Additional ‘hitsu ana’ on Umetada tsuba

[JohnTo]

Hi guys,

Can anyone help me as the reason for an additional ‘hitsu ana’ on this tsuba?

The tsuba is a recent addition to my collection and is a cleverly designed 24-petal kikka gata (chrysanthemum shape) that utilises groups of three petals to form the trailing edge of each of the eight wings of four butterflies.  The design is the same on each side.  The plate is shakudo and is ‘signed’ Umetada.  The nakago ana has 9/10 round tegane punch marks, probably a maker’s mark.  The four butterflies on each face have the leading edges slight raised from the surface and the details of the butterflies are outlined in gold and silver nunome.  In addition to the usual kogai/kodzuka hitsu ana there is an addition rectangular slot (0.9 x 0.2 cm) cut between the nakago and the kogai hitsu ana.  This would have been hidden by the seppa when mounted (judging by the outline on the seppa dai).  The inner surfaces of the slot are smooth, cut vertically and are patinated, so it does not look as if it was cut post manufacture.  Any ideas as to what it is for and the correct name?

Other stats for the tsuba are: height 6.7 cm, Width:6.2 cm, Thickness (rim): 0.3cm, Weight98 g.

A virtually identical tsuba is currently for sale on a Japanese website (https://www.touken-matsumoto.jp/en/product/shousai/TSU-2356) that does not have this slot.  This one has a NBTHK Hozon and a Torigoe Kazutaro/Sodo Sensei hakogaki authentication and is also signed ‘Umetada’ but with a wider chisel, different writing style and placed on the upper right of the seppa dai, rather than the mid left as on mine.  I’m not particularly bothered about these differences in the signatures as these were about 13 generations of masters, plus pupils, and many just signed ‘Umetada’ and did not include personal names.  I prefer to concentrate on the quality of the workmanship which I think compares very favourably with the other example.  The two tsuba probably came from the same workshop and were a stock design made by different artisans, perhaps separated by several generations.

I have read that although most members of the ha signed ‘Umetada’ with the kanji (埋忠), as this example, some substituted the kanji for Ume with 梅 (plum).  This was because 埋忠 could be read as ‘bury loyalty’ and may be considered insulting or revolutionary.  Markus Sesko cites a juyo rated tsuba signed Myoju Umetada that has the kanji 埋 obliterated.

 

Ideas please.

Regards, John

(just a guy making observations, asking questions, trying to learn)

[Soshin]

Nice tsuba John. I have two Umetada School tsuba in my collection right now on in iron the other like yours in shakudo. The rectangular slot on your tsuba  was for a clip used to prevent the sword accidentally drawing the sword from the scabbard.   These types of clips were popular on Shin-Gunto mounts during World War 2. I have come across a few others older antique tsuba before while collecting Japanese sword fittings over the years with these rectangular slots added later. I hope you find this answer helpful.   

[Curran]

As David said:  WW2 added clip ana, which may have necessitated the re-pickling of the shakudo.

Over the years, I've learned the repickling is more common than I would have imagined. It must be tricky though, as even a very capable professional has shown me some of his 'oops' jobs.

 

[Tensho]

Not for a gunto. Chuso need a wider cutout to operate. A "snap" locking piece will not fit through the slot. It seems like no one knows. I came across a tsuba like this a couple years ago which lead me to the link below.

 

This topic has been brought up before. 

https://www.militaria.co.za/nmb/topic/9460-tsuba-with-slotted-seppa-dai/

[Spartancrest]

 

[Curran]

1 hour ago, Tensho said:

Not for a gunto. Chuso need a wider cutout to operate.

 

 

That concerned me too, as I thought WW2 swords had a larger clipping mechanism. I know little of WW2 koshirae.

Tsuba were being given these side ana as soon as toppei koshirae entered the scene in the later half of the 1800s.

Attached is an image of a toppei koshirae made c.1860-1865 for a yoroi doshi. See clipping mechanism.

[Geraint]

Dear Curran.

 

Thank you for posting that one, I love it.  On this koshirae the slot for the mechanism is well outside both fuchi and seppa, unlike the one that John posted.  You don't, by any chance, happen to have photographs of a similar mechanism but inside operating inside the seppa dai, do you?  If so then that would answer a lot off questions.

 

It is a little frustrating that we can put together so many images of tsuba with this feature but not the koshirae that would account for it.

 

All the best.

[Curran]

2 hours ago, Geraint said:

Thank you for posting that one, I love it.  On this koshirae the slot for the mechanism is well outside both fuchi and seppa, unlike the one that John posted.  You don't, by any chance, happen to have photographs of a similar mechanism but inside operating inside the seppa dai, do you?  If so then that would answer a lot off questions.

 

It is a little frustrating that we can put together so many images of tsuba with this feature but not the koshirae that would account for it.

 

Geraint-  I have to admit I totally failed to realize that the ana was within the seppa dai area.

 

I've seen only one exception, (classified as toppei) where the mechanism was like the above toppei, but it was 2 pin levers front and back that locked inside the brass piece around the koiguchi of the saya. Even that was more of a 'catch' than a clip system. It did not lock tight like the toppei tanto koshirae, nor as I think the WW2 ones do. So now I am a little stumped. I can imagine reasons to do it, but I don't recall seeing an intact koshirae with this thin little slot ana being of some use.

 

[JohnTo]

Hi Guys,

A special thanks to Curran and Dale for their photos and to Lee, who sent me a private message with a similar hole plugged with gold.  I forgot about these slots appearing on gunto, not exactly collectable tsuba.

I have also stumbled across another example for sale on Aoi art (https://www.aoijapan.com/tsubamumeiunsigned-36/), a ko-kinko tsuba with NBTHK Hozon attribution (see pic).  Being ‘ko’ kinko this may have been an old feature, or more likely added later.  This tsuba is the same size as mine: wakizashi.   Lee suggested that his example may have been to hide an emergency source of money as it was filled with gold.  Nice idea.  I can also see why these slots may have been put on wakizashi tsuba to be part of a locking mechanism; it would have been very embarrassing for a samurai to be bowing down in front of a daimyo and have his wakizashi slip out onto the floor.

Thanks for all your help: Its all about learning from others.

John