LEGENDS
and STORIES IN TSUBA
By Clive Sinclaire
In
the last Programme, I profiled ten tsuba from my collection and attempted to
describe and explain the legends and features depicted on them. In this issue, I
have continued the theme with a few more. Once again I have avoided overly
technical descriptions of most features, because of a lack of expertise in this
area. Also, classification and history of schools is avoided except when
obvious. I would welcome any comments or additional information that members may
care to provide.
Iron
Squared Tsuba.
This
piece has a heavy and thick iron base upon which realistically applied soft
metals boldly depict plum blossom over a wooden branch, the design is carried
onto the reverse. The design is applied in gold and silver for the buds and
blossom whilst the wooden branch is in copper, all are in quite high relief,
whilst the three character mei, found on the front seppa--dai and reading Nara Saku, is in small finely carved calligraphy.
The
Nara school was founded in Edo in the first half of the 17th century
by Nara Toshiteru and was influential in metalwork throughout the Edo period.
This design may be a “standard” school design as exactly the same design
together (except in the round) with the same three character mei is illustrated
in Robinson’s Arts of the Japanese
Sword.
Plum
blossom, along with a seemingly endless list of other things, is associated with
longevity and the plum tree or blossom is the subject of many poems. One,
occasioned by a daimyo who wanted a branch from a flowering tree was put off by
the owner of the tree in the form of a verse meaning;
“If the branch is broken, where will the Otoguisu (nightingale) find a
resting place on its return?”
Sennin
Sonkei composed a poem with a more obscure meaning, which translates as; “ If
I sit on a pine root I shall live for 1,000 years; if I place a sprig of plum in
my hair, the snow of February will fall on my sleeves”.
This refers to the fact that the second month of the lunar calendar is
known as the month of plum blossom viewing and plum blossom is the most
representative flower of the second month. Their strength against cold winds and
other winter adversities such as frost and snow, together with their pure and
fragrant blossoms, most adequately symbolises the noble and proud spirit of the
warrior class. I hope that such important foul weather advice will be of use to
the reader.
Ex Newman Collection (1973)
----oo0oo----
This
large maru-gata (round) sukashi tsuba depicts a crab and is a modern copy of a
very famous
Owari
tsuba, rated as a National Treasure I believe, in the collection of the National
Museum,
Ueno,
Tokyo. It is signed Hirosan and the
hakko-gaki (brushed notes on the box) state that it was forged in iron on a day
in the 2nd year of Heisei (1991) and made by Kazunari.
The
surface of the iron has a rich dark patination and the whole work gives the
impression of strength and power with good use of the empty space.
The Kani (crab) was highly regarded by the samurai. It was heavily armoured and its claws are fearsome weapons. As such it was also depicted on Kawari-kabuto (decorative and elaborate helmets) of the late Muromachi period. In Japanese legend and art it is often shown with a monkey with which it constantly feuded.
However,
the most poignant legendary attribute of the kani is the Heike-kani. The Taira
clan (the Heike) suffered a crushing defeat at the hands of the Minamoto at the
battle of Dan-no-ura (present day Shiminoseki) in 1185 and the majority of their
warriors went to a watery grave. Even to this day, it is believed that the crabs
in the seas and on the beaches surrounding Shimnoseki, are the ghostly
reincarnations of the souls of these long lost warriors and every night they
vainly attempt to bail out their boats at the bottom of the sea with bottomless
ladles.
Gift
1992
--oo0oo--
This
is a small oval piece with a shakudo base on which Jo and Uba are shown beneath
a pine tree. The shakudo plate has a beautiful jet black patination and on the
front side is the mei, Munemitsu, junana
sai, giving the artist’s name as Munemitsu and stating that he was
seventeen years old at the time of making the tsuba.
There is a single hitsu-ana on this wakizashi sized tsuba and the figures
are finely modelled in low relief. They are formed of shakudo and different
colours of gold with some silver details. The pine and the leaves and
pine-needles on the ground are also highlighted in gilt and the design is
continued on the reverse side. There is a striking contrast between the gold of
the couple and the black shakudo. The tsuba probably dates from the 19th
century.
It
is incredible that such fine detail and skilful work was done by one as young as
seventeen and I afraid that I have been unable to trace any record of Munemitsu.
Jo
and Uba (collectively Jotomba) are an old couple, usually depicted raking and
gathering pine-needles. According to Joly: “ At Takasago there is a very old
pine tree, the trunk of which is bifurcated;
in it dwells the spirit of the Maiden of Takasago, who was seen once by the son
of Izanagi, who fell in love and wedded her. Both lived to a very great age,
dying at the same hour on the same day, and ever since their spirits abide in
the tree, but on moonlight nights they return to human shape and revisit the
scene of their earthly felicity and pursue their work of gathering pine-needles.
At
weddings the Takasago no Utai is recited, and the figures of Jotomba, called
Shimadai, are gathered in the wedding room.” Once again, longevity is
associated with Jo and Uba.
Ex
Gardiner Coll (No 1549)
Ex
Peak Coll
Ex
Newman Coll (No. 293) – Glendenning 1949
Catalogue
description, Christies July 1982:
An
attractive tsuba of rounded rectangular form, applied and incised with
Fukurokuju and a crane, the reverse with mimogawa beneath a pine tree, details
in copper, shibuichi and shakudo, 8.3 cm, signed Shoami Shigechika.
Ex
J R Stark.
--oo0oo--
This
tsuba has a plain iron ground with a raised rim that has a crinkled effect on
its inside edge. The front shows Fukurokuju in the bottom right-hand corner with
a shakudo cloth covering his extended head. He is holding a makimono and the
design of his clothing is finely chiseled whilst his sleeve is highlighted in
gold. He is being watched by a copper headed crane in the opposite corner, whose
feathers are delicately carved and whose eye and visible leg are in gold. Both
crane and figure are in relief.
The
reverse shows a mimogawa with a gold shell under the branch of an incised
pine-tree. It is on this side that the neatly carved signature may be found. The
smooth iron plate has a good deep, brown patination and all three ana (kodzuka,
kogai and nakago) appear rather small for the size of the tsuba. Probably late
18th or 19th century.
According
to Sasano, the ami of the Shoami name, derives from Amida Buddha and was used to
indicate priestly rank in the Jishu sect. Later the name was incorporated into artistic names of those serving the shogunate, for instance the sword appraising family of Honami. The name Shoami was used to indicate a silversmith from the period of the Ashikaga shogunate onwards.
From
the beginning of the Edo period it appears many Shoami family tsuba makers moved
from Kyoto to many provinces around the country, such as Aidzu (Mutsu province)
Tsuyama (Mimosaka) Matsuyama (Iyo province) and of course the capital, Edo.
Haynes quotes one Shigechika as being part of the later Bushu (Edo) group. The
Shoami were a very and large and prolific group and it is considered by many
experts that much of their work is of second rate quality, deteriorating even
more with the later generations.
Fukurokuju
is a benign fellow and one of the sevens gods of good luck. He is a bearded old
man and the God of Longevity and so is often accompanied by a crane and a
mimogawa, as is the case here. He is immediately identifiable by his extremely
large and elongated cranium and he is often depicted in humorous situations.
Young boys may climb over his head and play with him attaching a scarf around
his head in a modified form of Kubi Kubi (neck pulling). They may even climb
onto his head and shave it or Fukurokuju might demonstrate his calligraphy
skills by tying a brush to his head. As part of the Shishi Fukuji (seven lucky
gods) he may be found in the Tarakabune or treasure ship and he may exorcise the
Oni on New Years Eve.
--oo0oo--
The
front side of the larger or katana tsuba and the reverse of the smaller or
wakizashi tsuba are shown in the illustration below:
The
base of these two round (maru-gata) tsuba are a richly patinated iron, upon
which are two Chinese nobles and an ox or buffalo. The two figures are dressed
in gold robes and their faces and visible limbs are depicted in silver. The ox
is entirely in shakudo. The scene is a rocky landscape and a waterfall with gilt
and shakudo details. The figure at the top is sitting next to the waterfall, one
hand to his ear and the other in the water. The lower figure holds a rope, which
is round the neck of the ox. There are two hitsu-ana, the kogai aperture being
of an irregular shape formed by then craggy rock formation. The design is
carried through onto the reverse, the lower figure’s back being seen through
the kogai-ana. Although not identical, these details are common to both pieces
and form an obvious daisho.
Ex:
Sir John Liberty sale
Ex:
Newman Collection, 1973
Probably
18th century Nara work.
The
subject of the composition is taken from ancient Chinese mythology, popularly
dating back to 2,360 BC. The higher figure is one Kioyu (or Ha Yeo) who was an
adviser to the Emperor Yeo. The story goes that on a certain day, the Emperor
suggested that he might abdicate in favour of Kioyu. On hearing this Kioyu was
greatly shocked as he considered the suggestion to be heresy. His reaction was
to rush to the nearest waterfall to wash out his ears, which he considered had
been defiled by hearing such temptation. Kioyu’s best friend, a certain Sofu
(or Ch’ao Fu) on hearing of Kioyu’s urgent and hurried ablutions, felt that
he needed to go one better and immediately went to wash both his ears and eyes
of the taint of ambition, which he felt he was contracting from his friend. As
he was washing, Sofu noticed that downstream from the waterfall, his ox was
drinking from the same stream. As he considered that the water was now polluted
by his own washing, he rushed down to the ox and led it away from the water.
This
is the tale illustrated on this tsuba. When incorporated in Japanese art it
represents virtue at its most extreme.
--oo0oo—
In
this instance I have taken two tsuba to illustrate the subject, which we have
come across already as a symbol of longevity in many forms of Japanese art.
These are both maru-gata or round in shape and are both in iron.
Of
these two, the quality of the Higo tsuba does not compare well with the Miochin
example. The Miochin has better quality of iron and the carving is far finer
than that of the supposedly Higo example. However, I am sure the reader will see
immediately where the inspiration for Japan Airline’s tail-fin logo may have
come from.
The
Miochin tsuba depicts “cranes suivant” and the delicate carving shows each
feather and feature individually.
Both hitsu-ana are formed by the beaks and feet of the birds. The entire
composition gives a feeling of movement, whilst that of the mumei Higo piece
looks rather stiff and forced.
The
Miochin piece is thought to be late 17th century work and is signed Esshu
ju Yoshihisa saku on the seppa-dai. Although the Miochin family were famous
as armour makers, Yoshihisa is not listed in their genealogy and so it is
probable that he was a dedicated tsuba-maker. It should also be noted that no
tsuba bearing the name “Miochin” were made before the beginning of the Edo
period. There also seems to be quite a close relationship between the Miochin
and the Kinai who both hale from the same province of Echizen.
Ex
Parflow Collection,
Ex
Branford Collection,
Ex
Newman 1973 (Glendenning 1952)
Ex
Dene, 1984 (Higo Tsuba)
Living
for a thousand years, and being the attribute of many deities and mythological
figures, it is quite surprising that the Japanese almost hunted these grateful
birds to extinction in the Meiji period. Indeed the tsuru is almost as much of
an image of Japan as is Mt Fuji, appearing today on airlines, sake-bottles,
wedding kimono. Indeed the list goes on, even appearing on the Yen 10,000 bank
note.
Before
the Meiji period, this bird was quite common although it’s meat was reserved
exclusively for Imperial consumption. After the restoration and the lifting of
many feudal restrictions, this sacred bird became the favourite target for
hunters who slaughtered it almost to the point of extinction with the exception
of a few who survived in the underdeveloped Eastern Marshes of Hokkaido. It was
then further endangered as a result of rampant land development even in this
remote region. Fortunately, in very recent years, protection has now stabilised the population and it appears to have survived.
Bibliography:
Joly
– Legend in Japanese Art
Sasano:
Sukashi Tsuba
Robinson:
Arts of the Japanese Sword
Haynes:
Tsuba, an Aesthetic Study
Insight
Japan
NB:
Please note all illustrations are not necessarily to actual size
Copyright ©2004 Clive Sinclaire. All rights
reserved.
----------------------------------------------------------------------------------------------------------------------