“The Spirit and Craft Woven into Mokume‑Gane”

Introduction: Sword Mountings as the “Face of the Samurai”

Once, for the samurai, the sword was not merely a weapon—it was a symbol of character and pride.
The fittings that wrapped, adorned, and displayed the sword—known as tōsōgu—were not simply utilitarian accessories. They were mirrors reflecting the owner’s aesthetic sensibilities, social status, and inner spirit.

Among the metal decoration techniques, mokume‑gane stands out for its exceptional craftsmanship and aesthetic esteem.

What exactly are tōsōgu? Why have they been treated as art, collected, and admired? And why is mokume‑gane called the “ultimate samurai beauty”?
In this paper, focusing on the tsuba (guard), kozuka (small utility knife handle), and koshirae (the external fittings of a mounted sword), we will elucidate the structure and transformation of tōsōgu and seek the essence of samurai aesthetic consciousness expressed through mokume‑gane.

Chapter One: What Are Tōsōgu?

  • Definition of Tōsōgu
    Tōsōgu refers to the metal fittings and all external adornments attached to a sword. Specific components include: Name Reading Role / Description 鍔 tsuba Guard protecting the hand, balancing the center of mass, decoration 小柄 kozuka The hilt part of a small blade inserted into the koshirae 笄 kōgai Originally for arranging hair; later decorative 柄頭・縁金具 kashira / fuchi‑kanagu Fixed metal fittings at ends of grip (tsuka) and edging; decorative 目貫 menuki Metal ornament embedded on the side of the handle 鐺 kojiri The metal fitting affixed to the sheath’s tip, for protection 拵 koshirae Collective term for all external fittings of a sword, including the above

These were not mere ornaments. They constituted a trinity of function, construction, and art.

Chapter Two: Historical Transitions of Tōsōgu

Tōsōgu evolved along with sword culture, changing form with each era. Especially after the Edo period, as the sword’s role shifted from practical weapon toward ceremonial or artistic object, tōsōgu became a stage for samurai expression and individuality.

  • Heian–Kamakura periods: Swords and fittings were tools first. Functionality came first. Tsuba were made of iron with simple designs; kozuka and kōgai were utilitarian.
  • Muromachi period: Decorative elements were introduced. Nobility and higher‑rank samurai began to prefer more ornamented tsuba; openwork (sukashi) and inlay (zōgan) appeared. The overall harmony of the koshirae ensemble gained importance.
  • Azuchi‑Momoyama to early Edo: As swords ceased to be used in wars, their role changed. The sword came to embody samurai spirit, and the koshirae (mountings) became expressions of aesthetic sensibility. Mokume‑gane appears in the 17th century, triggering a revolution in sword fittings.
  • Mid‑ to late‑Edo period: Expression techniques became more complex. Lacquer work, engraving, inlay, and mokume‑gane merged. Anonymous craftsmen gave way to well‑known masters, schools, and family lineages. As the blade became an object meant for display, fittings too became artworks meant to be seen.
  • Since Meiji: Although the Sword Abolishment Edict (1876) ended the practical role of swords, fittings survived. Tsuba and kozuka made with mokume‑gane were repurposed as tea utensils, belts, incense containers, jewelry. Especially such mokume‑gane fittings became prized works collected abroad.

Chapter Three: What Is Mokume‑Gane?

  • Core of the Technique
    Mokume‑gane involves layering different metals—copper, silver, shūdō, shibuichi, etc.—through multiple strata under pressure, then carving, shaving, or otherwise sculpting the block to reveal the internal layered pattern. Patterns evoke natural phenomena or landscapes—tree rings, ripple waves, spirals, clouds, rain—and they impart to the observer a sense of tranquility, depth, and permanence.
  • Mokume‑Gane and the Samurai Spirit
    For the samurai, the sword was “the soul of oneself.” Its fittings, while not flashy, needed dignity. Mokume‑gane’s qualities:
    • Subdued, serene tones
    • Layers built deeply
    • Uniqueness—no two patterns are ever the same
    reflect the samurai aesthetic ideals of wabi, sabi, and fu‑eki ryu‑kō (“immutability and change”). These are precisely what mokume‑gane expresses.

Chapter Four: Sword Mountings Crafted with Mokume‑Gane

  • Tsuba (Guard)
    One of the most important parts to a samurai. Mokume‑gane tsuba often look like paintings made from pattern combinations. Many combine engraving and inlay; they represent complete metal art.
  • Kozuka (Koshirae’s small knife handle)
    The handle for the small side blade in the scabbard. When made of mokume‑gane, the kozuka becomes craft perfection in one’s palm. Despite small size, the pattern’s complexity and the contrast of colors make it highly sought after by collectors.
  • Koshirae (Complete Mounting / Fittings Ensemble)
    The term for all external parts of the sword: the tsuba, kozuka, kōgai, kashira/fuchi, kojiri, etc. Mokume‑gane, even if applied to only some components, adds “refinement” and “loftiness” to the entire ensemble.

Chapter Five: Representative Designs and Schools of Mokume‑Gane Tōsōgu

  • Design Themes (Motifs and Symbolism) Motif Meaning / Symbolism Tree rings Eternity, life, growth Waves Flux, change, adaptability Clouds Infinity, serenity Spirals Creation and destruction, revival Stone texture (Ishime) Unity with nature
  • Edo Metal Art and Mokume‑Gane
    • Suzuki Jukichi (traditionally considered the founder of mokume‑gane)
    • Goto family school’s fusion decoration
    • Manabe school’s realistic motif work
    • Kaga metalworks with characteristic copper‑layered patterns

These artisans and schools adopted mokume‑gane and brought unique technical evolutions within the art of sword mountings.

Chapter Six: Contemporary Value of Mokume‑Gane Sword Fittings

  • As Art and Antique
    Tsuba and kozuka using mokume‑gane have high rarity even among Edo metal works. Many are held in museums both domestically and abroad; their art‑historical value is steadily rising.
  • Why Collectors Abroad Are Drawn
    High artistry of pattern; fusion of nature and technique; fascination with samurai culture; value of one‑of‑a‑kind items (patterns that cannot be reproduced).
  • As Investment Objects
    Some pieces trade for hundreds of thousands to millions of yen. Especially unnamed works with outstanding pattern work tend to appreciate with recognition of technical value.

Final Chapter: The Still Beauty Reflected in Mokume‑Gane

The sword is no longer wielded in our modern age.
Yet the aesthetic consciousness embedded in its fittings lives on quietly.

Mokume‑Gane is the crystallization of that beauty.

Not ostentatious, but serene
Not fleeting, but possessing enduring structure
Enclosing time and spirit in its patterns

Just as the samurai adorned their swords with pride, restraint, and discerning intellect, perhaps when we touch mokume‑gane fittings today, we meet the origins of Japanese aesthetic consciousness.

References

(As in original Japanese text):
Asahi Shimbun (Tokyo/Akita), Mainichi Shimbun, Jewelry Seasons Nos. 198 & 199, Art Manual Series: Metal Jewelry Craft Techniques, etc.; plus works by Ian Ferguson, Steve Midgett, etc.