Tsuba Otaku (鍔おたく)
Reflections of a Not So Empty Mind
(鍔ギャラリー⑪) Tsuba Gallery #11
Umetada Kinkō Tsuba (埋忠金工鐔)
Japanese Title: 菊花十字透鐔 (kikka-juji mon sukashi tsuba)
Material: Red Copper (shakudō 赤銅)
Age: Middle Edo Period (江戸時代中期)
Size: 7.5 cm X 7.8 cm, 3.0 mm at rim
Signature: Tagane-mei (鏨銘), mumei (無銘)
Shape: Nagamaru-gata （長丸形)
Surface Finish: Migaki-ji (磨地)
Attachment: NBTHK Hozon Paper
This is soft metal handguard (tsuba 鐔) made of a dark copper-gold alloy (shakudō 赤銅). It was likely mounted and used on a long sword (katana 刀) based on its size. The surface has a highly polish smooth (migaki-ji 磨地) mirror-like finish. The positive openwork (ji-sukashi 地透) design is that of a stylized family crest in the shape of the Kanji for the number ten (juji 十字) associated with feudal lords (Daimyō 大名) of Satsuma Province (薩摩國) but was also used as crest by other prominent samurai families. The openwork design in accented by smooth inlays (zōgan 象嵌) of a chrysanthemum flower (kika 菊花) in gold (kin 金) and vines in copper (dō 銅). The rounded-square rim (kaku-mimi koniku 角耳小肉) is polished differently than the surface (ji 地) of the tsuba creating a dramatic contrast between the two areas.
The hole on the left side for the handle of a small accessory knife (kozuka hitsu-ana 小柄櫃穴) was added later and disrupts the inlay work on one side of the tsuba. This indicates that tsuba was likely remounted more than once on different swords. I think this tsuba dates from the middle Edo Period circa 1700 CE based upon its multiple remounts with modification, quality, and style of the inlays. During this time the Umetada (埋忠) School was still based primary in Nishijin-ori (西陣織) in Kyōto (京都).
On April 1, 2022, it underwent formal appraisal (shinsa 審査) in Tokyo, Japan at the Society for the Preservation of the Japanese Art Sword (NBTHK) to be a work in the tradition of the Umetada School. An appraisal paper (hozon tōsōgu kanteisho 保存刀装具鑑定書) was issued confirming the tsuba is authentic, of good quality, has artistic merit, and is worthy of historical preservation.
Provenance: Unknown Purchased from a US Japanese antiques dealer.
Ko-Tōshō Tsuba (古刀匠鐔)
Japanese Title: 源氏紋の透かし図鐔 (genji mon no sukashi zu tsuba)
Material: Iron (Tetsu 鉄)
Age: Early to Mid Muromachi Period
Size: 8.5 cm X 8.5 cm, 2.0 mm at rim, 3.0 mm at seppa-dai.
Signature: Mumei (無銘)
Shape: Maru-gata (丸形)
Surface Finish: Tsuchime-ji (槌目地)
Attachment: None
This is a large tsuba made of forged iron (tetsu 鉄). It was mounted and used on a long sword (katana 刀) worn edge up at the waist as a (uchigatana 打刀). The tsuba likely dates to the early to mid Muromachi Period circa the 15th to16th centuries. It was made by early sword and other edge weapon ironsmiths (Ko-Tōshō 古刀匠) using leftover iron after forging of the sword blade.
The main openwork (sukashi 透かし) design is a geometric line pattern associated with a specific chapter of the Tale of Genji (genji-mon 源氏紋). This specific design refers to the 33rd chapter titled “Fuji no Uraba (藤裏葉)”. This chapter is translated as "Shoots of Wisteria Leaves" in Dennis Washburn’s translation of this historical 11th Century novel by Murasaki Shikibu (紫式部).
Below the genji-mon and the central nakago hitsu-ana are a sacred jewel and water drop openwork design. Also included to the tsuba is a family crest (kamon 家紋) design that was at some point seriously damaged. Which family crest this was is not clear due to the historical damage that likely occurring during the warring states period (Sengoku-Jidai 戦国時代). An alternative theory that I would like to research this that this is a tea ceremony associated artistic motif commonly used during the later part of the Sengoku-Jidai and expresses a tea ceremony aesthetics (wabi-cha 佗び茶).
The patina is a nice and deep blueish black in color with a nice finely hammered textured surface (tsuchime-ji 槌目地). The plate is thinnest at the rounded rim (maru-mimi 丸耳) and gradually thickens toward the center at the (seppa-dai 切羽台) area. The tsuba is rounded (maru-gata 丸形) in overall shape.
Provenience: Captain John A Frost Collection
Nobuie Tsuba (信家鐔)
Japanese Title: 瓢箪図鐔 (hyōtan no zu tsuba)
Material: Iron (tetsu 鉄)
Age: Azuchi-Momoyama Period (安土桃山時代)
Size: 6.9 cm X 7.6 cm, 4.3 mm at rim, ~2.0 mm at seppa-dai
Signature: Nobuie (信家)
Shape: Mokkō-gata (木瓜形)
Surface Finish: Yakite-shitate (焼手仕立)
Attachment: None
This is a handguard (tsuba 鐔) made from very well forged iron (tetsu 鉄) made for a long sword (katana 刀) worn edge up at the waist. The carved design on both sides of the plate is that of the vines, leaves, and fruit of the bottle gourd (hyōtan 瓢箪) plant. The bottle gourd is one of the oldest cultivated plants in East Asia and has long been established as an auspicious sign of plenty. The fruit of plants is often found in art particularly around the time of the Azuchi-Momoyama Period in Japan during the rule of Toyotomi Hideyoshi who used it as an emblem. (1,2,3) Overall, this treatment and age of the plate creates a complex textured surface (jimon 地紋) that expresses the tea ceremony aesthetics (wabi-cha 佗び茶) developed by (Sen no Rikyū 千利休) 1522-1591 CE who was Nobunaga and Toyotomi’s tea master. (4)
The tsuba is signed on the left side of the central opening with two-character name (Nobuie 信家). While the signature has the placement and spacing that is consistent with authentic examples, I cannot identify which of the seven different recognized styles it represents. This system signature classification was first developed by Akiyama Kyūsaku during the Meiji Period. (4)
The surface of the tsuba plate shows signs of significant age and heat treatment (yakite 焼手) causing iron bones (tekkotsu 鉄骨) to be exposed along the rim and the surface of the plate. The raised folded-over rim (uchikaeshi-mimi 打返耳) nicely displays a carved turtle shell pattern.
This tsuba dates from the later part Azuchi-Momoyama Period during the rule of Toyotomi Hideyoshi from 1585 until 1598 CE. (5) The tsuba clearly shows a strong Zen aesthetic sense centered on the acceptance of transience and imperfection (wabi-sabi 侘び寂び) this tea ceremony aesthetic was popularized, developed, and incorporating it into tea ceremony by Sen no Rikyū so the tsuba was likely made before his death in 1591 CE. (6)
References:
1. Legend in Japanese Art by Henri L. Joly. John Lane Company ©1908, pg. 101.
2. Lethal Elegance the Art of Samurai Sword Fittings by Joe Earle. Museum of Fine Arts, Boston ©2004, pg. 36.
3. The Art Appreciation of Japanese Sword Fittings by Shigeo Fukushi. ©2012, pg. 316.
4. Nobuie Tsuba by Itō Mitsuru ©2016, pgs. 6-7, 37.
5. Toyotomi Hideyoshi Wikipedia Entry: (https://en.wikipedia.org/wiki/Toyotomi_Hideyoshi)
6. Sen no Rikyū Wikipedia Entry: (https://en.wikipedia.org/wiki/Sen_no_Riky%C5%AB)
Provenance: Dr. Peter Klein Collection, DDS