2025 Dai Token Ichi (Part 5): Juyo Tosogu Signed: Nobuie – “Baika and karakusa zu Tsuba” formerly owned by Shibata Ka.

gallery陽々youyou
Oct 31
4 min read

Continuing from the previous post, this article features another sword fitting that will be presented at the upcoming 2025 Dai Token Ichi, held on November 1 and 2, which is getting closer!

In this post, we feature a large, rare futoji-mei (boldly signed) Nobuie tsuba without hitsu-ana. Active from the Momoyama to early Edo period, Nobuie’s tsuba are admired for their powerful iron texture and sense of solid presence—qualities that embody the essence of samurai aesthetics.

Who was the “Futoji-mei” Nobuie?

Nobuie’s tsuba have long been celebrated as masterpieces and are familiar to all collectors. Yet today, few recall why there are two major classification—the hanare-mei and futoji-mei Nobuie—or how these terms came to be used. How many Nobuie were there, where did they come from, and what kind of lives did they lead as c?

Although many scholars have studied Nobuie, few have explored him in the context of the era’s social and cultural trends. When viewed alongside the movements and fashions of his time, the connection between Nobuie and prominent daimyo becomes more visible.

The futoji-mei Nobuie is known to have produced several variations of signature styles, and both the hanare-mei and futoji-mei groups include designs with Christian motifs. This clue has led to a better understanding of which daimyō the futoji-mei Nobuie was serving.

The pivotal research by Katsuya Shunichi, “Nobuie no Shin-kenkyu” (1958–1959) (信家の新研究, New research on Nobuie), remains the foundation of modern Nobuie studies. The distinction between hanare-mei and futoji-mei is now well established—but what historical path led the futoji-mei Nobuie to adopt multiple forms of signature?

Futoji-mei Nobuie’s Sense of Beauty and Artistry

When we encounter words like tsuchime-ji (hammered surface), tekkotsu (iron bones), yakite, and uchikomi, we immediately think of Nobuie. The more one observes futoji-mei Nobuie’s works, the more one is drawn into their quiet depth and captured by it.

The tsuchime and kebori are integrated into the surface itself, creating a simplicity that borders on the meditative—evoking a quiet world of self-reflection and enlightenment. While many futoji-mei pieces display the bold energy typical of the Momoyama period, there also exist highly polished examples that suggest introspection rather than flamboyance.

Were these made by different hands? Some examples use the kusarashi technique—artificially corroding the surface to enrich its texture—similar to methods seen in Hōan’s work.Indeed, one may sense subtle artistic connections among Nobuie, Hōan, and Yamakichi.

Nobuie’s tsuba are always simple and unadorned—far removed from colorful depictions of animals or flowers. He was not merely a tsuba maker, but an artisan who expressed the samurai’s spirit and beauty through the language of iron and sculptural mass.

Which do you prefer—the hanare-mei or the futoji-mei? Or perhaps, doesn’t the quiet dignity of a thick, heavy block of iron speak to you most?

This design of plum flower and karakusa, mokko-shaped tsuba is well-balanced yet dynamic. The rim is uchikaeshi-mimi (turned-back rim), the surface finished with tsuchime, and after striking a subtle jimon (ground pattern), the futoji-mei Nobuie engraved karakusa(arabesque) on the front and baika (plum blossoms) with a flower basket on the reverse in kebori. Subsequently, a strong yakite was applied. The front appears soft and elegant, while the reverse has a bold, vigorous tone with deeper black. The profound luster of the iron and its assured form deeply move our hearts. Without hitsu-ana and with flawless preservation, this is truly a remarkable work. It is illustrated as fig. 115 in the “Nobuie Tsubashu” and the wooden storage box bears the inscription “Owned by Sayosaan.” This reveals that the piece was formerly in the collection of Shibata Ka, a wealthy distinguished prewar industrialist and swordsmith from Akita.

Nobuie Tsubashu figure 115 — Fig 115 in Nobuie Tsubashu (信家鐔集)

Petit Kantei Points ♡

On October 1, the long-awaited book “NOBUIE” by Mitsuru Ito was released. This publication reveals everything one needs to understand Nobuie—based on decades of dedicated research. It presents well-known and previously unpublished works in chronological order, while re-examining Nobuie’s life and aesthetics against the rapidly changing historical and cultural background of the Momoyama and early Edo periods.

The book also explores the evolution of Nobuie’s inscriptions—hanare-mei and futoji-mei—and proposes a fresh perspective on Nobuie studies, rich with detailed kantei points.

We hope it will become a cherished companion for every tosogu enthusiast.

Book Information

Title: NOBUIE・信家

Author: Mitsuru Ito

Publisher: gallery youyou

Release Date: October 1, 2025

Price: ¥27,500 → ¥ 26,000 (until Dec 31, 2025)

English Translation & Commentary: ¥17,500 → ¥ 15,000 (until Dec 31, 2025)

The English translation and commentary are now available!

A special set price will be available at the 2025 Dai Token Ichi venue—please don’t miss this opportunity.

If you won’t be able to visit 2025 DTI, please click below.

The set of NOBUIE and TRANSLATION

Closing thoughts

The Nobuie tsuba rests heavily in the hand, embodying the very essence of beauty in mass. The lively composition of plum blossoms and arabesque vines accented with a flower basket must have deeply captivated Shibata Ka—perhaps even serving as his muse. Large Nobuie tsuba without hitsu-ana of this kind are exceedingly rare. We warmly invite you to visit the Dai Token Ichi and experience this striking expression of aesthetics mass in person. Stay Tosogu & Sword Minded :)