Kanayama Tsuba ("Namako" Sea Cucumber Motif)

[Iaido dude]

This is a recently acquired Kanayama tsuba "study piece" costing just over $300 on a Jauce auction. It has a massive seppa-dai and large lump-type tekkotsu concentrated on the upper mimi clockwise between 7 o' clock and 1 o' clock (two are shown in pic). There is a slight dishing from mimi to seppa-dai. This is a genuine Kanayama, but has some unusual variant features.

 

The motif on the left and right of the seppa-dai and forming the hitsu-ana is often referred to as "sea cucumber" (namako) and made famous by the tsuba of Miyamoto Musashi. However, I highly doubt that he was thinking of a deep sea creature to decorate a sword fitting when he adopted this abstract motif as part of the simple and symmetric composition commonly found in Kanayama tsuba. 

 

This tsuba is almost certainly a product of the Momoyama Period with a lively flow of curves in the composition that is mesmerizing and evocative of Wabi Tea and Zen Buddhist aesthetic principles including wabi, sabi, and mono no aware. For me it is also an especially powerful evocation of yugen (mystery). Beyond the tekkotsu there is variation in thickness going around the mimi and the seppa-dai, which exaggerates the rustic spirit of the overall effect.

 

The surface has an unusual appearance comprised of an exaggerated and coarse cobblestones/craters (not sure if it can be described as tsuchime-ji) interrupting a beautiful yakite-shitate surface treatment. This seems to be an intentional aesthetic expression rather than reflecting any corrosion of the patina, which has a lovely color.

 

There is an almost identical example of this tsuba in "Openwork Tsuba" by Kenichi Okubo, et al (page 192) that is more of a classical Kanayama tsuba in its features. The major differences are that the width of the motifs on either side is even less uniform in my tsuba, being thinner at the center so as to create almost the appearance of upper and lower lobes, it has a massive seppa-dai measuring 47 x 27 mm (reminiscent of Ko-Shoami), and it has an unusual linear gouged tagane pattern around the entire nakago-ana. It appears to have been mounted many times, which may attest to the aesthetic value placed on this tsuba.

 

There are a few other similar pieces found on my Google search, but they are linked to NMB posts that apparently no longer exist. The major differences are whether there is a kogai hitsuana or if both are kozuka hitsuana, and whether the curved element that forms the hitsu-ana is joined to the mimi in a more round shape (relaxed), such as in my tsuba, or at a more acute angle (stiff) as in the reference piece below.

 

Diameter: 76 mm

Width: 5.7 (mimi), 5.0-5.3 mm (seppa-dai)

Weight: 97 gm

 

 

 

 

[kyushukairu]

Hello Steve. Just a quick comment (before I go to give a lecture), in the book, the tsuba is described as 笠透かし, with kasa (笠) meaning a type of bamboo hat, so that may be the design, rather than namako

[Spartancrest]

 ?   https://www.samurais...equipment/ts034.html   

 

https://blog.goo.ne....0d3adebfd75c6b6c1fa3      the design looks mirror reversed in this one?

[Nobody]

There is a consideration on the motif by Ito Sanpei.

Ref. 無銘金山鐔「山道文透かし」鐔

 

He suggests that the motif is 山道文 – Mountain road pattern

[Iaido dude]

Dale, that "reversed" design is interesting. Another great Kanayama tsuba. Very appealing piece. I love that blog, but I cannot for the life of me figure out how to search that collection of hundreds of top notch guards for a specific category.

 

 

[Iaido dude]

Koichi, thanks so much for the link. What an amazing commentary on precisely this Kanayama tsuba motif as well as the type of tekkotsu that may be found in early Owari Province tsuba. My tsuba is different than the majority composition of this kind in being more “curvaceous,” which is what appeals to me. There is a lot for me to consider and digest with more leisurely and dedicated study. It has enhanced my enjoyment of this piece immensely.

 

It is natural it seems that what is beautiful, mysterious, and evocative to our minds, as in the case of this motif, becomes an invitation to find meaning through it. Without the possibility of time travel to ask the tsubako what he intended with this creation, we may need to depend on historical clues from prevailing cultural and aesthetic trends, geography, and just the simple pleasures in life such as watching steam rise from boiling water. 

 

[Bugyotsuji]

Kyle is just pointing out that Steve's final image above says below it in Japanese, 笠透し鐔, kasa-sukashi tsuba. (The opinion of whoever wrote that book.)

[FlorianB]

Hi Steve,

 

the wavy lines in the circle merge in a curve into the outer rim and connect these parts to one form. So I would clearly support Your sea cumber interpretation.
Similar examples with angular connections at the junction seem far more indifferent. In the "Tosogu Classroom" Vol. 1 the motif is assumed as "OI" or backpack box for Yamabushi.

So it’s a nice example how a little variation of curvature changes a design.

 

However, a wonderful find! Congrats!

 

Florian

[BIG]

https://blog.goo.ne....0d3adebfd75c6b6c1fa3

[Bugyotsuji]

45 minutes ago, BIG said:

https://blog.goo.ne....0d3adebfd75c6b6c1fa3

Zenzai in Peter's link calls above these 軍配透 'gunbai' sukashi...

 

(Perhaps we should really call them 'Rorschach sukashi'.)

[Spartancrest]

2 hours ago, Bugyotsuji said:

'Horshack sukashi'  

   Oh I remember the late 70s !!            back Kotter!!