Sheep tsuba

[davel]

That's a first one for me  Found it on X

 

 

 

[Rawa]

It could have been worse [back of the sheep]

[Kantaro]

Cheap?

[Spartancrest]

          https://www.ebay.co.uk/itm/197688495691   this one looks cast to me. [JMHO]

[Jesta]

4 hours ago, Rawa said:

It could have been worse [back of the sheep]

Thanks… now I have that image in my head… 

[Brian]

7 hours ago, Kantaro said:

Cheap?

No. Ch-sheep

[ROKUJURO]

Does not look to be of (traditional) Japanese origin to me, but I may be wrong as so often....

[Bugyotsuji]

No sheep in Japan traditionally; mutton was eaten by the Mongols etc., but uncastrated it was considered too pungent for Japanese tastes. Raxa was an expensive imported woollen felt cloth but open to attack by insects and the elements. Most people would not have known what a sheep was, let alone a ram. 

[Spartancrest]

Instead of a sheep it could in fact be a breed of goat? From what I can find on-line there is some confusion between goat/sheep such as when the animal is seen in the Asian zodiac. 

Found this Japanese Hitsuji  [White Sheep Doll]        

未（Hitsuji): Sheep – Years: 1991, 2003, 2015, 2027

The year of the sheep is associated with family safety. People born in the year of the sheep are said to be calm, collected, and great team players. In the story of the zodiacs, the horse and sheep are good friends.

[Bugyotsuji]

A very modern interpretation, I suspect.

[davel]

I would need to lookup the conversation again but as far as i can recall they were asuming this was made during the Shōwa period and sheep were already imported by that time > https://www.oldtokyo.com/sheep-grazing-in-the-shadow-of-ezo-fuji-hokkaido-c-1930/

[Jake6500]

On 10/2/2025 at 7:18 PM, Bugyotsuji said:

No sheep in Japan traditionally; mutton was eaten by the Mongols etc., but uncastrated it was considered too pungent for Japanese tastes. Raxa was an expensive imported woollen felt cloth but open to attack by insects and the elements. Most people would not have known what a sheep was, let alone a ram. 

Sheep weren't really a thing in Japan until the end of the Edo Period, however the presence of sheep in China for thousands of years and in neighbouring Korea during the Goryeo dynasty theoretically makes the prospect of a sheep or ram themed tosogu possible... 

 

Who knows? Maybe a Nanban sheep themed piece is floating around out there somewhere.

[DirkO]

made by Naruki Issei (成木一成 ) - mukansa 2009  - he was a very prolific tsuba maker and especially his Owari tsuba were very nice

 

Born on September 10, 1931 (Showa 6) in Nakatsugawa, Gifu Prefecture, as the eldest son of Seiichi Naruki.

1945-1950 (Showa 20-25) He studied ancient ceramics under Fujio Koyama and Toyozo Arakawa.

In 1960 (Showa 35), he was unable to move his lower body due to illness and had to abandon his research into ancient ceramics. He was deeply impressed by an iron tsuba his father showed him, and began researching and prototyping.

1963 (Showa 38) He began full-scale production of iron tsuba in Saneto, Nakatsugawa City.

1966-1969 (Showa 41-44) He learned the Kaga inlay technique from Isamu Takahashi.

Around 1975 (Showa 50), he began considering creating the base metal for tsuba by blowing iron sand. Prior to that, he experimented with Western iron and collected reclaimed iron from the Edo period, which he then commissioned a swordsmith to roll into sheet form for his tsuba crafts.

In 1977 (Showa 52), he held his first solo exhibition, "Tracing the Four Seasons of Mino," at Ginza Matsuya.

He expressed the simple yet powerful painting of ancient Mino ceramics on his tsuba. He was awarded the Gifu Prefectural Governor's Award for Outstanding Craftsmanship.

In 1978 (Showa 53), he began making tsuba from his own steel. He was awarded the Medal with Dark Blue Ribbon. He held his second collaborative exhibition, "Reproduction of the Tetsuhirumaki Tachi Koshirae," at Ginza Matsuya.

In 1981 (Showa 56), he was designated a holder of an intangible cultural property by Nakatsugawa City for his iron tsuba-making techniques.

In 1982 (Showa 57), he began performing the entire process, from charcoal making to tatara (smelting) work. From November 1982 to January 1983, he worked daily on the kettle pressing and kept records. He collected iron sand and iron ore from over 50 locations across Japan.

In 1983, he held his second solo exhibition, "Making Tsuba with Homemade Steel," featuring homemade steel made from iron sand from various regions. He compared iron made from iron sand and iron ore from various regions across Japan. He also published "Making Tsuba with Homemade Steel."

In 1986, he received the Medal with Yellow Ribbon.

In 1987, he held his third solo exhibition, "Yagyu Thirty-Six Immortal Poets Tsuba," at the Kuwana City Museum. Yagyu Ren'ya passed away just as 31 original Yagyu tsuba had been produced. The drawings, drawn 20 years later, reveal that the illustrations for the remaining five tsuba are unknown. Naruki, based on the secrets of their names, also produced those five, resulting in a total of 36 pieces on display.

In 1998, the "Tsuba: The Keystone of Japanese Swords: Naruki Kazunari and Ishida Tetsuo Exhibition" was held at the Hoshi to Mori no Uta Museum.

In 1999, he received his first Grand Prize (Chairman's Award) at the Nittoho New Masterpiece Swords Exhibition. Since then, he has received the award 11 times in a row, and his award has been included in the "Special Exhibition: The Beauty of Tsuba: The Challenge of Tsuba Craftsman Naruki Kazunari."

In 2000, he received the Grand Prize (Chairman's Award) at the New Masterpiece Swords Exhibition.

In 2001, he received the Grand Prize (Chairman's Award) at the New Masterpiece Swords Exhibition. The "In Pursuit of the Purple Rust-Colored Steel Bark: The World of Naruki Kazunari" exhibition was held at the Hoshi to Mori no Uta Museum.

In 2002 (Heisei 14), he received the Grand Prize (Chairman's Award) at the New Masterpiece Sword Exhibition. Held the exhibition "Pursuing the Beauty of Naruki Kazunari's Worldwide Iron Tsuba" at the Gifu Prefectural Museum.

In 2003 (Heisei 15), he received the Grand Prize (Chairman's Award) at the New Masterpiece Sword Exhibition.

In 2004 (Heisei 16), he received the Grand Prize (Chairman's Award) at the New Masterpiece Sword Exhibition.

In 2005 (Heisei 17), he received the Grand Prize (Chairman's Award) at the New Masterpiece Sword Exhibition.

In 2006 (Heisei 18), he received the Grand Prize (Chairman's Award) at the New Masterpiece Sword Exhibition.

In 2007 (Heisei 19), he received the Grand Prize (Chairman's Award) at the New Masterpiece Sword Exhibition.

In 2008 (Heisei 20), he received the Grand Prize (Chairman's Award) at the New Masterpiece Sword Exhibition.

In 2009 (Heisei 21), he received the Grand Prize (Chairman's Award) at the New Masterpiece Sword Exhibition. Certified as a non-judgmentalist

Since 2010 (Heisei 22), he has entered competitions every year. Since he was non-judgmental, he did not receive any awards.

In 2011 (Heisei 23), he was awarded the Gifu Prefecture Traditional Culture Inheritance Award.

In 2013 (Heisei 25), he held the exhibition "The Beauty of Tsuba: The Challenge of Tsuba Craftsman Kazunari Naruki" at the Gifu Prefectural Museum.

He passed away at the facility in 2022.

[Curran]

2 hours ago, DirkO said:

made by Naruki Issei (成木一成 ) - mukansa 2009  - he was a very prolific tsuba maker and especially his Owari tsuba were very nice

 

Born on September 10, 1931 (Showa 6) in Nakatsugawa, Gifu Prefecture, as the eldest son of Seiichi Naruki.

1945-1950 (Showa 20-25) He studied ancient ceramics under Fujio Koyama and Toyozo Arakawa.

In 1960 (Showa 35), he was unable to move his lower body due to illness and had to abandon his research into ancient ceramics. He was deeply impressed by an iron tsuba his father showed him, and began researching and prototyping.

1963 (Showa 38) He began full-scale production of iron tsuba in Saneto, Nakatsugawa City.

1966-1969 (Showa 41-44) He learned the Kaga inlay technique from Isamu Takahashi.

Around 1975 (Showa 50), he began considering creating the base metal for tsuba by blowing iron sand. Prior to that, he experimented with Western iron and collected reclaimed iron from the Edo period, which he then commissioned a swordsmith to roll into sheet form for his tsuba crafts.

In 1977 (Showa 52), he held his first solo exhibition, "Tracing the Four Seasons of Mino," at Ginza Matsuya.

He expressed the simple yet powerful painting of ancient Mino ceramics on his tsuba. He was awarded the Gifu Prefectural Governor's Award for Outstanding Craftsmanship.

In 1978 (Showa 53), he began making tsuba from his own steel. He was awarded the Medal with Dark Blue Ribbon. He held his second collaborative exhibition, "Reproduction of the Tetsuhirumaki Tachi Koshirae," at Ginza Matsuya.

In 1981 (Showa 56), he was designated a holder of an intangible cultural property by Nakatsugawa City for his iron tsuba-making techniques.

In 1982 (Showa 57), he began performing the entire process, from charcoal making to tatara (smelting) work. From November 1982 to January 1983, he worked daily on the kettle pressing and kept records. He collected iron sand and iron ore from over 50 locations across Japan.

In 1983, he held his second solo exhibition, "Making Tsuba with Homemade Steel," featuring homemade steel made from iron sand from various regions. He compared iron made from iron sand and iron ore from various regions across Japan. He also published "Making Tsuba with Homemade Steel."

In 1986, he received the Medal with Yellow Ribbon.

In 1987, he held his third solo exhibition, "Yagyu Thirty-Six Immortal Poets Tsuba," at the Kuwana City Museum. Yagyu Ren'ya passed away just as 31 original Yagyu tsuba had been produced. The drawings, drawn 20 years later, reveal that the illustrations for the remaining five tsuba are unknown. Naruki, based on the secrets of their names, also produced those five, resulting in a total of 36 pieces on display.

In 1998, the "Tsuba: The Keystone of Japanese Swords: Naruki Kazunari and Ishida Tetsuo Exhibition" was held at the Hoshi to Mori no Uta Museum.

In 1999, he received his first Grand Prize (Chairman's Award) at the Nittoho New Masterpiece Swords Exhibition. Since then, he has received the award 11 times in a row, and his award has been included in the "Special Exhibition: The Beauty of Tsuba: The Challenge of Tsuba Craftsman Naruki Kazunari."

In 2000, he received the Grand Prize (Chairman's Award) at the New Masterpiece Swords Exhibition.

In 2001, he received the Grand Prize (Chairman's Award) at the New Masterpiece Swords Exhibition. The "In Pursuit of the Purple Rust-Colored Steel Bark: The World of Naruki Kazunari" exhibition was held at the Hoshi to Mori no Uta Museum.

In 2002 (Heisei 14), he received the Grand Prize (Chairman's Award) at the New Masterpiece Sword Exhibition. Held the exhibition "Pursuing the Beauty of Naruki Kazunari's Worldwide Iron Tsuba" at the Gifu Prefectural Museum.

In 2003 (Heisei 15), he received the Grand Prize (Chairman's Award) at the New Masterpiece Sword Exhibition.

In 2004 (Heisei 16), he received the Grand Prize (Chairman's Award) at the New Masterpiece Sword Exhibition.

In 2005 (Heisei 17), he received the Grand Prize (Chairman's Award) at the New Masterpiece Sword Exhibition.

In 2006 (Heisei 18), he received the Grand Prize (Chairman's Award) at the New Masterpiece Sword Exhibition.

In 2007 (Heisei 19), he received the Grand Prize (Chairman's Award) at the New Masterpiece Sword Exhibition.

In 2008 (Heisei 20), he received the Grand Prize (Chairman's Award) at the New Masterpiece Sword Exhibition.

In 2009 (Heisei 21), he received the Grand Prize (Chairman's Award) at the New Masterpiece Sword Exhibition. Certified as a non-judgmentalist

Since 2010 (Heisei 22), he has entered competitions every year. Since he was non-judgmental, he did not receive any awards.

In 2011 (Heisei 23), he was awarded the Gifu Prefecture Traditional Culture Inheritance Award.

In 2013 (Heisei 25), he held the exhibition "The Beauty of Tsuba: The Challenge of Tsuba Craftsman Kazunari Naruki" at the Gifu Prefectural Museum.

He passed away at the facility in 2022.

 

He passed in 2022. For what is is worth, I've seen some of his tsuba out there with recent Hozon papers.

     Long ago, I owned a nice Nobuiye utsushi by him, but traded it to Arnold Frenzel at one point. I liked the one from Arnold, but the Naruki Issei (Issei Naruki) certainly went up in value. 

 

 

[DirkO]

This is mine, signed Houzan

[davel]

Thxs for the info @DirkO 

[ROKUJURO]

Thank you Dirk,

for the extensive information!

However, I have questions concerning some lines in the text:

.....Around 1975 (Showa 50), he began considering creating the base metal for tsuba by blowing iron sand. Prior to that, he experimented with Western iron and collected reclaimed iron from the Edo period, which he then commissioned a swordsmith to roll into sheet form for his tsuba crafts.....

What could the author (who wrote that? Is it a translation?) have meant by "blowing iron sand"? Perhaps processing in a blast furnace? And "rolling steel into sheet form" cannot be done in a forge! 

I suspect that either the writer did not know what he was talking about, or the translation was done incorrectly.

 

[Shugyosha]

Hi Jean,

This might be a bit tenuous and this subject is very much yours rather than mine, but the term oroshigane can have the meaning "blown steel" so maybe a reference to him using this process rather than a tatara to make his steel? From an article by Markus Sesko:

 

"At this point, you may ask yourself, what does the very term oroshigane actually mean. I mean, gane is clear, it means “steel”, but oroshi? In our case, the term oroshi is assumed to come from the term fuki-orosu (吹き下す) which means “blow down upon,” and was probably chosen because it resembles the way the smith blows air into the prepared steel/charcoal arrangement for the oroshigane process in his furnace. Strong and dangerous winds blowing down the slope of a mountain are referred to as oroshi as well, written with the character (颪), which has to be taken literally so to speak, i.e. “down” (下) and “wind” (風)."

 

https://markussesko.com/2018/09/30/oroshigane-mentioned-in-signatures/

Edited Saturday at 10:24 AM by Shugyosha

[DirkO]

On 10/3/2025 at 9:52 PM, ROKUJURO said:

.....Around 1975 (Showa 50), he began considering creating the base metal for tsuba by blowing iron sand. Prior to that, he experimented with Western iron and collected reclaimed iron from the Edo period, which he then commissioned a swordsmith to roll into sheet form for his tsuba crafts.....

What could the author (who wrote that? Is it a translation?) have meant by "blowing iron sand"? Perhaps processing in a blast furnace? And "rolling steel into sheet form" cannot be done in a forge! 

I suspect that either the writer did not know what he was talking about, or the translation was done incorrectly.

 

Hi Jean, took me a while to track down the original Japanese text, seeing I had this on file and I probably used Google Translate or something. Here's a new translation using AI, which I think make more sense:

 

Japanese:
1975年（昭和50年）頃　砂鉄を吹いて鐔の地鉄を作ろうと考え始める。それ以前は洋鉄使ってみたり、江戸時代の古鉄を集め刀匠に依頼して板状に伸ばした鉄を使用し鐔製作を行っていた。

---

Romaji:
1975-nen (Shōwa gojū-nen) goro, satetsu o fuite tsuba no jitetsu o tsukurou to kangae hajimeru.
Sore izen wa yōtetsu tsukatte mitari, Edo jidai no kokutetsu o atsumete tōshō ni irai shite itajō ni nobashita tetsu o shiyō shi, tsuba seisaku o okonatte ita.

---

English translation:
Around 1975 (Shōwa 50), he began thinking about smelting iron sand to produce the base iron for tsuba (sword guards).
Before that, he had experimented with using Western iron, or gathered old iron from the Edo period and asked swordsmiths to forge it into plates for use in making tsuba.