Category: Tsuba

Front Side (Omote)

• Motif: Features a powerful, dynamic tiger carved in high relief (takabori) in shakudo and shibuichi descending from the right. The tiger exhibits intricate surface detailing showing muscular definition and fur texture. It arches over a rushing stream depicted at the base.
• Upper & Background Details: Arching bamboo leaves extend gracefully from the top rim.
• Inlays & Highlights: Gold inlays (kinzōgan) highlight key details, including the tiger’s eyes, teeth, sharp claws, and foam/water droplets along the stream.
• Signature (Mei): Chiseled to the left of the nakago-ana:
  • 柳川直政 (Yanagawa Naomasa) + Kōa (Kaō)
• Hitsu: One oval-shaped kozuka-hitsu-ana (opening for the auxiliary knife) on the left

Reverse Side (Ura)

• Motif: Completes the environment depicted on the front side by featuring thick, sturdy bamboo trunks (shakudo/shibuichi) rising from a rocky bank along the stream on the left side.
• Details & Craftsman Technique:
  • The bamboo culms and nodes are rendered in low-to-medium relief (chōkoku) with high realism.
  • Fine gold accents (kinzōgan) adorn small sprouts and water spray along the embankment.
  • Softly carved wave patterns depict flowing water along the bottom.
• Composition: The reverse side maintains a quiet, atmospheric balance that harmonizes with the fierce energy of the front design.

Symbolism & Artistry

The pairing of Tiger and Bamboo (Take ni Tora) is a classic motif in Japanese art. The tiger represents raw power and protection against evil spirits, while the bamboo represents flexibility, endurance, and strength. Together, they represent balance and harmony within nature. This piece highlights the masterful relief-carving and mixed-metal decoration characteristic of the Yanagawa tradition.

Material & Technique: Brass plate with high relief (Takabori), fine line engraving (Kebori), and precious metal inlays (Gold and Copper)

Design & Iconography
This exceptional tsuba masterfully incorporates the physical openings of the guard into its narrative design, depicting the famous Japanese folklore legend of Shōki the Demon Queller (Shōki-zan) and a mischievous demon (Oni).

Front Side (Omote):
On the right side, Shōki is depicted in dramatic high relief (Takabori). He is rendered with a fierce expression, long flowing beard, and traditional scholar-official headwear (Kaku-eboshi) accented with gold and copper inlays. He holds his sword at the ready as he searches for his foe. On the lower left, finely engraved in delicate line work (Kebori), a terrified oni cower under the auxiliary opening (Kozuka-hitsu-ana), looking up in fear at the demon hunter.

Reverse Side (Ura):
The humor and ingenuity of the artist unfold on the reverse. The upper left features gently engraved swirling clouds. On the lower right, the lower torso and legs of the fleeing oni emerge directly from the Kozuka-hitsu-ana—creating the clever visual illusion that the demon is physically stepping through the opening of the tsuba to escape Shōki.

Maker’s Mark & Attribution
Signature: Located on the reverse (Ura) within the Seppa-dai area (next to the central opening) is a deeply carved Kaō (stylized artisan’s monogram/seal).

Artistic Context: The witty composition, combined with the mix of soft metals, relief carving, and playful use of negative space, is a hallmark of the Nara School—a group of Edo-period metalworkers renowned for introducing narrative humor and painterly realism to Japanese sword fittings.

If you are interested in this tsuba, currently there is a matching fuchi kashira with the same design and material available.

This tsuba depicts a very poetic scene of a monk visiting a shrine – probably the famous shrine of Nara – during nighttime.

In the lower left corner we find out monk. While his face is modeld in copper, his clothes are made from shakudo and silver, and the lantern he is carrying is made of gold.
He is heading to the entry of the shrine, the gate made again from copper and shakudo, like the monk.

Above the monk through the opening clouds carved on the base plate, we can see a zodiac sign inlaid in gold.

Some trees carved from the base plate and coloured in gold complete the scene.

On the backside we see the same tree formation and small stone lantern, again made from copper.

On the front, we see a dragon rising from storm clouds. Traces of golden decorations are still visible in the rain and on the dragon itself.

Our gaze is drawn to the dragon’s mouth and eye, highlighted with copper and gold, which stand out clearly against the dark iron base plate of the tuba.

The reverse depicts a different, more tranquil scene. The clouds have cleared, and a building, presumably a pagoda, can be seen behind a mountain in the distance. Closer to the viewer, another building is discernible, towards which two figures are moving amidst a rocky landscape. Several trees—some stylized—are carved from the base.

Two hitsu-ana, one of them carefully filled with shakudo.

A good example of how beautiful and artfully crafted tsuba don’t have to break the bank.

Kiku Flower – Chrysanthemum on a Mokume Ground.

Tsuguhide (Haynes No. 10749.0) was born in 1772 and died in 1861. He was the swordsmith of the third Tsuguhira. This is a typical work by him: an intricately forged, sixteen-petaled kiku flower on a mokume ground. The solid iron tsuba hints at how difficult it must have been to carve the mei into the flower. At 4.5 mm thick, it is quite heavy for its size.

Exceptionally well-cut tsuba with Tomoyoshi’s famous dragon design.

Fine kiri-mon tsuba on shakudo-nanko. The kiri-mon overlay covers the edge of the tsuba. A small and delicate piece for a person of higher rank. Attributed to Yoshioka according to the NBTHK Hozon certificate.

If you like dragons on your tsuba and love shakudo-nanako, this is the tsuba for you. Attributed to Kyo Kinko by NBTHK Hozon certification. Truly magnificent, the way the two dragons form the rim of the tsuba.

A robust and powerfully crafted tsuba with a wheel motif. This tsuba conveys the impression of the powerful forging skills of a Myochin master. The Myochin were primarily known for their armor production.

This tsuba comes from the collection of the famous kodogu collector Kokubo Kenichi and is attributed to Echizen Akao. The design shows the crescent moon with stars and a flying bird, probably a swallow, while everything is surrounded by clouds. The design looks surprisingly modern with the curved lines as clouds, while the moon forms the hitsuana.