued by the Japanese sword fittings (tosogu) examination board: Designated as jūyō-tosogu at the 34^th jūyō-shinsa held on April 14th 1988 Kaki-karimon zōgan-tsuba (花卉雁文象嵌鐔) — Tsuba with zōgan design of flowers and wild geese. Mumei: Onin (応仁) Tokyo. Nakasono Tokumi (中園とくみ) Measurements: height 9.5 cm, width 9.4 cm, thickness at rim 0.35 cm Interpretation: marugata, iron, brass zōgan, two hitsu-ana Time: end of Muromachi Explanation: Ōnin-tsuba are thin iron ita-tsuba which show a brass zōgan ornamentation. All of them are mumei and there is the theory that they were made in the Onin era (1467-1469) although today more and more the theory is accepted that they are in general late Muromachi period works. There are two kinds of brass zōgan interpretations: One depicts irregularly arranged tachibana branches, wild geese, chrysanthemums, flowers, or karakusa for example, and the other one shows punctual zōgan elements, which are referred to as hoshi-zōgan or ro-zōgan, and concentrical zōgan elements between the nakago-ana and the rim. The latter interpretations might also be accompanied by simple ko-sukashi in the form of butterflies, clouds, hats, or stylized mountains. This tsuba is a typical work from the former category. It is large and feels massive and the powerful and impressive zōgan and the excellent iron make it a highly tasteful piece. Back side: Issued to: Nakasono Tokumi Address: Tokyo-to, Suginami-ku, Kamitakaido 2-17-26 Date of issue: May 30^th 1989

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 represents an eight-spoke Wheel-of-the-Law and in the same time (because of the inner shape of cut-outs) - a sixteen-petal imperial chrysanthemum in openwork (sukashi). Decorated on both sides with vines, leaves, and tendrils in suemon-zōgan and sen-zōgan. Spokes and hitsu-ana decorated with rope-like linear brass inlay (nawame-zōgan). A somewhat look-a-like tsuba is referenced in Gary D. Murtha's Japanese Sword Guards. Onin-Heianjo-Yoshiro book on page 61. Mr. Murtha attributes his piece to Heianjo school of Azuchi-Momoyama or early Edo period. However, tsuba in this collection looks older and bolder than the one in his book. It is larger (84 mm vs. his 66 mm), the spokes are longer, the inlay is of better quality, it is relatively thin, with deep black patina, and with the traces of lacquer (urushi). This may indicate that this tsuba belongs to Ōnin school and dates at least to late Muromachi period, ca. 1550, if not 1450 AD. Mid to late Muromachi period (ca. 1450-1550). Dimensions: 84.3 x 83.2 x 3.2 mm "In Japan, the Wheel-of-the-Law is an attribute of such deities as  Senju Kannon, the Thousand-Armed Kannon, and Dainichi Nyorai, the principal deity of Shingon Buddhism [Merrily Baird]. May be used as a family crest (mon).