The history of the Tsuba dates back nearly as far as the sword. It is not known exactly when they were first created but we do know that removable Tsuba have been found in burial mounds that date back as far as 300 – 400 AD. These Tsuba are referred to as Hôju 寳珠 and Tôran Kei 倒卵形 Tsuba. Hôju means Jewel and refers to the Sacred Jewel of Japan. Tôran Kei refers to an “Upside down egg” shape. These early designs became the predecessors for all other tsuba designs for the next 1400 years.At the start of the Kôtô period ( around 1000 AD ) we saw the introduction of the Tachi tsuba and then a couple of hundred years after that, the Uchigatana tsuba. The Tachi were worn by the Samurai and designed for use on horseback whilst the Uchigatana were worn by common foot soldiers and were more for self defense purposes. Although there are some significant differences between the Tachi tsuba and the Uchigatana tsuba, the word ‘tsuba’ generally refers to the Uchigatana tsuba.

Uchigatana tsuba are known as Kô Tosho 古刀匠 (sword smiths), Kô Katchushi 古甲冑師 (armour smiths) and Ji Sukashi 地透 tsuba.   In regards to Kô Tosho and Kô Katchushi tsuba, it is generally thought that the Kô Tosho guards were introduced in or around the early Kamakura period and were for the most part, the product of sword smiths. Kô Katchushi are thought to be a secondary line of work produced by Armour makers. The general theory is that these guards came into production at either the end of the Kamakura period or the early Nambokuchô period. Both Kô Tosho and Kô Katchushi tsuba are also known as Mon-sukashi which refers to an openwork method used in their design. Shapes are pierced in negative silhouette into the flat body of the guard. The image is defined by the removal of the iron from the base.

Ji Sukashi tsuba were developed it is thought, from around the Oei period ( 1394 ) to create tsuba that had a strong meaningful design whilst at the same time, reducing weight for use in fencing. The late Masayuki Sasano wrote “There are several similarities between the Ji-sukashi technique and Japanese ink painting, sumie, for example: the symbolic designs, the colour of the ink and there is a distinct relationship between the simple boldly emphasized openwork and the naive brush strokes and use of blank spaces of the ink paintings. A harmony between light and dark.” I think Sasano sensei summed up Ji-sukashi tsuba marvelously.

Kinko kodogu appeared in the late Nambokucho or early Muromachi periods. The exact date is unclear but it was quite early. Currently in collections both in Japan and abroad, there are many Ko Mino pieces from the mid Muromachi period and several from the early Muromachi period as well testifying to the existence of these soft metal fittings, rich in Shakudo and beautifully carved. Also around the time of the mid Muromachi period, Goto Yujo ( 1440 – 1512 ) brought to the world, the first known works using soft metals. This was to be the birth of Kinko. Goto Yujo’s works brought a look to Tsuba and Kodogu never before seen, with High and Low relief, and for the first time bringing 3 dimension work to fittings that changed the look of tosogu for ever.

From this time on until the Haitto-rei ( the banning of the wearing of swords in the ninth year of Meiji – 1876 ) tsuba took all shapes and forms, from the plain to the elaborate, the simple to the audacious. As time went on, it is thought that generally, just as in Nihonto, the quality of Tsuba waned as we raced towards the present day. There are of course many schools that excelled in the Edo period, including Akasaka, Higo, Yagyu, Goto etc. It is believed by some lovers of Iron tsuba that if the Yagyu and Akasaka schools had thrived in the Kôtô period and not the Edô period, then their status would have been elevated dramatically.

Tsuba are a truely artful form and I hope you find the information on this page useful and enjoy their study as much as I do.