Size: 76.9 x 76.0 x 5.4 mm
For information regarding shakoh tsuba see article 'Kirishitan Ikenie Tsuba by Fred Geyer at Kokusai Tosogu Kai; The 2nd International Convention & Exhibition, October 18-23, 2006, pp. 84-91.-
Iron tsuba of round form with design of slanting rays of light (shakoh) or clock gear (tokei) in openwork (sukashi). Commonly considered a Christian / Jesuit motif. Copper sekigane. According to seller, Owari School. Haynes writes that most tsuba of this design are Owari (Tsuba. Aesthetic Study). Unsigned. Edo period. According to F. Geyer, diamond-shaped vertical posts and long rays suggest that this tsuba was probably made between 1605 and 1630. -
Iron tsuba of round form (tsurumaru) decorated with a design of crane and pines, or "nesting crane (sugomori-tsuru)" in openwork (sukashi). Details carved in kebori. Rounded rim.
Size: 74.7 x 69.8 x 4.8 mm.
Unsigned.
Edo period, ca. 17th century.
NBTHK Certificate № 463485. The certificate says it's a Higo School piece. The design was popular in both Akasaka and Higo schools. The Akasaka example: at Kodogu and tsuba. International collections not published in my books. (Toso Soran). Ph. D. Kazutaro Torigoye, 1978, p. 246: "Late Edo. Jiyūgata. Sined: Akasaka Tadanori saku."The Higo example can be found at Iron tsuba. The works of the exhibition "Kurogane no hana", The Japanese Sword Museum, 2014, p. 69, №56: Sugomori-tsuru sukashi-tsuba (Nesting Carne). Mumei: Matashichi (1st generation), early 17th century.
Torigoye, 1978, p. 246. Late Akasaka.
Kurogane no hana, 2014, p. 69, №56. Higo tsuba.
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Iron tsuba with chrysanthemum design in openwork (sukashi). Copper sekigane.
Late Heian through Kamakura period (ca. 1150 - 1200's).
Size: 78.4 x 60.9 x 3.5 mm; weight: 45.7 g
Provenance: Boris Markhasin Message from Boris Markhasin (13-AUG-2019): It is a very rudimentary tachi tsuba, and the iron is old and really nothing to draw attention. However, this is a very old tsuba, and that is what makes it very special and an important study piece. This tsuba likely dates to the late Heian through Kamakura (ca. 1150 - 1200's) -- by consensus, since such examples are extremely rare, and none are mounted to my knowledge, so few direct analogues. The form is interesting for a variety of reasons. The smaller size, an oval form is associated more with 12th/13th c styles. The sukashi kiku motif is very interesting as it clearly pushes back the dating of large scale sukashi far back in time. This shouldn't be surprising, but for some reason, we (really mainly westerners) naively tend to associate sukashi with the Muromachi and younger. The two missing spokes are by consensus likely later removals to accommodate kozuka and kogai -- but this is not certain, and it could be an original styling. A key kantei point is the elongate, narrow, slightly squared seppa dai. This is a characteristic of early koshirae, which were much thinner and more delicate than the types we are used to seeing that date pretty much to the late Muromachi and later. I am always amazed when I have a chance to interrogate early koshirae at how thin they are - I want to call them fragile, but they were actually quite resilient. The walls were super thin, but the top and bottom edges were a bit thicker, providing a bit of structural support... but this is another thread topic. Of all the tsuba I have owned, this is the tsuba that has most clearly reflected the shape of the old style of saya / tsuka. -
Iron tsuba of round form decorated with eight roundels – circular emblems of flowers and/or family crests (mon) made of cast brass, pierced and chiselled in kebori, and with flat brass inlay (hira-zōgan) of vines or leaves all over the plate. Both hitsu-ana are trimmed with brass. Nakago-ana of trapezoidal form. A distinctive character of this tsuba is a mon at 12 hours, depicting paulownia, or Kiri-mon [桐紋] – a symbol of the Toyotomi clan, led by Toyotomi Hideyoshi (豊臣 秀吉, 1537 – 1598). Kiri-mon was also used as fuku-mon (alternative family crests) for the Imperial Family and Imperial Court. Another important emblem at 6 o’clock is the Katakura clan [片倉氏, Katakura-shi] family crest. Katakura Kagetsuna (片倉 景綱, 1557 – 1615), a retainer of Date Masamune (伊達 政宗, 1567 – 1636); Kagetsuna was operational in Hideyoshi’s Odawara campaign in 1590, which ultimately ended the unification of Japan. Unsigned but may be attributed to Koike Yoshirō Naomasa or his workshop (Yoshirō, orKaga-Yoshirō school). Dimensions: Diameter: 85.5 mm; Thickness at seppa-dai: 5.0 mm.
Kiri-mon
Katakura-mon
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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." -
The thin, four-lobed iron plate of brownish color is carved on each side with two concentric grooves in the middle of the web, and with four thin scroll lines (handles, kan) that follow the shape of the rim. The hitsu-ana were added at a later date. Copper sekigane. Kamakura-bori school. Muromachi period, circa 1400-1550. Size: Height 80.4 mm, width 79.0 mm, thickness 3.2 mm at seppa-dai and 2.7 mm at the rim. Weight: 97.7 g. NBTHK Certificate №4004241: 'Hozon' attestation. As for the motif: the concentric circles is a widespread and generic design. It is described by John W. Dower [The Elements of Japanese Design, 1985, p. 132, #2201-30] as follows: Circle: Enclosure (wa). As a crest by itself, the cirlce carries obvious connotations of perfection, harmony, completeness, integrity, even peace. [...] Ordinary circles are labeled according to their thickness, with terminology ranging from hairline to "snake's eye". The motif that is described by both Compton Collection and R.E. Haynes as "scrolls", presented by John W. Dower as "Handle (kan): Although probably a purely ornamental and nonrepresentational design in origin, over the centuries this motif acquired the label kan, denoting its resemblance to the metal handles traditionally used on chests of drawers. [...] Very possibly the "handle" motif represents an early abstract version of the popular mokko, or melon pattern." Early Chinese Taoists claimed that special melon was associated with the Eastern Paradise of Mount Horai just as life-giving peaches were associated with the Western Paradise of the Kunlun Mountains. [...] A design motif called mokko (also translated as "melon" in accordance with the two ideographs with which it is written) may have nothing to do with the fruit. Mokko designs... are widely used as crests of both private families and Shinto shrines and are repeated as background designs that evoke a sense of classicism" [Symbols of Japan. Merrily Baird, 2001]. There is a look alike tsuba at Dr. Walter A. Compton Collection, 1992, Christie’s auction, Part II, pp. 14-15, №16:
The description goes: “A kamakurabori type tsuba, Muromachi period, circa 1400. The thin, six-lobed iron plate is carved on each side with a wide groove that follows the shape of the rim, and with six scroll lines and a single thin circular groove. […] The hitsu-ana was added at a later date, circa 1500-1550. Height 8.3 cm, width 8.6 cm, thickness 2.5 mm. The tsuba was initially intended to be mounted on a tachi of the battle type in use from Nambokucho to early Muromachi period (1333-1400)”. Sold at $935.
And another one in Robert E. Haynes Catalog #9 on page 24-25 under №23:
R.E. Haynes description: “Typical later Kamakura-bori style work. This type of plate and carving show the uniform work produced by several schools in the Muromachi period. Some had brass inlay and others were just carved as this one is. The hitsu are later. Ca. 1550. Ht. 8.8 cm, Th. 3.25 mm”. Sold for $175.
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Iron tsuba of mokko form with rough surface decorated in low relief carving (sukidashi-bori) and openwork (sukashi) with a flying bat, a crescent moon, and a cloud over the moon. Bat's eyes inlaid with gold. Crescent moon and cloud on the reverse. Copper sekigane. Kogai hitsu-ana plugged with shakudō.
Unsigned.
Edo period.Size: Height: 83.7 mm; Width: 80.3 mm; Thickness: 2.9 mm; Weight: 141 g.
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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 quatrefoil form (mokka-gata) adorned with the design of stars, wild geese, blossoms, leaves and tendrils realized in the brass inlay. The inlay technique includes suemon-zōgan and ten-zōgan. A smaller opening (kozuka hitsu-ana) surrounded by a scalloped brass border. The seppa-dai bordered with linear inlay. A few dots of inlay on both sides are missing. Measurements: height 71 mm, width 70 mm, thickness at centre 2.7 cm Time: Late Muromachi (1514 – 1573) -
Iron tsuba of round form with design of slanting rays of light (shakoh) or clock gear (tokei) in openwork (sukashi). Commonly considered a Christian / Jesuit motif. Round-cornered rim. Copper sekigane. Momoyama period: Late 16th century (Tensho/Keicho era). Height: 72.5 mm, Width: 72.2 mm, Rim thickness: 5.5 mm, Center thickness: 5.3 mm. Round-cornered rim. Provenance: Sasano collection. Sasano Masayuki, Japanese Sword Guards Masterpieces from The Sasano Collection, Part I, № 136: "The general belief that this design represents the gear of a clock is erroneous, rather it shows the slanting rays of light from a cross, with the small diamond shapes representing the upright and transverse bars. The Christian influence is obvious..." -
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. 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."
Reference to design can be 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. 18-19, lot № 37: "A Kamakura-bori Tsuba, Momoyama Period. ...pierced with two large formalised butterflies..."Reference to design in this collection: TSU-0319.
A Kamakura-bori tsuba of octagonal form, Momoyama period.
TSU-0319. Ōnin ten-zōgan tsuba, Muromachi period.
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Iron tsuba of square with cut-off edges form (sumi-iri-kakugata) with lattice design in openwork (sukashi) and pierced center.
Unsigned. Late Muromachi period, ca. 16th century.
Size: 73.2 x 72.4 x 3.6 mm References: 1) Tsuba Kanshoki. Kazutaro Torogoye, 1975, p. 95, lower image. It's also called Kyō shōami. 2) KTK-11: Koshi motif, Late Muromachi (16th c.) -
Iron tsuba of round form (maru-gata) with 8 openwork petals outlined with brass wire (sen-zōgan) and decorated with brass dots (ten-zōgan), on both sides. Seppa-dai and hitsu-ana outlined with brass wire. Late Muromachi period (Ca. 1514-1573). Ōnin school. Unsigned. Dimensions (mm): 80.4 x 79.8 x 3.6 (center) 3.2 (rim). Similar tsuba in this collection: TSU-0374.2018
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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 decorated with sparrows and bamboo inlaid and chiseled in yellow brass, with snow lying on bamboo leaves inlaid in silver-ish shibuichi. Copper sekigane. The kogai-hitsu-ana probably cut out at a later date. Heianjō school. Unsigned. Height: 86.0 mm, Width: 85.4 mm, Thickness at seppa-dai: 2.9 mm. Momoyama or early Edo period, first half of the 17th century. Merrily Baird, Symbols..., page 118: "The association of the sparrow (suzume) with both bamboo and rice heads is an old one found in Japanese poetry, paining, and design." -
Iron tsuba of round form decorated with a design of bracken scrolls and paulownia leaves and blossoms (kiri-mon) in openwork (sukashi). Details carved in kebori. Squared rim with iron bones (tekkotsu). Hitsu-ana plugged with shakudō.
Size: 83.6 x 82.9 x 5.4 (center), 5.1 (rim) mm.
Unsigned.
Muromachi period, ca. 16th century.
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Large iron tsuba with hammer marks on the surface, small oval opening to the right of nakaga-ana; yamagane fukurin chiselled with tortois shell diaper pattern.
Early Muromachi period (1393-1453). Size: 101.2 x 101.9 x 2.4 (center), 5.2 (rim) mm; weight: 148.4 g. -
Iron tsuba of mokko form decorated with encircled family crests in low relief carving; niku from 3.0 mm in the centre to 4.0 mm at rim and full 1 mm raised uchikaeshi-mimi. Nobuie [信家] signature (hanare-mei) to the left of nakago-ana; on the reverse, to the right of nakago-ana, the inscription reads “62”, which may be how old the master was at the age of making the tsuba. Pewter or lead plugged hitsuana. In a wooden box, in a custom pouch. Size: H: 80 mm, W: 75, Th(c): 3.1 mm, Th(r): 4.0 mm Weight: 103.5 gSigned: Nobuie [信家] / 62
Probably the work of Shodai Nobuie (c. 1580).
Tokubetsu hozon certificate № 2002993 of the N.B.T.H.K., dated January 15, 2016. NOBUIE TSUBA by Steve Waszak The iron tsuba made by the two early Nobuie masters are regarded as the greatest sword guards ever made across hundreds of years of Japanese history. Only a small handful of other smiths' names are even mentioned in the same breath as that of Nobuie. Despite the well-deserved fame of the Nobuie name, virtually nothing is known with certainty about the lives of the two men who made the pieces carrying this name. They are thought to have been men of Owari Province, with the Nidai Nobuie also spending time in Aki Province at the end of the Momoyama Period. Two Nobuie tsubako are recognized. The man whom most consider to have been the Shodai signed his sword guards with finer and more elegantly inscribed characters than the smith seen by most as the Nidai. The term used to describe the mei of the Shodai is "hanare-mei" or "ga-mei," while that used to characterize the signature of the Nidai is "futoji-mei" or "chikara-mei." These terms refer to the fineness and grace of the Shodai's signature and the relatively more powerfully inscribed characters of the Nidai's. The Shodai is thought to have lived during the Eiroku and Tensho eras in the latter part of the 16th century, while the Nidai's years are considered to have been from Tensho into the Genna era. This locates both smiths well within the Golden Age of tsuba artists -- the Momoyama Period. Nobuie tsuba are esteemed and celebrated for the extraordinary beauty of their iron. The combination of the forging of the metal, the surface treatment by tsuchime and yakite married to powerfully expressive carving, the masterful manipulation of form, mass and shape, and the colour and patina of the iron makes Nobuie sword guards not only unique in the world of tsuba, but the greatest of the great. The sword guard here is a Shodai-made masterwork, done in mokko-gata form, a shape the early Nobuie smiths mastered to a degree unmatched by any others. The expanding of the mass of the tsuba from the seppa-dai to the mimi, increasing by 50% from the centre of the guard to the rim, creates a sense of exploding energy, which is then contained by the uchikaeshi-mimi, yielding a lightning-in-a-bottle effect of captured energy. The hammering the master has employed to finish the surface is subtle and sensitive, achieving a resonant profundity, and the deep blue-black colour -- augmented by a lustrous patina -- leaves the tsuba to positively glow in one's hand. In this piece, Nobuie has used a motif of several kamon, or family crests, each carved only lightly on the surface in a loose ring around the nakago-ana. Due to the shallow depth of this carving, together with the tsuchime finish of the plate, the effect is to leave the kamon with a sort of weathered appearance, recalling the prime aesthetic values of sabi and wabi, which had great circulation in the Tea Culture so ascendant in the Momoyama years. However, the effects of sabi and wabi expressed in the treatment described above are amplified and deepened by the color and patina of the iron, thereby adding yet another aesthetic value -- yuugen -- which is linked with the abiding mystery of the universe and one more — mono no aware — which alludes to the pathos of life's experiences and transitory nature. In short, this Nobuie tsuba joins poetry with power and therein exemplifies the unrivalled brilliance of Nobuie workmanship.
