Types of Japanese Sword Fittings: A Complete Guide to Tsuba, Menuki, Fuchi-Kashira and Koshirae

A Japanese sword is often admired first for its blade. However, the objects surrounding the blade—the guard, hilt ornaments, scabbard fittings and utility implements—represent another major field of Japanese craftsmanship.

These components are commonly called tōsōgu, or Japanese sword fittings.

Some fittings served practical purposes. They protected the hand, reinforced the hilt, secured the blade or protected the scabbard. Others provided samurai with a way to express personal taste, family identity, cultural knowledge and social status.

A complete sword mounting may combine ironwork, soft-metal carving, lacquer, woodwork, rayskin, textile braiding, horn and precious-metal inlay. For this reason, Japanese sword fittings are collected not only as parts of weapons but also as independent works of art.

This guide introduces the principal types of Japanese sword fittings, their functions and the points collectors should examine.

What Does Tōsōgu Mean?

Tōsōgu, written 刀装具, broadly means equipment or fittings used to mount and carry a Japanese sword.

In the collecting world, the term often refers particularly to decorative metal fittings such as:

• Tsuba

• Menuki

• Fuchi

• Kashira

• Kozuka

• Kōgai

• Mitokoromono sets

In a broader discussion of sword mountings, it may also include or be discussed together with:

• Habaki

• Seppa

• Kojiri

• Kurikata

• Koiguchi

• Other scabbard fittings

The complete external mounting is called a koshirae.

A koshirae includes the hilt, guard, scabbard and associated fittings arranged as a functional and visually unified ensemble.

Tōsōgu and Koshirae: What Is the Difference?

The terms are related but not identical.

Tōsōgu refers to the fittings themselves.

Koshirae refers to the complete mounted form of the sword.

For example, a single tsuba displayed in a box is a piece of tōsōgu. When that tsuba is combined with a wrapped hilt, matching fuchi-kashira, menuki and a lacquered scabbard, the complete arrangement is a koshirae.

A Japanese sword may also be stored in a plain wooden mounting called a shirasaya. Unlike a decorative koshirae, a shirasaya is primarily intended for storing and protecting the blade.

The Main Parts of a Japanese Sword Mounting

The principal elements of a katana-style mounting include:

• Tsuka – hilt

• Tsuba – sword guard

• Fuchi – collar at the front of the hilt

• Kashira – pommel at the end of the hilt

• Menuki – ornaments beneath the hilt wrapping

• Habaki – blade collar

• Seppa – spacer washers

• Saya – scabbard

• Koiguchi – mouth of the scabbard

• Kurikata – knob for attaching the sageo cord

• Kojiri – fitting at the end of the scabbard

Wakizashi and tantō mountings may also include spaces for a kozuka and kōgai.

Tsuba: The Japanese Sword Guard

The tsuba, written 鍔, is the guard positioned between the blade and the hilt.

It is one of the best-known and most widely collected forms of Japanese sword fitting.

The Practical Function of a Tsuba

The tsuba helps protect the hand and prevents it from sliding forward onto the blade. It also contributes to the sword’s balance and provides structural separation between the blade and hilt.

Although functional, tsuba also became important objects of artistic display. The British Museum describes them as handguards that could visibly communicate the owner’s taste and status.

Common Tsuba Shapes

Tsuba appear in many forms, including:

• Maru-gata – circular

• Mokko-gata – four-lobed, resembling a melon or quince

• Aoi-gata – hollyhock-shaped

• Nade-kaku-gata – rounded square

• Kaku-gata – square

• Tate-maru-gata – vertical oval

• Shitogi-gata – a form associated particularly with certain tachi mountings

The shape alone does not determine age or school, but it can provide useful evidence when considered with construction, metal and decorative technique.

Openwork Tsuba

A tsuba with pierced decoration is commonly called sukashi tsuba.

Two broad terms are frequently used:

• Ji-sukashi – much of the background metal is removed, leaving the design

• Ko-sukashi – smaller pierced openings form part of the design

Sukashi work may depict plants, family crests, tools, religious symbols, animals or abstract geometric forms.

Hitsū-Ana

Many tsuba have one or two openings beside the central hole.

These may include:

• Kozuka-hitsu-ana – opening for the handle of the utility knife

• Kōgai-hitsu-ana – opening for the kōgai

Some openings were added or altered later so that an older tsuba could be fitted to a different mounting.

Nakago-Ana

The central opening through which the sword tang passes is called the nakago-ana.

Its shape, filing and adjustment can provide evidence about how the tsuba was mounted and reused.

Small pieces of soft metal may be inserted to adjust the fit. These are commonly called sekigane.

Tsuba Materials

Common materials include:

• Iron

• Shakudō

• Shibuichi

• Copper

• Brass

• Sentoku

• Mixed soft-metal alloys

Some tsuba combine an iron body with gold, silver, copper or shakudō decoration.

Menuki: Ornaments Beneath the Hilt Wrapping

Menuki, written 目貫, are small ornamental fittings positioned on the sides of the sword hilt.

They are usually placed beneath the braided hilt wrapping, called tsuka-ito.

The Metropolitan Museum defines menuki as ornamental fittings attached to either side of the sword hilt.

Practical and Decorative Roles

Menuki are highly decorative, but their raised forms may also improve the user’s grip by filling the palm and fingers.

They normally appear as a pair, though the two pieces are not always identical. One may represent the front or active aspect of a subject, while the other provides a complementary view.

Common Menuki Designs

Subjects include:

• Dragons

• Tigers

• Horses

• Rabbits

• Birds

• Fish

• Insects

• Flowers

• Buddhist objects

• Samurai equipment

• Mythological figures

• Family crests

• Scenes from literature and folklore

Menuki are often small, but fine examples may display exceptionally detailed carving and inlay.

Menuki Position

The position of menuki varies according to mounting style and how the sword was intended to be worn or gripped.

Collectors should therefore avoid assuming that every historical mounting follows exactly the same placement.

Fuchi and Kashira: The Hilt Collar and Pommel

The fuchi and kashira are commonly treated as a matching pair called fuchi-kashira.

Fuchi

The fuchi, written 縁, is the metal collar located at the front of the hilt, next to the tsuba.

It reinforces the opening of the wooden hilt and helps hold the hilt structure together.

Kashira

The kashira, written 頭, is the fitting at the end of the hilt.

It functions as a pommel or end cap and helps secure and protect the rear of the tsuka.

Depending on the mounting, the hilt wrapping may pass through openings in the kashira.

Matching Decoration

Fuchi and kashira usually share a common theme.

For example:

• A dragon may continue across both pieces

• One fitting may depict a bird and the other a flowering tree

• A landscape may be divided between the pair

• Family crests may be repeated on both components

Because the fuchi provides a larger rectangular surface, it often carries the principal scene, while the smaller kashira contains a complementary detail.

Fuchi-Kashira and Menuki Sets

The fuchi-kashira and menuki may be designed as a unified set.

A complete matching set can be especially desirable because it reveals the artist’s full decorative concept.

However, many surviving koshirae were repaired or modified over time. It is therefore common to encounter a hilt in which the menuki and fuchi-kashira were made by different artists or during different periods.

This does not automatically make the mounting historically incorrect. Japanese swords were frequently remounted as ownership, fashion and practical needs changed.

Kozuka: The Handle of a Utility Knife

A kozuka, written 小柄, is the decorative metal handle of a small utility knife called a kogatana.

The kozuka slides into a pocket built into the side of certain sword scabbards, especially those of wakizashi and tantō.

Strictly speaking:

• Kozuka is the handle

• Kogatana is the small blade

The two terms are sometimes used interchangeably in casual descriptions, but they refer to different parts.

Purpose of the Kogatana

The small knife may have been used for ordinary cutting tasks rather than combat.

Possible uses included:

• Cutting cord

• Sharpening writing tools

• Preparing small materials

• General daily utility

The richly decorated kozuka transformed this practical tool into an object suitable for a formal sword mounting.

Kozuka Decoration

Kozuka provide a long, narrow surface that is ideal for pictorial compositions.

Common designs include:

• Animals and plants

• Historical figures

• Poetry-related imagery

• Warriors

• Landscapes

• Tools and household objects

• Religious themes

• Seasonal subjects

The reverse is often simpler than the front, although high-quality examples may also have carefully finished backs.

Kōgai: The Slender Utility Implement

The kōgai, written 笄, is a long, narrow implement stored in a pocket on the opposite side of the scabbard from the kozuka.

It is often described as a hairdressing tool, although its exact historical uses may have varied.

Potential functions traditionally associated with the kōgai include:

• Adjusting or arranging hair

• Personal grooming

• Manipulating knots

• Serving as a general-purpose implement

A kōgai generally has a broad decorated head and a long tapered body.

Wari-Kōgai

A wari-kōgai is divided lengthwise into two sections.

It may be compared to a pair of slender implements or chopstick-like tools, although its exact intended use should not be oversimplified.

Mitokoromono: A Matching Three-Part Set

A mitokoromono, written 三所物, is a coordinated set of three kinds of fittings:

• Kozuka

• Kōgai

• A pair of menuki

The Metropolitan Museum describes mitokoromono as matching sets composed of these three elements.

Mitokoromono were particularly prestigious because the artist had to adapt a single subject to fittings with very different shapes and functions.

For example, the same theme might appear as:

• A long narrative scene on the kozuka

• A narrow linear composition on the kōgai

• Small three-dimensional figures on the menuki

A complete signed set can be highly valued by collectors.

Habaki: The Blade Collar

The habaki, written 鎺, is a metal collar fitted around the base of the blade immediately above the tang.

It is one of the most important functional components of a Japanese sword mounting.

Function of the Habaki

The habaki:

• Supports the blade at the mouth of the scabbard

• Helps secure the blade inside the saya

• Provides a stable surface for the seppa and tsuba

• Reduces unwanted movement inside the mounting

The blade should be held in the scabbard principally by the fit of the habaki at the koiguchi, rather than by pressure against the blade itself.

Habaki Types

Habaki may be:

• One-piece, called hitoe habaki

• Two-piece, called niju habaki

Common surface treatments include:

• File marks

• Rain-like patterns

• Foil covering

• Gold or silver finish

• Decorative engraving

Many habaki are copper-based and may be covered with silver or gold foil.

A habaki is usually made or adjusted for one specific blade. A poor fit can damage the scabbard or fail to hold the sword securely.

Seppa: Spacer Washers

Seppa, written 切羽, are thin washers positioned on either side of the tsuba.

They help adjust and stabilize the fit among:

• Habaki

• Tsuba

• Fuchi

• Other mounting components

Seppa may appear simple, but correct thickness is important. When a sword is remounted, seppa may be replaced or adjusted to ensure that the assembly remains tight.

Decorative seppa may have patterned edges or precious-metal surfaces, particularly in formal or high-quality mountings.

Tsuka: The Sword Hilt

The tsuka, written 柄, is the complete hilt.

Its core is normally made from wood and shaped to fit the tang of a particular blade.

The hilt assembly may include:

• Wooden core

• Samegawa, or rayskin

• Tsuka-ito, or braided wrapping

• Menuki

• Fuchi

• Kashira

• Mekugi peg

Samegawa

Samegawa is ray or shark skin applied to the wooden hilt.

Its textured surface improves stability beneath the wrapping and strengthens the wooden core.

It may be applied as a full wrap or as panels fitted to each side.

Tsuka-Ito

Tsuka-ito is the cord used to wrap the hilt.

Materials may include:

• Silk

• Cotton

• Leather

• Other textiles

The wrapping method affects grip, appearance and the security of the menuki and rayskin.

Mekugi

The mekugi is a retaining peg, traditionally made from bamboo, passing through the hilt and tang.

Although small, it is critical to the safe assembly of the sword.

A collector should never assume that an old or damaged mekugi is safe for handling or use.

Saya: The Scabbard

The saya, written 鞘, is the scabbard.

It is usually constructed from carefully fitted wood and may be covered with lacquer.

Saya vary greatly in appearance, from plain black lacquer to elaborate surfaces decorated with:

• Maki-e

• Nashiji

• Mother-of-pearl

• Metal powder

• Carved textures

• Ribbed surfaces

• Imitation stone or woodgrain patterns

The scabbard is itself a major field of Japanese decorative art.

Koiguchi: The Mouth of the Scabbard

The koiguchi, written 鯉口, is the opening of the saya.

The term literally means “carp’s mouth.”

This area receives the habaki and is essential to the secure fit of the blade.

Because repeated drawing and sheathing cause wear, the koiguchi may be reinforced with horn or another durable material.

A damaged or loose koiguchi can allow the blade to slide unexpectedly from the scabbard.

Kurikata: The Sageo Knob

The kurikata, written 栗形, is a knob or fitting attached to the side of the saya.

The sageo, or scabbard cord, passes through it.

The sageo is used to secure or manage the sword when carried. It may also contribute strongly to the color and presentation of the complete koshirae.

Kurikata are often made from horn, lacquered wood or metal.

Small fittings called shitodome may be inserted into the cord openings as reinforcement and decoration.

Kojiri: The End Fitting of the Scabbard

The kojiri, written 鐺, is the fitting at the lower end of the saya.

It protects the end of the scabbard from impact and wear.

Kojiri may be:

• Metal

• Horn

• Lacquered wood

• Integrated into a larger decorative scabbard fitting

Some are plain and practical. Others carry elaborate carving or inlay matching the remaining fittings.

Other Saya Fittings

Depending on the mounting style, a scabbard may also have additional fittings.

Semegane

A semegane is a ring or band fitted around part of the scabbard.

It can provide reinforcement or decoration.

Kaerizuno

A kaerizuno is a hook-like fitting on certain scabbards.

It can help prevent the saya from slipping through the wearer’s belt when the sword is drawn.

Uragawara

An uragawara is a fitting associated with the suspension or cord arrangement of some mounting styles.

Ashi and Semegane on Tachi Mountings

A tachi was traditionally worn suspended with its cutting edge downward.

Its scabbard therefore uses suspension fittings known as ashi, along with related metal bands and fittings.

This structure differs significantly from the simpler belt-carried arrangement of a katana.

Katana Koshirae and Tachi Koshirae

Not all Japanese swords use the same type of mounting.

Katana-Style Mounting

A katana is generally worn thrust through the belt with the cutting edge facing upward.

Typical features include:

• Kurikata and sageo

• Relatively simple scabbard suspension

• Tsuba between the hilt and blade

• Fuchi-kashira and menuki on the tsuka

Tachi-Style Mounting

A tachi is traditionally suspended with the cutting edge facing downward.

Typical features may include:

• Suspension hangers

• Extensive scabbard metalwork

• Decorative metal bands

• Distinctive tachi-style tsuba

• Kabutogane rather than a katana-style kashira

• Formal metal fittings extending along the hilt and saya

Some later swords were mounted in revival tachi styles for ceremonial use.

The presence of a tachi-style koshirae does not by itself prove that every component is from the same early period.

Daishō Fittings

Daishō, written 大小, refers to the paired long and short swords associated particularly with the samurai of the Edo period.

A formal daishō mounting may have matching fittings on both swords.

These can include corresponding:

• Tsuba

• Menuki

• Fuchi-kashira

• Kozuka

• Kōgai

• Scabbard decoration

The Metropolitan Museum holds complete paired sets incorporating tsuba, kozuka, menuki, kashira and fuchi decorated according to a unified theme.

Matching fittings were important in formal Edo-period sword wear, though many surviving pairs have since been separated. The British Museum records that matching fittings could be required for formal use and that the designs of menuki often corresponded with kozuka and kōgai.

Common Materials Used in Japanese Sword Fittings

Japanese metalworkers developed a wide range of alloys and surface treatments.

Iron

Iron was commonly used for tsuba and some other fittings.

It may appear:

• Smooth

• Hammered

• Folded

• Pierced

• Carved

• Inlaid with soft metals

• Covered with a dark patina

The quality of the surface and patina is an important part of appreciation.

Old iron should not automatically be cleaned to a bright metallic finish.

Shakudō

Shakudō is a copper-based alloy traditionally treated to produce a deep blue-black or purplish-black surface.

It was frequently decorated with gold, silver and copper inlay.

The dark background creates a strong contrast with precious-metal details.

Shibuichi

Shibuichi is a copper-silver alloy.

Its name means “one-quarter,” traditionally referring to one possible silver proportion, although actual compositions vary.

After patination, it can produce subtle gray, brown or bluish tones.

Copper

Copper may be used in its natural reddish color or treated to create darker surfaces.

It is also a base metal in many traditional Japanese alloys.

Sentoku and Brass-Like Alloys

Yellow-toned copper alloys were used for certain fittings.

Terminology and exact composition can vary, so visual identification alone may not be sufficient.

Gold and Silver

Gold and silver were often used as:

• Inlay

• Overlay

• Foil

• Gilding

• Raised relief

• Small applied details

The presence of gold does not automatically indicate superior quality. The artistic design, technique, condition and maker are equally important.

Important Decorative Techniques

Takabori

Takabori is carving in high relief.

Figures, animals and plants may project strongly from the metal surface.

Katakiribori

Katakiribori uses angled engraved lines to create an effect similar to brush painting.

It is particularly effective for expressive figures and flowing designs.

Kebori

Kebori is fine-line engraving used for hair, feathers, textile patterns and other delicate details.

Zōgan

Zōgan means inlay.

Different metals are inserted into the base material to create contrasting colors and designs.

Nunome-Zōgan

In nunome-zōgan, the surface is crosshatched and thin gold or silver is pressed into it.

It is often compared to textile-like overlay.

Iroe

Iroe refers broadly to the use of differently colored metals to create a multicolored design.

Nanako

Nanako, meaning “fish roe,” is a surface composed of many tiny, regularly punched dots.

It is frequently found on shakudō fittings and provides a refined background for raised decoration.

Sukashi

Sukashi is pierced openwork, particularly associated with tsuba.

Common Subjects in Sword-Fitting Art

Japanese sword fittings can depict an enormous range of subjects.

Common themes include:

• Dragons and tigers

• Horses

• Rabbits

• Monkeys

• Birds and insects

• Flowers and grasses

• Waves and waterfalls

• Mountains and landscapes

• Buddhist and Shinto imagery

• Chinese sages and heroes

• Japanese warriors

• Noh and Kyōgen subjects

• Poetry and literature

• Agricultural tools

• Everyday objects

• Family crests

• Auspicious symbols

A design that initially appears decorative may contain references to poetry, seasonal customs or famous historical stories.

Understanding the subject can therefore greatly increase appreciation of the fitting.

Major Schools and Traditions

Japanese sword fittings were produced by many schools, families and independent artists.

Frequently encountered names include:

• Gotō

• Myōchin

• Umetada

• Higo

• Akasaka

• Kyō-sukashi

• Owari

• Nara

• Yokoya

• Hamano

• Mito

• Ishiguro

• Yanagawa

• Omori

These labels can refer to families, regional traditions, stylistic groups or later classifications.

Attribution should not be based on design alone. Metal, construction, carving technique, signature and comparison with authenticated examples must all be considered.

Signed and Unsigned Fittings

A signature on a sword fitting is called a mei.

It may include:

• Artist’s name

• Art name

• Residence

• Title

• School affiliation

• Additional inscription

However, as with Japanese sword blades, a signature does not automatically prove authorship.

False or added signatures exist. Some fittings were also produced by workshop assistants under a master’s name or style.

Many excellent fittings are unsigned.

Collectors should evaluate the workmanship before relying on a signature.

Matching and Composite Koshirae

A complete koshirae may contain fittings made at different times.

This can happen because:

• The sword was remounted

• A fitting was damaged or lost

• Ownership changed

• Fashion changed

• The blade was adapted for ceremonial use

• An older fitting was reused

• A dealer or collector later assembled a complete mounting

A composite koshirae is not necessarily undesirable.

However, it should not be described as a completely original matching set without sufficient evidence.

How to Examine Antique Sword Fittings

Check the Overall Workmanship

Look at:

• Quality of carving

• Precision of inlay

• Naturalness of the design

• Finish of the reverse

• Treatment of edges

• Consistency of the patina

High-quality artists generally paid attention even to areas that were less visible when mounted.

Examine the Patina

Traditional patina is an important part of the finished work.

Avoid polishing old fittings with metal cleaner. This can remove the intended surface and permanently reduce historical and artistic value.

Look for Missing Inlay

Gold and silver details may become detached over time.

Examine areas that appear:

• Empty

• Rough

• Differently colored

• Unnaturally recessed

Check for Later Modification

Evidence may include:

• Enlarged nakago-ana

• Added hitsū-ana

• Fresh filing

• New sekigane

• Repaired cracks

• Solder

• Replaced backs or attachments

Modification does not automatically destroy value, but it should be recognized.

Compare the Components

On a supposed matching set, compare:

• Metal color

• Patina

• Subject

• Carving technique

• Edge treatment

• Signature style

• Degree of wear

Similar subjects alone do not prove that pieces were originally made as a set.

Condition Issues Commonly Found on Tōsōgu

Antique sword fittings may show:

• Surface wear

• Rust

• Scratches

• Loss of gold or silver

• Dents

• Cracks

• Bent edges

• Damaged attachment posts

• Old repairs

• Active corrosion

• Artificial cleaning

• Modern repainting or re-patination

The importance of each issue depends on rarity, maker, material and severity.

A famous fitting with honest wear may still be highly desirable, while aggressive modern polishing can seriously reduce value.

Should Antique Sword Fittings Be Restored?

Restoration should be approached cautiously.

Improper treatment can:

• Remove original patina

• Erase fine carving

• Damage inlay

• Create false surfaces

• Reduce historical evidence

• Lower collector value

Loose dirt may sometimes be removed carefully, but metal polish, abrasive tools and chemical rust removers should generally be avoided.

Important pieces should be examined by a specialist familiar with Japanese metalwork.

How to Store Sword Fittings

Individual fittings should be kept:

• Dry

• Away from rapid temperature changes

• Protected from direct handling

• Separate from abrasive materials

• Free from chemical fumes

• Away from excessive oil

Traditional fitted wooden boxes, called tomobako or purpose-made tōsōgu boxes, can provide protection.

Cotton, tissue or foam should not press against fragile inlay or raised decoration.

When handling fittings, clean dry hands or suitable gloves may be appropriate depending on the material. Iron pieces should be protected from moisture and salts from the skin.

Are All Sword Fittings Functional?

Not necessarily.

Many fittings were made for actual mountings. Others may have been produced as:

• Presentation objects

• Collector’s pieces

• Replacement fittings

• Workshop samples

• Export art

• Meiji-period decorative works

During the peaceful Edo period, fittings became increasingly sophisticated as independent works of art.

After the end of the samurai class, metalworkers adapted their skills to produce decorative objects for both Japanese and international markets.

Edo-Period and Meiji-Period Sword Fittings

Many of the finest surviving fittings date from the Edo period.

During this long period of relative peace, fittings could serve as subtle expressions of:

• Rank

• Education

• Seasonal awareness

• Literary knowledge

• Family identity

• Personal taste

Following the Meiji Restoration, restrictions on sword wearing reduced traditional demand.

Some artists shifted toward:

• Decorative panels

• Vases

• Boxes

• Export metalwork

• Ornamental fittings

• Works created directly for collectors

Therefore, a Meiji-period fitting may use traditional techniques while never having been mounted on a sword.

Common Misunderstandings

“Tōsōgu Means Only Tsuba”

Tsuba are the best-known fittings, but tōsōgu includes many other metal components.

“The Kozuka Is the Small Knife Blade”

Strictly speaking, the kozuka is the decorated handle. The blade is the kogatana.

“Every Kōgai Was Used Only as a Hairpin”

The kōgai is often described as a grooming tool, but its precise functions should not be reduced to a single modern explanation.

“A Signed Fitting Is Automatically Genuine”

Signatures can be false, added or copied.

“Gold Decoration Means High Quality”

Gold may increase visual appeal, but quality depends on design, execution, condition, school and authorship.

“All Fittings on a Koshirae Were Made Together”

Many historic mountings contain replaced or reused parts.

“Rust Proves Great Age”

Rust can develop quickly. Construction, patina and workmanship are more useful than corrosion alone.

Which Sword Fittings Are Best for New Collectors?

Tsuba

Tsuba are often the easiest starting point because:

• They are durable

• Their designs are easy to view

• Many schools and price levels are available

• They can be displayed independently

• Reference material is widely available

Fuchi-Kashira

These are suitable for collectors who enjoy compact pictorial metalwork.

Matching pairs can show how an artist distributes a theme across two different surfaces.

Menuki

Menuki are ideal for those interested in miniature sculpture and colored-metal work.

Because they are small, careful inspection is important.

Kozuka

Kozuka appeal to collectors who enjoy narrative scenes and long horizontal compositions.

Complete Sets

Mitokoromono and full matching koshirae fittings can be especially rewarding but normally require greater knowledge and a larger budget.

Final Thoughts

Japanese sword fittings combine function, symbolism and refined craftsmanship.

The tsuba protects the hand and provides a major surface for artistic expression.

The menuki decorate and help shape the grip.

The fuchi and kashira reinforce the hilt while presenting a coordinated design.

The kozuka and kōgai transform practical accessories into miniature artworks.

The habaki, seppa and scabbard fittings ensure that the blade and mounting function together as a complete system.

For collectors, each fitting can be studied independently. However, these objects are best understood as parts of a larger relationship among the blade, hilt, scabbard and the person who carried the sword.

A complete koshirae is not merely a collection of decorations. It is an integrated work created from metal, wood, lacquer, rayskin and textile.

At Katte-ya, we carefully examine and describe the materials, signatures, condition and visible characteristics of Japanese sword fittings. When a fitting shows evidence of restoration, missing inlay or later modification, we aim to present those details as clearly as possible.

Explore our collection of Japanese tsuba, menuki, fuchi-kashira and other antique sword fittings, and discover the craftsmanship that transformed the samurai sword into a complete work of art.

This article is intended as a general introduction. Terminology, attribution and dating can vary among specialists, museums and individual objects. Important or high-value fittings should be examined directly by an experienced specialist.

Explore our Japanese Sword Collection → https://katte-ya.jp/collections/japanese-sword