Design of Bamboo Leaves and Snow

The presence of finely executed openwork (sukashi) in tsuba is already recorded in “Honpō Tōkenkō”, Kansei 7 (1795), which notes that such techniques existed as early as the time of the sixth shogun, Ashikaga Yoshimasa. When one thinks of Kyō sukashi, refined and courtly designs such as iris-and-yatsuhashi bridges, shōgun grass　(Sagittaria trifolia), or plum trees typically come to mind. The earliest examples, however, are characterized by features similar to Owari tsuba—largely symmetrical compositions, relatively thin in construction, and narrow and crescent-shaped hitsu-ana.
Such designs continued alongside more pictorial styles and gradually developed into works with a distinctly Kyoto aristocratic elegance. This tsuba represents a further development of the pictorial approach, with its delicate and highly intricate openwork as a particular highlight. Rather than the tsuchime finish seen in earlier works, it is executed in a polished surface (migaki-ji), yet retains a certain strength reminiscent of Owari tsuba.
Works of this type are sometimes referred to as “Daigorō,” though that term more properly applies to Kyō sukashi produced in the Bunka–Bunsei period (1804-1830) of the late Edo period. This example appears to be earlier, likely dating to the early Edo period, when improved transportation networks facilitated the wider circulation of regional styles and information.
The iron displays an excellent tone, and the piece is of relatively large size and well preserved. With its refined and inventive sukashi design, it is a highly enjoyable work worthy of being cherished.