A question about namako, Higo, and Miyamoto Musashi

[OceanoNox]

As I continue studying tsuba, especially the ones in iron, I have come upon the "namako" theme, famously displayed in the tsuba attributed to Miyamoto Musashi. It is my understanding that he made it when in Kumamoto, having been influenced by the Higo craftsmen (and Lord Hosokawa).
At the moment, I am under the belief that the symmetrical and large hitsu ana are a particularity found in Higo tsuba.

I wish to ask whether the "namako" tsuba are really representing simplified namako, or simply enlarged hitsu ana. I am possibly just reading things, but the namako tsuba attributed to Musashi really reminds me of the rings added to crossguards in Europe, and the shapes seem overly simple to clearly the sea cucumber.

[Spartancrest]

Well here are a few where the addition of a single line through the hitsu-ana changes the "theme" completely, which way did the design evolve from? Namako or butterfly wing?  Was it complex to very abstract or the otherway around?  [Straying into being off topic, I realise, just an observation.]

[Bugyotsuji]

Haha Dale, I went through a somewhat similar thought process last night while flipping through some tsuba books. Which came first, the chicken or the egg? I found a/the Musashi example in a Japanese book, but nowhere on the page did it mention the word 'Namako'.

 

An unusual design at the time, (quite possibly European influenced) to which someone Japanese somewhere must surely have commented 'Namako', the name struck a chord, and voila, Bob's  your uncle...?

[OceanoNox]

7 hours ago, Spartancrest said:

Well here are a few where the addition of a single line through the hitsu-ana changes the "theme" completely, which way did the design evolve from? Namako or butterfly wing?  Was it complex to very abstract or the otherway around?  [Straying into being off topic, I realise, just an observation.]

The third one from the left, I think I saw a post (by Ford Hallam perhaps?) hinting that it might also be a cut out of the fingers (or finger bones) as seen from the front when gripping the tsuka. I also saw that tsuba called silkworm design.

But this is very much also what I am wondering. The designs are so abstract, they could be anything.

 

5 hours ago, Bugyotsuji said:

someone Japanese somewhere must surely have commented 'Namako', the name struck a chord, and voila, Bob's  your uncle...?

I suspect you're right, the name came second after someone crafted an interesting design.

[Bugyotsuji]

In this Yagyū Tsuba we can see a seabird, waves and an oar.

 

Did the Yagyū smiths see the lessons of Sasaki Kojirō’s defeat on Ganryū Island as a Pearl Harbor or Alamo moment? 
 

 

[Bugyotsuji]

Oops, maybe this was the wrong thread! 

[ROKUJURO]

On 12/16/2022 at 10:31 AM, OceanoNox said:

As I continue studying tsuba, especially the ones in iron, I have come upon the "namako" theme, famously displayed in the tsuba attributed to Miyamoto Musashi. It is my understanding that he made it when in Kumamoto, having been influenced by the Higo craftsmen (and Lord Hosokawa).
At the moment, I am under the belief that the symmetrical and large hitsu ana are a particularity found in Higo tsuba.

I wish to ask whether the "namako" tsuba are really representing simplified namako, or simply enlarged hitsu ana. I am possibly just reading things, but the namako tsuba attributed to Musashi really reminds me of the rings added to crossguards in Europe, and the shapes seem overly simple to clearly the sea cucumber.

Arnaud,

I think that in the realm of 'functional arts and crafts', there is a strong tendency to simplify design and final form. You can find this also in the conception of brand icons where the aim is to create a unique symbol to represent a company, being at the same time simple and easy to memorize and on the other hand difficult to copy. Think of the Mercedes-Benz star!

In TSUBA, there are additional factors like aesthetics and function, and in my understanding the NAMAKO design TSUBA have all these factors united. It is not easy to keep a TSUBA design much simpler while preserving an attracctive appeal!

   

[OceanoNox]

1 hour ago, ROKUJURO said:

In TSUBA, there are additional factors like aesthetics and function, and in my understanding the NAMAKO design TSUBA have all these factors united. It is not easy to keep a TSUBA design much simpler while preserving an attracctive appeal!

Jean, thank you. I agree that the namako design combines all the factors you mentioned. I do have a preference for some of the Higo ones instead of the Musashi one, but nevertheless, they look deceptively simple and it must be difficult to get the balance just right.

[Kurikata]

I can't resist in posting a mamako tsuba picture from:https://nihonto.com/miyamoto-musashi　/

 

A least a thread on Myamoto Musashi deserves a picture of one of his tsuba (at least attributed to him)

[OceanoNox]

Thank you Bruno. If people don't mind poor quality, I can upload a photo of the book I have at the moment. In the meantime, here is another poor quality picture of a namako tsuba I found extremely nice. It has file marks on the surface and silver inlay on the rim in a stylized lightning pattern.

[Toryu2020]

Earlier designs were just cut outs in the shape of a namako, the whole being much thicker, it then became much airier as in the examples by Musashi. Here we see thickeer versions, one with actual hitsu-ana, a more photo~realistic Higo version and an actual pair of namako...

 

-t

 

[Curran]

12 hours ago, Toryu2020 said:

Earlier designs were just cut outs in the shape of a namako, the whole being much thicker, it then became much airier as in the examples by Musashi. Here we see thickeer versions, one with actual hitsu-ana, a more photo~realistic Higo version and an actual pair of namako...

 

-t

 

Hi Tom,

 

I believe top one you shared listed as "Higo" is originally a Ko-Shoami design seen on the Nobunaga koshirae? Correct me if I am wrong.- Later on it would become a standard of the Higo schools, especially with H. Nakane making many of that design often with some silver around the edge. Supposedly Hosokawa commissioned the shodai Kanshiro to make 6 of them for his generals. I had one consigned through me about 8 years ago and wish I had bought it.

 

The attribution to Kanshiro and the fact that there were 6 of them is all per the NBTHK. I wouldn't have known if it were not for the knowledge dropped on me then.

I am not sure I would consider that one a namako design, and guess I should see if I have records of the NBTHK papers to be sure.

 

Along the Hayashi-Kamiyoshi lines of Higo, I've owned a few of this namako variety. I have a Hayashi Tohachi one that is like a blinged out version of the originals, but my favorite one is a plain jane iron one I picked up from a friend a few years ago. It looks very much like the original ones supposedly by M. Musashi, but is not as thick as the M. Musashi ones. As you know, a very well regarded collector in your neck of the USA has a few of the originals... as if they were that easy to own one, yet alone own a few of them. That is beyond my level.

 

 

 

 

[OceanoNox]

Here is the tsuba attributed to Miyamoto Musashi in the book mentioned above. Height is 75 mm, width 72 mm, and thickness is 5 mm.