The Hachinoki Motif — A Tsuba Bearing the Spirit of Loyalty
- gallery陽々youyou
- Feb 25
- 5 min read
Sukashi tsuba often carry meanings beneath their graceful designs. At times their motifs draw upon classical literature such as the Kokin Wakashū or The Tale of Ise. The Hachinoki design, however, derives from a different source — a story of unwavering samurai loyalty. In this article, we explore the spirit embodied in the Hachinoki motif
The Samurai Spirit Embodied in the Hachinoki Tsuba
A tsuba depicting snowflakes together with cherry blossoms, plum, and pine tree is known as “the Hachinoki (potted trees) motif” and appears among design of Higo tsuba. The composition appears in the Kamiyoshi Tsuba Ehon (illustrated album of Kamiyoshi tsuba designs), a volume compiled by Kamiyoshi Fukanobu or Rakujū, and was later adopted in Akasaka work as well. As works of Higo kinko rose to prominence, its designs were widely admired. From the fourth-generation Akasaka master Tadatoki onward, sukashi tsuba echoing design of Higo tsuba — including Hachinoki, plum trees, and pine tree — were produced in Edo.
The inspiration for this design comes from the story known as Hachinoki. Around seven centuries ago, during the Kamakura period, Hōjō Tokiyori, serving as regent, traveled the provinces disguised as a monk. Caught in heavy snow near Yamamoto no Sato (present-day Sano city, Tochigi prefecture), he sought shelter for the night at a humble farmhouse. The host was Sano Genzaemon Tsuneyo, a samurai whose lands had been seized by members of his own clan, leaving him to live there in reduced circumstances, working the fields. As the two spoke, the fire in the hearth began to fade. With no firewood remaining, Tsuneyo placed his cherished potted plum, cherry, and pine trees upon the flames in order to warm his guest. Though fallen into poverty, he declared that he still preserved his armor, sword, and horse. Should a summons come from Kamakura, he would hasten there without hesitation, prepared to give his life.
Soon after, a summons was suddenly issued from Kamakura to the forces of the provinces. Tsuneyo donned the old armor he had carefully preserved, took up his sword, and, urging on his lean horse, hastened to present himself among the first. Thereafter, Tsuneyo was summoned to appear before Hōjō Tokiyori. The regent declared: “The traveling monk you sheltered on that snowy night was, in truth, myself. I am pleased that you have come, true to your word.” Praising Tsuneyo’s loyalty, Tokiyori restored the lands of which he had been dispossessed. Furthermore, in remembrance of the potted trees he had burned as firewood, he granted him three estates: Umeda in Kaga, Matsuida in Kōzuke, and Sakurai in Etchū. Thus, with his honor restored, Tsuneyo returned to Yamamoto no Sato.
The story endures not merely as legend, but as an expression of the samurai ideal — loyalty unspoken, yet proven through action.
The Hachinoki sukashi tsuba by the shodai Nishigaki Kanshirō is formed overall in kiku-gata (chrysanthemum-shaped), its sukashi and the form of plum, pine, and cherry rendered with gentle softness. The lines of kebori engraving are applied with an almost improvisational sensibility, imparting a warmth to the piece. The kozuka-bitsu (hole) depicts a shaped of snowflake, while the kōgai-bitsu takes the form of a plum tree, creating a refined and tasteful balance.
By contrast, Matahei’s interpretation of the Hachinoki motif adopts maru-gata (a round form), with the interior space conceived as snow. The plum, pine, and cherry are articulated in crisp, sharply defined outlines, enriched by Matahei’s characteristically deep kebori carving. The two hitsu-ana are fashioned as snowflakes of differing shapes. Above the kōgai-bitsu, three plum petals are depicted, evoking the image of blossoms emerging beautifully from the snow.
At times, a composition of plum, cherry, and pine without snowflakes is referred to as the Sugawara motif. Personally, however, I find this interpretation somewhat unconvincing. The Kabuki play "Sugawara Denju Tenarai Kagami "tells a sorrowful story in which brothers stand on opposing sides in conflict — a theme far removed from what might be said to symbolize the spirit of the samurai. Would a warrior truly choose to wear a tsuba inspired by such a tale? A cultivated samurai, even without the presence of snowflakes, encountering the pairing of plum, cherry, and pine, might instead have recalled the story of Sano Genzaemon Tsuneyo — who, moved by a gentle heart, burned his cherished potted trees to warm a traveling monk, whose sincerity of word and action was recognized, and whose lands were restored in acknowledgment of his loyalty to his lord.
Now, to Ganjōji — Where Sano Genzaemon Tsuneyo Rests
We set out to visit Ganjōji Temple in Hachinoki-chō, Sano city, Tochigi prefecture, where Sano Genzaemon Tsuneyo, the protagonist of the Hachinoki tale, is said to rest.
Blessed with fine weather, we were rewarded with a beautiful view of Mount Myōgi, its mystical silhouette rising in the distance.
Along the way, being the food lovers that we are, we stopped at the Yokokawa service area to enjoy Oginoya’s famous Tōge no Kamameshi. For more than sixty years, this beloved dish has been prepared in Mashiko ware earthenware pots, preserving its traditional flavor. “Oh yum!”
Passing through a road so narrow that we began to wonder whether a temple could truly lie ahead, we finally came upon Ganjōji. Following a modest sign that read, “Grave of Sano Genzaemon Tsuneyo,” we climbed the steps, where his grave stood in gentle stillness.
There, we felt close to Sano Genzaemon Tsuneyo, who may be regarded as embodying the very origins of bushidō.
Closing Thoughts
Tosogu encompass a wide variety of motifs. In sukashi tsuba especially, a samurai’s loyalty and aspirations are expressed without words. Within the Hachinoki motif resides a warrior’s devotion to his lord. One imagines that a lord, seeing such a tsuba mounted upon his retainer’s koshirae, would have been deeply moved by what it signified.
In our next article, we will explore the motif of “Miyako-dori”. Until then — stay tosogu & sword minded♡
References：
Kanki Tsuba Ehon.
Oginoya. “Tōge no Kamameshi.”https://www.oginoya.co.jp/bento/kamameshi/
Sano City Buddhist Association. Ganjōji Temple. http://www.sano-bukkyo.com/BN/ganjyou.html
The Noh.com. “Hachinoki.”https://www.the-noh.com/jp/plays/data/program_100.html
Kabuki Repertoire Database. “Sugawara Denju Tenarai Kagami.”https://enmokudb.kabuki.ne.jp/repertoire/736/
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