Title: Nami zu Tusba Description According to its certificate, this Tsuba’s maker is Gassan (月山), or called Matsuo Gassan (松尾月山) and Karoku (嘉六), who was born in the 12th year of the Bunka era (1815) and active in the late Edo period in Yamashiro province (today’s Kyoto prefecture). At the age of 12, he became an apprentice of Kawarabayashi Hideoki (川原林秀興), a prominent figure of the renowned Otsuki school (名流大月派) in Kyoto, and Gassan achieved great success not only in his excellent carving technique, but also in his design composition. This Tsuba is made of highly forged and densely packed iron ground. His authentic works are said to be rare and valuable. About the design, waves (波, Nami) lapping fiercely are carved on this Tsuba and the golden wave crests are finished with the Zogan (象嵌) technique, a beautiful traditional Japanese inlay craft. As waves’ movements continue endlessly, the wave pattern represents eternity, immortality, longevity, birth, etcetera. Also, since tides repeatedly change the shape and terrain of rocks, some people hoped for a strong will by using this motif. People used this pattern wishing for an indomitable spirit to rechallenge time and time without giving up. Thanks to its dynamic design, this motif has been appreciated, especially for men’s Kimono (traditional Japanese costume). We hope you will appreciate this work. *As this item is an antique, please check each photo and ensure its condition. What is Tsuba? Tsuba is the hand-guard of the Japanese sword. High-class Samurai wore his katana sword with its beautiful sword mountings such as Tsuba. Tsuba’s front design tends to be more decorative as this part was often seen by other Samurais when he was walking on the streets. Why is it that the sword mounting was important for Samurai? The sword mountings of the Japanese sword have many kinds of decorations such as handguards (Tsuba), sword hilt (Menuki), pommel (Fuchi Kashira). The Japanese sword worked as a weapon and as an object to show who he was. For example, it shows their personalities and beliefs. You could say that it is like decorations for smartphones today. We recommend you zoom in on the pictures of the sword fittings. When you do so, you can see the skill of Japanese metal engraving techniques. They are mainly made of iron and copper with inlays of gold, silver, and bronze. When it comes to handguard (Tsuba), each one has a different outline and weight. These sword fittings that have lived with Japanese swords of the same age might be worth as much as the Japanese swords. They are inconspicuous parts of the Japanese sword. Nevertheless, if you are knowledgeable or particular about it, you will become a connoisseur of the Samurai. Authentication Paper : Nihon Tousougu Kenkyukai Certificate This Tsuba has the certificate that was issued by the Nihon Tousougu Kenkyukai (日本刀装具研究会). This organization is different from NBTHK, known as Nihon Bijutsu Touken Hozon Kyokai (the Society for the Preservation of the Japan Art Sword), nor NTHK, known as NPO Nihon Touken Hozon Kai. They authenticated the Tsuba on May 10th in the 6th year of Reiwa (2024). The purchaser will receive this original certificate as well. We can also translate what is written into English and make a PDF file for your record if you request. 【About us】 Samurai Museum is located in Tokyo, Japan, exhibiting antique artifacts related to the Samurai history. Samurai Museum Shop is the place for those who are interested in Japanese culture and craftsmanship. We deal with antique Samurai swords/armor, traditional crafts made in Japan and so on. 【Payment method】 We accept payment through Stripe (Credit card), PayPal , Apple Pay or ChromePay, all of which are secure payment methods. Also, you don’t need to make an account on Stripe for the checkout. If you prefer other payment method, please contact us. You may either pay in JPY , USD , AUD , CAD , EUR , CHF or GBP . The price is set in Japanese Yen. Prices in other currencies are au
NihontoWatch在銘 · Shoami · 江戸
松尾月山
江戸
山城
在銘
町彫 · 山城 · 1815-1875頃
現在1点販売中
松尾月山は幕末の京都大月派の金工である。説明はその身元を詳しく記す。本名は松尾嘉六といい、文化十二年（一八一五）に京都で生まれ、明治八年（一八七五）に六十一歳で歿し、金剛斎・東窓亭と号して銘を切った。説明は彼を大月派の川原林秀興の門人（篠山篤興と同門）とし、一記録は同門の篠山篤興・天光堂秀国らと切磋琢磨した上手とする。地と彫口は大月派の家風で、赤銅・真鍮・鉄・四分一等の地がねに高彫色絵を施し、図に応じて片切彫も見せ、説明は本作に大月一派の作柄を素直に読み取る。説明が彼の個人の特色として明示するのは二点で、鐔の製作が多いこと（後藤の小道具ではなく）と、武者絵をはじめ人物画を得意とし、鳥類・動物や獅子をも汎く手懸けたことである。最も名高い作は前九年・後三年合戦の一場面を画題とした「衣川館」図鐔で、彼の代表作の一枚と称せられる。本群には大津絵の画題で全体を統一した拵が一点あり、各金具がまじないの意を負う。本群は四点と極めて薄く、いずれも重要（重要刀装具）であり、町彫一般から彼を画する真の分離点はごく限定的・低頻度である。本稿は彼の身元・略伝・銘の変遷を、説明（カタログ記録）のみから読む。（補：月山の号は刀工の名跡としても名高いが、この月山は京都大月派の軟質金工の装具作者で、その刀工の系とは別である。）
松尾月山の位置づけを、日本刀全体および伝統・時代・時期ごとに示します。各位（随一・屈指・有数・著名）は、NBTHK および文化庁による指定に加え、三作や名物帳などの歴史的栄誉を加味したものです。
各項目を選ぶと評価方法が表示されます。
町彫 · 山城
現在21点販売中
大月派は江戸時代後期京都を中心に活躍した装剣金工の一派である。開祖大月光興は元禄期に京都に出て、横谷宗珉の高彫色絵の技法を学び、独自の作風を確立した。門人には川原林秀興、篠山篤興、天光堂秀国らがおり、特に秀興は師の技法を継承しながら大月派を隆盛に導いた。文化文政期には秀興の門下から松尾月山嘉六(金剛斎)が輩出され、大月派の伝統を幕末まで維持した。同派は赤銅・真鍮・鉄・四分一など多様な地金を用い、高彫色絵を駆使した華麗な作風で知られる。 大月派の技法的特徴は、精緻な魚子地に高肉彫と据紋を併用し、金や素銅による色絵を施す点にある。高肉彫には立体感豊かな鏨使いが見られ、特に動物の羽毛や龍の鱗など細部の表現に優れる。構図は大胆であり、広い鉄地空間と高彫部分の分量が絶妙な均衡を保つ。片切彫も併用し、人物・動植物・故事など幅広い画題を手掛ける。鐔の造形は竪丸形・葵形・撫角形など多様であり、打返耳に仕立てられるものが多い。地金の微妙な起伏により動静を表現し、彫刻と空間の対比によって主題を際立たせる手法は同派の真骨頂である。 大月派の作品は幕末京都の装剣金工を代表するものとして高く評価される。月山の「孔雀図鐔・縁頭」は魚子を微細に蒔き、据紋を一際高く据え、鏨使いの巧緻さと重厚な面持ちで孔雀の華麗さを極めている。「潜り龍図鐔」は蕩々と飛翔する金龍を生命力豊かに表し、鉄地の起伏と高肉彫の均衡が絶妙である。「衣川館図鐔」は前九年・後三年合戦の一場面を画題とし、両武者の微妙な状態の描写と館の細密な彫技が見事である。これら重要刀装指定作に見る通り、大月派は師流を忠実に継承しながら独自の境地を開き、京都金工の伝統を後世に伝えた。
販売店の出品ページで鑑定書を確認できませんでした。日本刀および刀装具は通常、NBTHK（または NTHK）の鑑定を受けます。鑑定書がない場合、極めは販売店の見解にとどまり、第三者による確認は行われていません。ご購入前に販売店へ鑑定書の有無をお問い合わせのうえ、慎重にご判断ください。
Returns/exchanges limited to defects caused by shipping (except willful misconduct or gross negligence by the company); customers must contact within 72 hours of receiving the product.
Title: Nami zu Tusba Description According to its certificate, this Tsuba’s maker is Gassan (月山), or called Matsuo Gassan (松尾月山) and Karoku (嘉六), who was born in the 12th year of the Bunka era (1815) and active in the late Edo period in Yamashiro province (today’s Kyoto prefecture). At the age of 12, he became an apprentice of Kawarabayashi Hideoki (川原林秀興), a prominent figure of the renowned Otsuki school (名流大月派) in Kyoto, and Gassan achieved great success not only in his excellent carving technique, but also in his design composition. This Tsuba is made of highly forged and densely packed iron ground. His authentic works are said to be rare and valuable. About the design, waves (波, Nami) lapping fiercely are carved on this Tsuba and the golden wave crests are finished with the Zogan (象嵌) technique, a beautiful traditional Japanese inlay craft. As waves’ movements continue endlessly, the wave pattern represents eternity, immortality, longevity, birth, etcetera. Also, since tides repeatedly change the shape and terrain of rocks, some people hoped for a strong will by using this motif. People used this pattern wishing for an indomitable spirit to rechallenge time and time without giving up. Thanks to its dynamic design, this motif has been appreciated, especially for men’s Kimono (traditional Japanese costume). We hope you will appreciate this work. *As this item is an antique, please check each photo and ensure its condition. What is Tsuba? Tsuba is the hand-guard of the Japanese sword. High-class Samurai wore his katana sword with its beautiful sword mountings such as Tsuba. Tsuba’s front design tends to be more decorative as this part was often seen by other Samurais when he was walking on the streets. Why is it that the sword mounting was important for Samurai? The sword mountings of the Japanese sword have many kinds of decorations such as handguards (Tsuba), sword hilt (Menuki), pommel (Fuchi Kashira). The Japanese sword worked as a weapon and as an object to show who he was. For example, it shows their personalities and beliefs. You could say that it is like decorations for smartphones today. We recommend you zoom in on the pictures of the sword fittings. When you do so, you can see the skill of Japanese metal engraving techniques. They are mainly made of iron and copper with inlays of gold, silver, and bronze. When it comes to handguard (Tsuba), each one has a different outline and weight. These sword fittings that have lived with Japanese swords of the same age might be worth as much as the Japanese swords. They are inconspicuous parts of the Japanese sword. Nevertheless, if you are knowledgeable or particular about it, you will become a connoisseur of the Samurai. Authentication Paper : Nihon Tousougu Kenkyukai Certificate This Tsuba has the certificate that was issued by the Nihon Tousougu Kenkyukai (日本刀装具研究会). This organization is different from NBTHK, known as Nihon Bijutsu Touken Hozon Kyokai (the Society for the Preservation of the Japan Art Sword), nor NTHK, known as NPO Nihon Touken Hozon Kai. They authenticated the Tsuba on May 10th in the 6th year of Reiwa (2024). The purchaser will receive this original certificate as well. We can also translate what is written into English and make a PDF file for your record if you request. 【About us】 Samurai Museum is located in Tokyo, Japan, exhibiting antique artifacts related to the Samurai history. Samurai Museum Shop is the place for those who are interested in Japanese culture and craftsmanship. We deal with antique Samurai swords/armor, traditional crafts made in Japan and so on. 【Payment method】 We accept payment through Stripe (Credit card), PayPal , Apple Pay or ChromePay, all of which are secure payment methods. Also, you don’t need to make an account on Stripe for the checkout. If you prefer other payment method, please contact us. You may either pay in JPY , USD , AUD , CAD , EUR , CHF or GBP . The price is set in Japanese Yen. Prices in other currencies are au
NihontoWatch在銘 · Shoami · 江戸
松尾月山
江戸
山城
在銘
町彫 · 山城 · 1815-1875頃
現在1点販売中
松尾月山は幕末の京都大月派の金工である。説明はその身元を詳しく記す。本名は松尾嘉六といい、文化十二年（一八一五）に京都で生まれ、明治八年（一八七五）に六十一歳で歿し、金剛斎・東窓亭と号して銘を切った。説明は彼を大月派の川原林秀興の門人（篠山篤興と同門）とし、一記録は同門の篠山篤興・天光堂秀国らと切磋琢磨した上手とする。地と彫口は大月派の家風で、赤銅・真鍮・鉄・四分一等の地がねに高彫色絵を施し、図に応じて片切彫も見せ、説明は本作に大月一派の作柄を素直に読み取る。説明が彼の個人の特色として明示するのは二点で、鐔の製作が多いこと（後藤の小道具ではなく）と、武者絵をはじめ人物画を得意とし、鳥類・動物や獅子をも汎く手懸けたことである。最も名高い作は前九年・後三年合戦の一場面を画題とした「衣川館」図鐔で、彼の代表作の一枚と称せられる。本群には大津絵の画題で全体を統一した拵が一点あり、各金具がまじないの意を負う。本群は四点と極めて薄く、いずれも重要（重要刀装具）であり、町彫一般から彼を画する真の分離点はごく限定的・低頻度である。本稿は彼の身元・略伝・銘の変遷を、説明（カタログ記録）のみから読む。（補：月山の号は刀工の名跡としても名高いが、この月山は京都大月派の軟質金工の装具作者で、その刀工の系とは別である。）
松尾月山の位置づけを、日本刀全体および伝統・時代・時期ごとに示します。各位（随一・屈指・有数・著名）は、NBTHK および文化庁による指定に加え、三作や名物帳などの歴史的栄誉を加味したものです。
各項目を選ぶと評価方法が表示されます。
町彫 · 山城
現在21点販売中
大月派は江戸時代後期京都を中心に活躍した装剣金工の一派である。開祖大月光興は元禄期に京都に出て、横谷宗珉の高彫色絵の技法を学び、独自の作風を確立した。門人には川原林秀興、篠山篤興、天光堂秀国らがおり、特に秀興は師の技法を継承しながら大月派を隆盛に導いた。文化文政期には秀興の門下から松尾月山嘉六(金剛斎)が輩出され、大月派の伝統を幕末まで維持した。同派は赤銅・真鍮・鉄・四分一など多様な地金を用い、高彫色絵を駆使した華麗な作風で知られる。 大月派の技法的特徴は、精緻な魚子地に高肉彫と据紋を併用し、金や素銅による色絵を施す点にある。高肉彫には立体感豊かな鏨使いが見られ、特に動物の羽毛や龍の鱗など細部の表現に優れる。構図は大胆であり、広い鉄地空間と高彫部分の分量が絶妙な均衡を保つ。片切彫も併用し、人物・動植物・故事など幅広い画題を手掛ける。鐔の造形は竪丸形・葵形・撫角形など多様であり、打返耳に仕立てられるものが多い。地金の微妙な起伏により動静を表現し、彫刻と空間の対比によって主題を際立たせる手法は同派の真骨頂である。 大月派の作品は幕末京都の装剣金工を代表するものとして高く評価される。月山の「孔雀図鐔・縁頭」は魚子を微細に蒔き、据紋を一際高く据え、鏨使いの巧緻さと重厚な面持ちで孔雀の華麗さを極めている。「潜り龍図鐔」は蕩々と飛翔する金龍を生命力豊かに表し、鉄地の起伏と高肉彫の均衡が絶妙である。「衣川館図鐔」は前九年・後三年合戦の一場面を画題とし、両武者の微妙な状態の描写と館の細密な彫技が見事である。これら重要刀装指定作に見る通り、大月派は師流を忠実に継承しながら独自の境地を開き、京都金工の伝統を後世に伝えた。
販売店の出品ページで鑑定書を確認できませんでした。日本刀および刀装具は通常、NBTHK（または NTHK）の鑑定を受けます。鑑定書がない場合、極めは販売店の見解にとどまり、第三者による確認は行われていません。ご購入前に販売店へ鑑定書の有無をお問い合わせのうえ、慎重にご判断ください。
Returns/exchanges limited to defects caused by shipping (except willful misconduct or gross negligence by the company); customers must contact within 72 hours of receiving the product.
