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!!     

[Iaido dude]

10 hours ago, FlorianB said:

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

 

I'm still not at all certain what the motif represents, I couldn't agree more that it is in the small details that we sometimes discern a new semiotic attribute. This is especially true with more abstract representations. Claude Levi-Strauss believed that the human brain has a structure such that symbols manifest in a restricted range that is repeated throughout human history, often in cultures that had no clear opportunity to interact and share meanings. Carl Gustav Jung believed that there is an inherited underground subconscious cavern from which we may dip a ladle and drink deeply. This is conceived of as a transmitted repository of symbols--this a place that may provide content for our dreams. I am attaching an article that I published in 2000 about the inter-relationship between science and art, where I explore some of these concepts.

Pharos Summer 2000 p. 11.pdf Pharos Summer 2000 pp 12 - 13.pdf

[FlorianB]

Mostly we are looking for a definitive, and thus satisfying explanation, in this particular case a Tsuba motif.

 

But there are Japanese design motives which are intentionally unclear and could be interpreted in different ways. So everything You will see in it is correct!

 

Maybe an artist created a Tsuba without the purpose to depict something. He has had just fun by playing with forms or varying existing ones.

 

In these cases just enjoy the result and admire the beauty of shapes and surface.
And the little secret not exactly to know what it means keeps it more interesting.

 

Florian

[Iaido dude]

One of the sections in Koichi's link of Ito Sanpei san's commentary caught my eye, which speaks to the issue of symbolism and meaning. He includes both sides of the enjoyable argument about the artist's intension (explicit vs. unknown/unknowable). I would argue that the more Buddhist the iconography, the more likely that the latter predominates.

 

In my conversation with Ito Mitsuru, I don't think it's possible to make a tsuba that you can't explain the design of at that point when you make and sell it. Sellers also use sales pitches such as "This is a copy of XX, so it's good luck" or "It's popular in the capital right now". When making a tsuba to order, I think the customer specifies the design with a specific intention. However, there are many tsuba classified as Kanayama tsuba whose design intention is unclear at this point. In the introduction to the characteristics of Kanayama tsuba in "Open Tsuba: Beauty of Bushido" (by Sasano Daigyo), it is mentioned that "There are many square-mimi (square edges), thick tsuba, many tsuba with unclear meanings, and steel bones protruding from the tsuba edge, and they are small tsuba by design. "However, the designs of Kanayama tsuba from the Momoyama period, which is a later period, include the "Matsukawabishi tsukashi" in our collection, as well as "Tsurigake tsukashi," "Shining light tsukashi (clock tsuba)," "Lightning tsukashi," "Thunder pattern tsukashi," "Shadow scale tsukashi," and "Jojo tsukashi," and while the intention is unclear, there are aspects of the designs that are easy to understand. In modern times, it is called "unknown watermark", but I think it was a well-known design at the time. However, compared to the designs of other schools of swordsmen, such as old swordsmiths, old armorers, Kamakura, Heianjo inlaid tsuba, Owari watermark tsuba, and old Shoami tsuba, the Kanayama tsuba design is unique. I think that the reason for this uncommon design is that it was made with the assumption that it would be used within a certain organization (for example, a specific school of swordsmanship like the Yagyu tsuba, or for the warrior monks of a specific temple) rather than with the intention of selling it widely on the market...

 

And of course many motifs were simply a family mon, which was stylized and abstract, but also symbolized some meaningful martial ideal, omen of good luck, or some utilitarian purpose that favored victory with perseverance and valor. I have just ordered Sasano Daigyo's book since it is so heavily referenced by Ito Sanpei san.

[Winchester]

I really like it but notice the seppa dai is considerably larger than the published one.

 

important note for comparison 

 

Im amazed you got it for $300.00 good find but more importantly good art.

[Iaido dude]

Yes, I noted that one of the differences was the massive "Ko-Shoami" style seppa-dai along with the more rounded central motif that has been the focus of discussion for much of this thread. The end of Ko-Shoami production and the brief period of Kanayama tsuba production coincide during the Momoyama Period, although I don't have knowledge of geographical overlap and likelihood of cross-influence. Ko-Shoami and Kanayama tsuba continued to be produced into the Early Edo Period with some loss of the vitality associated with Momoyama period guards. 

 

It was listed and sold on Jauce several months ago for a higher price. There was considerable interest, but I didn't set my max high enough at the time. Then it was listed again to my delight and again generated interest, but I had the successful bid this time. I am considering whether to mount it on my practice iaito, which needs a lighter tsuba such as this one. The aggressive ji-sukashi with motif in negative silhouette achieves the 97 gm weight. It would be even lighter if it were a more traditional <7 cm Kanayama tsuba. Interestingly, Ito san's example approaches 8 cm, which is impressive.

[Soshin]

On 11/24/2024 at 4:49 PM, Iaido dude said:

Yes, I noted that one of the differences was the massive "Ko-Shoami" style seppa-dai along with the more rounded central motif that has been the focus of discussion for much of this thread. The end of Ko-Shoami production and the brief period of Kanayama tsuba production coincide during the Momoyama Period, although I don't have knowledge of geographical overlap and likelihood of cross-influence.

 

Steve,

 

Here is my two and half cents as an armchair Japanese historian. Ko-Shoami were produced in Kyoto from the Muromachi Period up until the end of the Azuchi-Momoyama Period. They transitioned into other provinces starting as early as the Azuchi-Momoyama Period under the rule of Oda Nobunaga and continued until the beginning of the Edo Period and were centered around castle towns. The group of artists that remained in Kyoto became the Kyo-Shoami group. I would say there was some cross pollination of designs of the Kanayama group located in Owari Providence with the ever widely distributed of different Shoami groups.