Over time, a large number of schools and styles of tsubako masters appeared in Japan, various techniques were developed, popular stories appeared, and, of course, the story of tsubah would be incomplete without mentioning this.
Probably the oldest technique for finishing tsuba is to imitate rough blacksmith's work on its surface, so that traces of hammer work are clearly visible on the forged plate and … that's it! Some master (or customer) could well have limited this. They say that the most important thing in a weapon is the blade, not the tsuba. But the rough blacksmithing work could well have been supplemented by tiny sakura petals from some white alloy that seemed to have accidentally fallen on the metal, or a tiny demon made of copper or bronze with silver fangs, claws and certainly gold bracelets on his hands could sit there! There is no plot here, but … there are direct hints of skill and at the same time … of the character of the master tsubako: yes, but I am like this, I can afford it, I am a master!
The cut-through ornament also belongs to the ancient examples of decorating the surface of the tsuba. For example, it could be a hieroglyph or mon - the personal emblem of a samurai, which was clearly visible when the sword was in his belt. At the same time, the general simplicity of tsuba only emphasized its functionality: there was absolutely nothing superfluous in it! But the master's fantasy could manifest itself even in such a limited technique. For example, he could inscribe ten small circles in the tsuba circle, and then knock out, for example, a paired slotted ornament in each of them, and … that's it!
Sometimes the entire surface of the tsuba is evenly or "pieces" filled with imitations of various artificial or natural materials. It seems to be a simple work, but in fact it was necessary to have considerable skill in order to achieve an exact match with the analogue of the depicted material, while the unobtrusiveness of the decor only emphasized the exquisite taste of the master and owner of the sword.
This, for example, could be a tsuba, the surface of which looked as if it were made from a piece of bark or old wood. This effect was achieved by processing it with a chisel, that is, by engraving on metal. At the same time, the irregularities and layers of the bark were reproduced so skillfully that from afar it seemed as if it was a real tree, and only close it could be seen that it was still metal. Nakago-ana in this case set the vertical axis, but the texture of the bark on the left and right mirrored each other, which, of course, would be completely impossible if it were a real tree.
The nanako technique ("fish scales") is considered one of the most labor-intensive, but it looks very impressive on products, which is why it was very popular among the rich. Its essence was to apply tiny granules no more than 1 mm in diameter to the metal surface. All pellets were of the same diameter and arranged in rows or circumferentially. The classical nanako technique was also used for figured compositions composed of small-sized "patches" made from various granules. It could be gonome-nanako (granules with sharply outlined edges), and nanakin (granules stuffed onto the surface through gold foil), and nanako-tate (granules arranged in straight lines) - here Tsubako's fantasy could be truly limitless.
A very popular type of tsub design was a circular arrangement and here's why. Firstly, the special attachment of the Japanese to everything that, in one way or another, has the shape of a circle, was important here. Even in ancient times, ritual figurines of Haniwa around burial grounds and mounds were placed in concentric circles, and any round holes in Japan have always been considered possible doors to the world of spirits. The circle also symbolized not only the Sun and the Moon, but also the constant movement of the elements, their variability, the flow of one type of matter into another, and even the infinity of being.
Secondly, the round shape of the tsuba was also popular due to its functionality, because it was required, first of all, as an emphasis, and this forced its creator to build the composition from the center to the edges. After all, the very center was occupied by nakago-ana and one or two hitsu-ana, which left little room for placing figures and images around them. In addition, the composition had to be combined with the hilt, and the blade, and all the other details of the sword, which, again, was most easily achieved if the figures were placed along the rim of the mimi on the tsuba of a round shape.
The composition of such a tsuba could be extremely simple. For example, chrysanthemum flowers located on it in a circle, or curls of clouds running one after another. It is clear that the Japanese master would not be Japanese if he had the same flowers and clouds, which cannot be expected on Japanese products even in principle.
Sometimes a cut-out pattern can also be inscribed in the circle of a tsuba, all consisting of sails blown up by the wind or arrows flying in the wind. Or it could be a crab with open claws, or bamboo stalks, on one of which, only by looking closely, one could see a figurine of a grasshopper or a dragonfly masterfully made of gold. However, what was depicted on the tsuba was usually done not at the whim of the master - I will do what I want - but contained a deep meaning and was an important reminder of samurai virtues. So, the iris flower was a symbol of the samurai class, and bamboo was a symbol of his stamina and perseverance. The image of the horai - the fighting horn of the yama-bushi - of the ancient warriors of Japan, had, above all, a sacred meaning, since this horn, made of a large sea shell, could be blown both on the battlefield, giving signals, and during various religious ceremonies.
The holes of the hitsu-ana very often also attracted the attention of the master and, in the general pattern on the tsuba, they were the connecting link of a particular composition. For example, three-quarters of the plane of the tsuba could fill a drawing, and hitsu-ana in this case became its independent element.
Interestingly, the tsuba plots only very rarely depicted something warlike or, say, such a predatory animal like a tiger. In the overwhelming majority of cases, the image on it was quite peaceful, discreet and very lyrical, as even their names themselves speak of. Butterflies and Flowers, Waterwheel, Well, Four Umbrellas, Cloud and Fuji. The plots "Crane" and "Crab" are very popular. In the first case, a crane with spread wings is inscribed in a circle, and in the second - a crab with spread pincers! There is even a tsuba like the Temple Gate. And it appeared, most likely, after the samurai - the owner of the sword, visited the Ise temple (for a Japanese it is the same as for a Muslim to visit the Kaaba!), And wanted others to know about it. The tsuba "Bow and Arrows", with the image of a bow and two flying arrows, looks a little more belligerent. But this is rather an exception to the rule not to place images of any other means of warfare on it, although where there are complex compositions with figures of fighting people and gods on the surface of the tsuba, you can see a variety of types of Japanese weapons.
Tsuba has become a popular collectible these days and has taken on a life separate from the sword. Special exposition table and wall stands, painted storage boxes are made for them - in a word, today they are already more an object of applied art than a part of a deadly weapon. It is also important that tsubas are expensive: there are 5 thousand, 50 and 75 thousand rubles each. The price depends on the period of limitation, and the quality of workmanship, and the degree of fame of the master, so today it is not only a form of leisure, but also … a great way to capitalize your free money!
The author expresses his gratitude to the company "Antiques of Japan" (https://antikvariat-japan.ru/) for informational support and provided photographs.
