NihontoWatchNihontoWatchThis work is a tsuba with a Fugaku sukashi design, featuring a composition that is unmistakably Mount Fuji. While it is an easy-to-understand subject, a characteristic feature is the round presence at the summit of Mount Fuji. This is perhaps the morning sun, the evening sun, or possibly the moon. It is a design with an approachability that allows the viewer to imagine it freely. Furthermore, the maker of this work has been given a kiwame of Kanayama, and I will provide a brief explanation of the Kanayama school here. Regarding content known from reference literature, the "Kinko Tsuba Yosetsuri" published in Tenpo 10 states, "Kanayama sukashi tsuba: Whether Kanayama is a place name in Yamashiro Province or a surname is unknown, but they are acclaimed and prized by the world." Next, regarding the location of Kanayama, for which there are various theories, there is a Kanayama Jinja in Atsuta, Nagoya City, which enshrines Kanayamahiko no Mikoto; the theory that they were made there is considered influential because the surrounding area was named Kanayama and was a flourishing place for blacksmiths.
NihontoWatchOffered by Hyozaemon
Its photos show a certificate that isn’t in our records yet. Papers can come from different bodies (the NBTHK, the NTHK and smaller societies), and only current NBTHK or NTHK shinsa papers are the independent check we rely on. Please ask the dealer which body issued them. — Hoshi
As written by the shop
Machine translation from the shop's Japanese · may contain errors ·
Iron-tsuba · Owari
The Kanayama school of iron tsuba emerged in the vicinity of Kanayama, a district near Atsuta Shrine in Owari Province, flourishing from the late Muromachi through the Momoyama period. The locality took its name from the enshrinement of the deity Kanayama-hiko, and local metalworkers developed a distinctive tradition of sword guards characterized by exceptional plate iron and an unadorned aesthetic sensibility. Working primarily for the warrior class during a turbulent age, Kanayama artisans produced guards that reflected the martial spirit and ascetic values of their time, favoring directness of expression over decorative elaboration. The collective style of Kanayama work exhibits marked coherence in materials, construction, and design philosophy. Kanayama tsuba are executed as ichimai (single-plate) iron guards, typically round in form, with surfaces finished in tsuchime-ji (hammer texture) and designs rendered through ji-sukashi (ground openwork). The iron itself displays a distinctive character, showing darker tones within its coloration and often developing purplish patinations; most notably, the plate reveals prominent tekkotsu (iron "bones")—granular or mass-like crystalline structures that appear within the rim and on the surface, conveying rustic vigor.
Kanayama designs favor geometric simplicity, employing circles, squares, straight lines, and curves in bold compositions: bells (suzu, tsurigane), rings (wa), measuring boxes (masu), tea caddies (chatsubo), court-lady hats (ichimegasa), and abstract motifs such as clouds and moon (ungetsu). Rather than pursuing ornamental refinement, these patterns are conceived with directness and clarity, evoking what appraisers consistently describe as a "Zen-like flavor"—an aesthetic that suggests inner resilience, spiritual strength, and the austere dignity befitting mature practitioners of the warrior path. Kanayama tsuba occupy a significant position within the broader history of Muromachi-period iron openwork guards, standing alongside Owari work as representative expressions of the age. While the two traditions share certain technical affinities, Kanayama is distinguished by its characteristically blackish iron tone and its vigorous tekkotsu, which together impart an archaic, untamed quality. The school's appeal lies in the fusion of material excellence—thick, well-prepared plate iron with deep patinas—and conceptual restraint, yielding guards that, though unpretentious, possess formidable presence and enduring spiritual resonance. The tradition represents an artistic philosophy in which simplicity becomes a vehicle for profound expression, and in which the essence of martial values is communicated not through ornament, but through clarity of form and strength of material. Learn more →
We could not find an authenticity certificate on the seller’s listing. Japanese swords and fittings are normally papered by the NBTHK (or the NTHK). Without one, the attribution is the seller’s own assessment and has not been independently verified — treat it with caution and ask the dealer about certification before buying.
Within one week of the item's arrival (cooling-off is available within Japan only). If the returned item's condition differs from the time of sale, or the item has been used, no refund can be given. For defects that differ from the purchase conditions, we accept the return and refund the payment. (A defect means something that impairs the item's proper use, such as a hagire (crack in the edge), a re-tempered blade (saiba) or a forgery; items described as having a hagire, a saiba or as a forgery are excluded.) For overseas customers, please consult us separately.
¥180,000