A question about namako, Higo, and Miyamoto Musashi

[OceanoNox]

As I continue studying tsuba, especially the ones in iron, I have come upon the "namako" theme, famously displayed in the tsuba attributed to Miyamoto Musashi. It is my understanding that he made it when in Kumamoto, having been influenced by the Higo craftsmen (and Lord Hosokawa).
At the moment, I am under the belief that the symmetrical and large hitsu ana are a particularity found in Higo tsuba.

I wish to ask whether the "namako" tsuba are really representing simplified namako, or simply enlarged hitsu ana. I am possibly just reading things, but the namako tsuba attributed to Musashi really reminds me of the rings added to crossguards in Europe, and the shapes seem overly simple to clearly the sea cucumber.

[Spartancrest]

Well here are a few where the addition of a single line through the hitsu-ana changes the "theme" completely, which way did the design evolve from? Namako or butterfly wing?  Was it complex to very abstract or the otherway around?  [Straying into being off topic, I realise, just an observation.]

[Bugyotsuji]

Haha Dale, I went through a somewhat similar thought process last night while flipping through some tsuba books. Which came first, the chicken or the egg? I found a/the Musashi example in a Japanese book, but nowhere on the page did it mention the word 'Namako'.

 

An unusual design at the time, (quite possibly European influenced) to which someone Japanese somewhere must surely have commented 'Namako', the name struck a chord, and voila, Bob's  your uncle...?

[OceanoNox]

7 hours ago, Spartancrest said:

Well here are a few where the addition of a single line through the hitsu-ana changes the "theme" completely, which way did the design evolve from? Namako or butterfly wing?  Was it complex to very abstract or the otherway around?  [Straying into being off topic, I realise, just an observation.]

The third one from the left, I think I saw a post (by Ford Hallam perhaps?) hinting that it might also be a cut out of the fingers (or finger bones) as seen from the front when gripping the tsuka. I also saw that tsuba called silkworm design.

But this is very much also what I am wondering. The designs are so abstract, they could be anything.

 

5 hours ago, Bugyotsuji said:

someone Japanese somewhere must surely have commented 'Namako', the name struck a chord, and voila, Bob's  your uncle...?

I suspect you're right, the name came second after someone crafted an interesting design.

[Bugyotsuji]

In this Yagyū Tsuba we can see a seabird, waves and an oar.

 

Did the Yagyū smiths see the lessons of Sasaki Kojirō’s defeat on Ganryū Island as a Pearl Harbor or Alamo moment? 
 

 

[Bugyotsuji]

Oops, maybe this was the wrong thread! 

[ROKUJURO]

On 12/16/2022 at 10:31 AM, OceanoNox said:

As I continue studying tsuba, especially the ones in iron, I have come upon the "namako" theme, famously displayed in the tsuba attributed to Miyamoto Musashi. It is my understanding that he made it when in Kumamoto, having been influenced by the Higo craftsmen (and Lord Hosokawa).
At the moment, I am under the belief that the symmetrical and large hitsu ana are a particularity found in Higo tsuba.

I wish to ask whether the "namako" tsuba are really representing simplified namako, or simply enlarged hitsu ana. I am possibly just reading things, but the namako tsuba attributed to Musashi really reminds me of the rings added to crossguards in Europe, and the shapes seem overly simple to clearly the sea cucumber.

Arnaud,

I think that in the realm of 'functional arts and crafts', there is a strong tendency to simplify design and final form. You can find this also in the conception of brand icons where the aim is to create a unique symbol to represent a company, being at the same time simple and easy to memorize and on the other hand difficult to copy. Think of the Mercedes-Benz star!

In TSUBA, there are additional factors like aesthetics and function, and in my understanding the NAMAKO design TSUBA have all these factors united. It is not easy to keep a TSUBA design much simpler while preserving an attracctive appeal!

   

[OceanoNox]

1 hour ago, ROKUJURO said:

In TSUBA, there are additional factors like aesthetics and function, and in my understanding the NAMAKO design TSUBA have all these factors united. It is not easy to keep a TSUBA design much simpler while preserving an attracctive appeal!

Jean, thank you. I agree that the namako design combines all the factors you mentioned. I do have a preference for some of the Higo ones instead of the Musashi one, but nevertheless, they look deceptively simple and it must be difficult to get the balance just right.

[Kurikata]

I can't resist in posting a mamako tsuba picture from:https://nihonto.com/miyamoto-musashi　/

 

A least a thread on Myamoto Musashi deserves a picture of one of his tsuba (at least attributed to him)

[OceanoNox]

Thank you Bruno. If people don't mind poor quality, I can upload a photo of the book I have at the moment. In the meantime, here is another poor quality picture of a namako tsuba I found extremely nice. It has file marks on the surface and silver inlay on the rim in a stylized lightning pattern.

[Toryu2020]

Earlier designs were just cut outs in the shape of a namako, the whole being much thicker, it then became much airier as in the examples by Musashi. Here we see thickeer versions, one with actual hitsu-ana, a more photo~realistic Higo version and an actual pair of namako...

 

-t

 

[Curran]

12 hours ago, Toryu2020 said:

Earlier designs were just cut outs in the shape of a namako, the whole being much thicker, it then became much airier as in the examples by Musashi. Here we see thickeer versions, one with actual hitsu-ana, a more photo~realistic Higo version and an actual pair of namako...

 

-t

 

Hi Tom,

 

I believe top one you shared listed as "Higo" is originally a Ko-Shoami design seen on the Nobunaga koshirae? Correct me if I am wrong.- Later on it would become a standard of the Higo schools, especially with H. Nakane making many of that design often with some silver around the edge. Supposedly Hosokawa commissioned the shodai Kanshiro to make 6 of them for his generals. I had one consigned through me about 8 years ago and wish I had bought it.

 

The attribution to Kanshiro and the fact that there were 6 of them is all per the NBTHK. I wouldn't have known if it were not for the knowledge dropped on me then.

I am not sure I would consider that one a namako design, and guess I should see if I have records of the NBTHK papers to be sure.

 

Along the Hayashi-Kamiyoshi lines of Higo, I've owned a few of this namako variety. I have a Hayashi Tohachi one that is like a blinged out version of the originals, but my favorite one is a plain jane iron one I picked up from a friend a few years ago. It looks very much like the original ones supposedly by M. Musashi, but is not as thick as the M. Musashi ones. As you know, a very well regarded collector in your neck of the USA has a few of the originals... as if they were that easy to own one, yet alone own a few of them. That is beyond my level.

 

 

 

 

[OceanoNox]

Here is the tsuba attributed to Miyamoto Musashi in the book mentioned above. Height is 75 mm, width 72 mm, and thickness is 5 mm.

[Kiko]

I am taking the liberty of reviving this thread because I am currently writing an article about sword guards featuring large, symmetrical lateral cutouts (sayū-ō-sukashi). I would welcome some informed opinions on a hypothesis—one I was quite surprised not to find in the preceding posts—regarding namako sukashi tsuba and the idea that they really depict sea cucumbers (or sea slugs, depending on the preferred translation).
 

Does it not seem possible—I hesitate to say probable—that this type of inlaid decoration and "lacelike" cutout work represents, in a more or less stylized manner, the appendages or podia of certain species of holothurians?

[Kiko]

And to follow up on the idea of photorealism and the sea cucumber image posted by Thomas, I’m putting forward this tsuba (which I think is superb)!

[Spartancrest]

51 minutes ago, Kiko said:

Does it not seem possible—I hesitate to say probable—that this type of inlaid decoration and "lacelike" cut out work represents, in a more or less stylized manner, the appendages or podia of certain species of holothurians?

  With the number of species - it is not unreasonable to suggest that many variations of namako tsuba are possible, not just one standard form.

I guess each maker might have been familiar with what type of sea cucumber was for sale locally?  From a thread https://www.militaria.co.za/nmb/topic/37315-value-reduced/#comment-386984

 

[Kiko]

Thanks a lot, Dale ! Interesting thread, even though your photo of the "chimney of horror" might haunt my nightmares...

[Spartancrest]

24 minutes ago, Kiko said:

"chimney of horror"

Truly was a horror - the whole place burnt to the ground in 1957- I don't know if the tsuba were ever sifted from the rubble?  But some elements of Laurelton Hall were salvaged : 

https://www.tefaf.com/stories/tiffany-s-fireplace-hood-reunited-with-treasures-from-artist-s-home

[ROKUJURO]

Nicolas,

I do not believe that the HIRATA TSUBA pictured above (and the other one) attempts to emulate the PODIA of sea cucumbers. It would not be the intent of TSUBA artisans to create realistic copies of nature. In my opinion, these small SUHAMA-like decorations were meant to "soften up" the very stern basic shape of the NAMAKO TSUBA.  

My observation is that a pleasing, balanced shape with inherent functionality can be found in most TSUBA, especially in the iron ones.

Speaking of "oversized" HITSU ANA, I am attaching a TEIMEI TSUBA as example plus two "NAMAKO" TSUBA in HEIANJO style

[Kiko]

Thanks for your comments and the other examples, Jean!
It turns out I own two namako-sukashi guards in the Heianjō style that are quite similar to these.

While the presence of notches at the seppadai on certain namako guards—those lacking specific borders for the accessory holes—effectively validates the opportunistic use of the openwork spaces as "oversized" hitsu-ana, I am more skeptical about the idea that this was the design's original function. I tend to think, rather, that the motif stems from a desire for balance and a reduction to the essentials.

However, I may have misinterpreted your message and your inome-sukashi example, as I assume you don't actually view those two heart shaped openings as hitsu-ana?

 

[ROKUJURO]

Nicolas,

you are certainly correct in that the SUKASHI of the TEIMEI TSUBA are not usable as HITSU ANA. I showed it more as a general example of "big openings". The HIRATA TSUBA below (not mine) is probably more functional in this respect.

[SteveM]

I also think they are just an abstract design - and the tosogu world has, through custom and convenience, applied the name "namako" or "namako sukashi". The main reason I doubt they are artistic representations of sea slugs is that we don't find sea slugs in any other related item. No sea slugs on menuki, fuchi/kashira, kozuka, armor, family crests, etc... And you don't find any positive relief images, or inlaid images of sea slugs. It's just not a thing, and if tsuba artisans were so impressed with the sea slug as an image, one would expect to find sea slugs elsewhere in Japanese crafts. 

[Kiko]

Thanks Steve, that’s a perfectly valid point, and I haven't actually found any examples other than this netsuke (whose himotoshi are, incidentally, really ugly) :

https://www.bonhams.com/zh-hk/auction/24456/lot/151/a-wood-netsuke-of-a-namako-sea-slug-by-doraku-osaka-19th-century/
 

Does anyone here have any idea about the earliest instance of the term namako being used to refer to these lateral openwork sections?

[Tim Evans]

I don't think that Miyamoto was attempting to depict a namako. This is probably a fanciful description by some collector at a later time. As is shown in some of the images above, this bilobe design was popular from before Miyamoto or the Higo tsubako. More general discussion of bilobe tsuba here.

 

Also, i seem to recall a discussion about the similarity of the katzbalger european sword guard to the namakogata tsuba somewhere on NMB, implying a European influence. 

 

7 hours ago, ROKUJURO said:

The HIRATA TSUBA below is probably more functional in this respect.

I own that one. There are very similar Hirata tsuba in softmetal. I think the design is matsu, or pine boughs, and the Hirata possibly made these for the Matsui clan. 

[Curran]

12 hours ago, Kiko said:

And to follow up on the idea of photorealism and the sea cucumber image posted by Thomas, I’m putting forward this tsuba (which I think is superb)!

 

Ah yes, I remember selling that one circa late 2014 or early 2015.

 

Edited July 15 by Curran

[Bugyotsuji]

On the other hand I was assured that this one is recent, i.e. not old.

 

1.

 

 

 

 

 

 

 

 

[Kiko]

Regarding the question I raised earlier about the first known instance of the term "namako" being used, I have not yet found anything predating the writings of Henri Joly (circa 1910), but I am continuing my research.
 

@Tim : Thanks for the links !
@Currran : Your photos do better justice to the patina of this beauty!
@Piers : "not old" meaning ? Meiji ? Are there any obvious clues?

[Ian B3HR2UH]

i agree that these so called namako tsuba have nothing to do with sea slugs and are just a design . There is however at least one fitting depicting Namako, a mumei kozuka that I own . This piece is ex the J C  Hawkshaw , Henri Vever and Peter Hawkins collections . Perhaps Dale, whose computer data base seems to be enormous ,can tell us if there are any other fittings depicting Namako . I don't recall ever seeing another one.

Ian Brooks

 

[Bazza]

On 7/16/2026 at 12:13 AM, SteveM said:

I also think they are just an abstract design - and the tosogu world has, through custom and convenience, applied the name "namako" or "namako sukashi". The main reason I doubt they are artistic representations of sea slugs is that we don't find sea slugs in any other related item. No sea slugs on menuki, fuchi/kashira, kozuka, armor, family crests, etc... And you don't find any positive relief images, or inlaid images of sea slugs. It's just not a thing, and if tsuba artisans were so impressed with the sea slug as an image, one would expect to find sea slugs elsewhere in Japanese crafts. 

I have seen with my own eyes a most excellent quality, unsigned kozuka with three sea slugs on it.  If we are lucky it may appear here...

 

BaZZa.

 

EDIT: Ah, here it is just as I was composing my little piece.

 

EDIT 2:  I called it a masterpiece...  Excellent photo...

[Iekatsu]

Lovely piece Ian, and a rare theme indeed.