Tsuba: Akasaka – Design of musashino with karigane
Signature/mei: Unsigned
Material: Iron
Era/jidai: Edo
Dimension(h/w/d): 76.5 x 75.9 x 6.35 mm
Price: €990 / $1090 / ¥160000
Sukashi tsuba with the famous “Musashino” motif. A great battle was fought in the fields of Musashino (near Tokyo). Typically, this design only shows some blades of grass with raindrops or morning dew, suggesting the aftermath of the great battle. In some more rustic or aggressive designs, even bones or skulls are shown.
On this Edo period tsuba, we also find drops of water on the grass and in addition, karigane flying over the field. A very nice interpretation of Musashino.
Kyo-Sukashi tsuba with the external shape of a chrysanthemum. The design itself shows connected weights, which is a common motif, especially in sukashi-tsuba. The patina and condition of this tsuba are excellent.
Exceptionally, very well and detailed cut Sendai tsuba in sukidashi-bori technique with ajiro pattern. The shape of the tsuba is oval (naga maru gata) and it’s made from a very dark and heavy shakudo. It has two hitsu-ana, the hitsu for the kozuka is sealed with shakudo that was given a beautifully chiseled surface. The fukurin is plated with gold, this contrast gives the tsuba a very attractive aesthetic. The fact that the tsuba is unsigned, despite its elaborate and high quality, which certainly required a lot of time and work, suggests that it was made for a samurai of higher rank. The condition is breathtaking and to keep it in this pristine state the tsuba comes in a custom made box with raised base at the seppadai.
It’s hard to imagine the painstaking work that went into this tsuba to create the shippo mon. The mon pattern also makes the two hitsu-ana look very unusual, making the tsuba appear even more interesting.
Very well cut Nanban tsuba with the motif of a – perhaps Portuguese – galleon. Please compare this tsuba to the very similar tsubashown in the book “Nanban tsuba” by Shigeta Yoshimura.
Tsuba comparison:
“Western Ship”
Figure taken from “Nanban Tsuba” by Shigeta Yoshimura
Tsuba comparison 2:
“Western Ship with Sailors”
Figure taken from “Nanban Tsuba” by Shigeta Yoshimura
Tsuba comparison 3:
“Western Ship” with gold coloring kin iroe
Figure taken from “Nanban Tsuba” by Shigeta Yoshimura
The Umetada School has existed since the end of the Muromachi period and has worked for the Ashikaga Shogun’s family for several generations. The Umetada masters were very versatile; In addition to swords, they also made habaki, seppa, fuchi kashira and tsuba. The Umetada were also responsible for shortening blades and creating kin-zogan signatures, as well as engraving Horimono.
Menuki, kogai and kozuka are not known from the Umetada, which is mainly because the masters of the Goto school were commissioned with this work.
The design “Budō-mon no zu tsuba” translates to “tsuba with the design of grapevines”, a design, for which some artist of the Umetada school are famous for. A tsuba with a similar design “Budō ni kochō-mon no zu tsuba” (see comparison 1) by Umetada Myōju is even designated as jūyō-bunkazai. Both tsuba have nearly the same size and are made from a polished shakudō plate, in which the grapes are inlaid in a technique called hirā-zōgan. The shape of the tsuba is tatemaru-gata (oval) with a fukurin (rim) made also from shakudō. The tsuba has one hitsu-ana and some sukashi elements. Umetada tsuba are known to have sukashi elements, particular also for this design, for example as the ito-sukashi on the tsuba in comparison 4. The sukashi on the presented tsuba are placed very delicately below the hitsu ana and underline the design very tastefully. A true masterpiece with the signature “Umetada”. (Please also note thistsuba by Umetada Shigeyoshi.)
Tsuba comparison 1:
“Budō ni kochō-mon no zu tsuba”
Designated as jūyō-bunkazai and signed “Umeta Myōju”
futatsū-mokkōgata, polished shakudō, hira-zōgan, iroe, dote-mimi, one hitsu-ana
Figure taken from “Tosogu Classroom” by Fukushi Shigeo
Tsuba comparison 1:
“Budō ni kochō-mon no zu tsuba”
Figure taken from “Tosogu Classroom” by Fukushi Shigeo
Tsuba comparison 2:
“Budō-mon no zu tsuba”
Signed “Umetada Shichiza”
Early Edo period (1624-1644)
Very simlar to the presented tsuba, but without sukashi and in futatsū-mokkōgata
Figure taken from “Tosogu no Kansho II”
Tsuba comparison 2:
“Budō-mon no zu tsuba”
Figure taken from “Tosogu no Kansho II”
Tsuba comparison 3:
“Budō-mon no zu tsuba”
Signed “Umeta Myōju”
futatsū-mokkōgata, polished suaka, hira-zōgan, iroe, dote-mimi, one hitsu-ana
Simlar to the jūyō-bunkazai tsuba shown above but in suaka instead of shakudō
Figure taken from “Tosogu Classroom” by Fukushi Shigeo
Tsuba comparison 3:
“Budō-mon no zu tsuba”
Figure taken from “Tosogu Classroom” by Fukushi Shigeo
Tsuba comparison 4:
“Budō-dana ni budō no zu tsuba”
Signed “Umeta Shichizaemon Tachibana Shigeyoshi saku”
tatemaru-gata, polished shakudō, ito-sukashi, hira-zōgan, iroe, shakudō-fukurin, two hitsu-ana
Figure taken from “Tosogu Classroom” by Fukushi Shigeo
Large Saotome tsuba with no hitsu ana. Due to the size above 9cm and with the typical Saotome Chrysanthemum design with no hitsu ana, it could have been made during the Momoyama period.
Signature/mei: Josyu Nishijin Ju Umetada Tachibana Shigeyoshi
Material: iron, gold
Era/jidai: late Edo
Dimension: (h)83.9mm/(w)77.8mm/(rim)4.0mm
Custom made box with cushion
NBTHK: Hozon (2022)
Price: €1250 / $1390 / ¥200000
Located near Nara, the Tsudagawa River has long been known for its colorful fall foliage. On the slightly oval (naga maru gata) shaped tsuba, we can see the river waves and some leaves flowing on it, carved from the iron plate using a technique called sukidashi-bori. Parts of the leaves and some gout drops are carefully colored in gold. Nara is not far from Kyoto where the Umetada school was located, which makes this tsuba so interesting as it is signed by Umetada Tachibana Shigeyoshi. He chose a subject close to his own workshop.
Depending on the literature (Haynes, Fukushi Shigeo), there were three or four Umetada artists who signed “Shigeyoshi”. Therefore, it is difficult to determine exactly who made this tsuba. Some similar works can be found at The Met or in the Boston Museum!
The Umetada School
The Umetada School has existed since the end of the Muromachi period and has worked for the Ashikaga Shogun’s family for several generations. The Umetada masters were very versatile; In addition to swords, they also made habaki, seppa, fuchi kashira and tsuba. The Umetada were also responsible for shortening blades and creating kin-zogan signatures, as well as engraving Horimono.
Along with the Yokoya and Goto schools, the Nara school is one of the three major kinko schools. They represent some of the most important schools of kinkotosogu. Later schools are often modifications or developments of these main schools. The school produced many students who were allowed to bear the name “Nara”. (Like this tsuba we see here in front of us.) Today we assume 7 generations of the mainline Nara school, wich in turn also had many students. The founder of the Nara School is said to have been Nara resident Toshiteru (1579-1629), but unfortunately not all details from this period have been preserved. Incidentally, the Nara artists were officially employed by the Bakufu under the title of “metal craftsmen” (kazari-shi), in contrast to the Goto artists who were employed as engravers (horimono-shi). Many famous artists emerged from the Nara School, to name just one: Nara Toshinaga. But big names like “Tuchiya Yasuchika” and “Hamano Shozui” were also students of Nara artists and were influenced by this school.
As is often the case, the patina on this brass tsuba has developed really nicely. The raised edge beautifully frames the scene of two swallows flying over waves. As if we were looking at a picture painted by this Nara school artist. Both swallows are decorated in shakudo with some fine copper and gold accents. Gold was also used for the gout drops created by the waves – reaching up to the ura side. The overall impression is clearly a Nara school tsuba. Luckily the tsuba is also signed with “Nara” and “kao”.
Tsuba from the school – or the region – Kaga, which when they where signed, are difficult to find, as most of tsuba or kodogu from Kaga was left unsigned. This tsuba shows a famous design: “Autumn insects with cage”. During the Edo period, some artists called “Tomomasa” were active in Kaga. Further research is needed to determine which Tomomasa made this tsuba and, more importantly, when. Here is another example for Kaga which would make a wonderful set.
The shape is a perfect mix of maru gata (round) and nara maru gata (oval) as it is slightly larger in height than in width, which is not noticeable at first glance but gives a more aesthetic taste to the overall impression. Even though it is more of a medium sized tsuba, the seppa dai is raised to the height of the rim, creating a small valley in the middle of the tsuba, making it very interesting to look at. While the decorative design elements are placed more on the right side, the upper left part remains untouched. This is of course intentional, because if the tsuba would be mounted on a sword, the sword wielder’s thumb would rest here. I don’t want to say that it was the thumb of a samurai: Since this tsuba was made during the Edo period, it is very likely that this tsuba was carried by a marchant. During the Edo period, merchants became a wealthy class and were allowed to carry a short sword, the wakizashi. Due to the size of this tsuba, it is surprisingly suitable for a wakizashi. Also the workmanship and the materials used for this tsuba suggest, that it would have been an expensice tsuba. As samurai became poorer and poorer during the Edo period, it seems that is was the tsuba of a merchant or a samurai of higher rank. Ultimately, the tsuba could have been a gift for simple viewing pleasure. Tomomasa put his signature on the backside, so that the omote is not disturbed when the tsuba is looked at when it’s not mounted. But there are some traces near the nakago hitsu ana that the tsuba in fact was mounted and used. As there are no tagane, I think the tsuba was mounted only on one sword, maybe even custom made to fit perfectly without further need of modification.
The subject of the tsuba is “Autumn insects with cage”. In Japan it was common to catch cicadas and place them in a special cage, so that the sounds the cidaca create, it’s music, could be enjoyed. On the omote we see two cicadas, inlayed with gold in a technique called hira zogan – “flat inlay”. The cicada itself is engraved with fine kiriba. It’s legs and antennas, as well as the cage, are inlayed in very small hairline carving, which is common and typical for kaga tsuba. Also some blades of grass are depicted in the very same technique.
Finally, we come to the ura side where also a bit of grass is visible along with the artist’s signature:
Unique and rare, very finely chased iron Myochin tsuba with the face of a grimly smiling Shishi. On the ura we find a very extensive signature:
Keio ninen hachi gatsu kichijitsu
Myochin Katsumi Ki no Munenaga saku
Sakamoto Naokata Ouju
On a lucky day in the eight month of Keijo two (1866)
Myochin Katsumi Ki no Munenaga saku
Made on behalf of Sakamoto Naotaka
The roots of the Myochin family can be traced back to the Heian period. During this time – and many generations later – the Myochin made armor for samurai and bridles for horses. It is amazing that the Myochin masters continued to be active for many generations until the end of the Edo period, producing iron works such as this unusual tsuba.
Edo Higo iron tsuba with diversely artistic designs in gold on the omote and silver on the ura side. The two hitsuana also are typical for a work by Higo artists.
Many sakura blossoms are carved from the iron base plate. The blossoms extend over the rim and continue on the ura side of this wonderful tsuba. The iron of the plate is a hard and strongly forged iron. Two hitsu ana, the one for the kogai is closed with shakudo.
Lorenzo Amati, a pupil of Ford Hallam, made this modern interpretation of a mokko shaped ji–sukashi tsuba with sakura design. Two hitsu ana, copper sekigane in a custom handmade box with very nice fabric..
This tsuba has a slight oval shape (nara mru gata) and is made by Tsuneshige out of brass, a material rarely used for tsuba. On the omote we find the rakan Handaka Sonja (半托迦尊者), or Arhat Panthaka in Sanskrit. He is one of the sixteen disciples of Buddha. In most cases – like on this tsuba – he is shown with his pet dragon which he can keep in a bowl.
On the ura we can see a tree and his signature “Tsuneshige”. Currently the tsuba has no attrinution from the NBTHK. As the I believe the signature is genuine I guarantee at least Hozon.
On this round iron ji sukashi tsuba with two hitsuana we see in radial order a mix of turban snails (sazae), hora and awabi. Everything we can see on the omote side is exactly matched on the ura side. This is a very naturalistic depiction as it is not a simple copy of the omote. The surface has a beautiful patina as it is very soft and dark. The tsuba bears the signature “Echizen ju Kinai saku” as it was made by the famous Echizen Kinai school of tsuba artists. This wonderful carved tsuba is a very nice example of this school and I’m pretty sure it will get a hozon paper easily.
On this round iron ji sukashi tsuba with two hitsuana we see chrysanthemum flowers and leaves. Some leaves are decorated with gold iore. Everything we can see on the omote side is exactly matched on the ura side. This is a very naturalistic depiction as it is not a simple copy of the omote. The tsuba bears the signature “Echizen ju Kinai saku” as it was made by the famous Echizen Kinai school of tsuba artists. This wonderful carved tsuba is a very nice example of this school and I’m pretty sure it will get a hozon paper easily.
On this round iron ji sukashi tsuba we see four opened and two rolled up aoi leaves. The open leaves have some holes as sukashi openings and some leaf veins decorated in kiriba. Two hitsuana. The tsuba is signed “Kinai” and is made by the famous Echizen Kinai school of tsuba artists.
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