Mei: Nobuie
75 x 70 x 5.6 (3.5) mm
NBTHK Hozon Tōsōgu
Literature:
Ito, M. (tr. Sesko, M.), Nobuie Tsuba (2016), cat. 24
During the Sengoku period, Zen Buddhism profoundly influenced the arts, spreading the concepts of wabi (simplicity), sabi (melancholic beauty), and yūgen (mystery) beyond the aristocracy to warriors and common people. This aesthetic shift also shaped tsuba design, with Nobuie’s works embracing irregular shapes, textured surfaces, and a philosophy of “perfected imperfection”, akin to the wabi-sabi ideals found in tea ceramics. The boldness of Nobuie’s ironwork resonated deeply with the samurai ethos, emphasizing strength and austere beauty over elaborate decoration.
Nobuie’s signature is almost always composed of just two characters, appearing in various styles. Broadly, these can be classified into two categories: “separated script” (hanare–mei) and “bold script” (futōji–mei). This particular tsuba bears a hanare–mei and features a graceful mokko–gata (lobed shape). The rim transitions smoothly from the thinner seppa–dai, gradually thickening toward the edge, forming an uchikaeshi–mimi (folded rim). This subtle contouring enhances balance and structural integrity, reinforcing the tsuba’s understated elegance.
A particularly striking feature is the gourd-shaped hitsu–ana, a symbol of good fortune in Japanese culture. While Nobuie often engraved the hyōtan (gourd) motif on his works, only a few examples incorporate it directly into the hitsu–ana design, making this tsuba a notable rarity.
The iron forging is exceptional, with a richly textured surface that enhances the hammer marks, while the calligraphy is executed with remarkable strength and fluidity. This piece embodies the essence of Nobuie’s artistry, balancing spiritual depth, martial aesthetics, and masterful craftsmanship.
SOLD
(Inv. #216)
