Onin / Heianjo Tsuba

The Onin and Heianjo traditions share common origins, but finding representative pieces which illustrate this early relationship is very difficult.  The Onin tradition predates the Heianjo, but both have roots around the Kyoto area as early as the late Kamakura period, when the close ties with China allowed foreign brass to enter Japan in significant quantities.   The delicate nature of this guard speaks to proximity of the Kyoto area, which at that time was not only the political center of Japan, but also the artistic hub.  This guard has a slightly feminine, urban feeling and being so unusual in motif, represents a special order tsuba.

The plate is of uniform thickness from seppadai to edge.  The iron is brownish in tone, like Heianjo work, rather than the typically black tone of early Onin work.  Likely this is more a function of the source of the iron, than any fabrication technique.  

Technically, this guard consists of three distinct styles of inlay.  First are elements which have been pre-shaped and then inlayed whole into the plate which was prepared in advance.  The final fitting and shaping was done on the plate with extra-fine tagane chisels and punches.  Note the edges of many elements show indentations in the iron plate, representing these tool strikes.  The seppadai outline and the flowers are examples of such preform inlay.  This is characteristic of Onin work.  The second style of inlay, is dot-inlay termed tenzogan, and is also characteristic of early Onin work.  The third style is linear or senzogan inlay where brass wire of varying lengths is inlayed into the plate in precut grooves.  Again, note that around the edges of some linear elements, you can clearly see perpendicular 'stitches' - these were precut with the groove and provided extra purchase to the senzogan when it was hammered into the grooves.  This is characteristic of Heianjo work.

The 8 inome sukashi are rather squat and lobate, which is characteristic of the period.  The seppadai, outlined  in brass is squarish, rather than oval.  The brass is a distinctive yellowish brown and found only on earlier pieces.  The symmetry of 8 external elements and 4 internal elements is also characteristic of early work.

A unique tsuba and a great study piece for a collector of early iron.

8.5 x 8.6 cm x 0.25 cm

Mid Muromachi Period (late 15th c.)

Published:
Kokusai Tosogu Kai - 5th International Convention and Exhibition . 2009.

$2800