Originally, this article was published as:
Buck, Thomas (1993). Tsuka-maki, The Art of Japanese Sword
Restoration. Colorado Token Kai Quarterly, v1, n1, pp. 3-8.
And, originally posted on the web at: pages.prodigy.net/tlbuck/tuska/tsuka.htm
MATERIALS
The Art of Tsukamaki
Aside from the tsuka itself, the basic materials in
written and illustrated by Thomas L. Buck, Ph.D. tsukamaki are the ito, paper and glue.
Ever since seeing my first Japanese sword, I have been The glue can either be purchased (such as Elmer’s) or
captivated by the elegance and complexity of produced by boiling rice, working it into a past while
TSUKA-MAKI (the art of wrapping the tsuka). still warm, and adding a small amount of water.
Although I will share with you a few of the tools,
materials and techniques needed for tsuka-maki, I have The paper can be of nearly anyweight, but ideally it
learned, through the guidence of Takahashi-sensi, that should be relatively close to newsprint in weight and
patience, persistence and excellence are the true consistency.
requirements for the application of this art.
During the wrapping, be sure to moisten the paper
COMMON TERMS wedges before inserting them under the braid, this will
allow the wedges to conform more readily to both the
In order to make this more understandable for both the tsukaito and the same.
novice, as well as the experienced wrapper, I shall start
by defining a few of the common terms used in Although the ito is available in a wide range of colors,
tsuka-maki. it is only manufactured using two different types of
fibers (natural and synthetic). When trying to identify
FUCHI/KASHIRA pommel caps an unknown ito, a burn test is often helpful. The
following chart gives tests for the principle natural
HA cutting edge side
fibers, and a few synthetics.
HISHIGAMI paper wedges
ITO cloth braid FIBER FLAME ODOR RESIDUE
MAKI to wrap Luminous, Burning
Cotton Fine, gray
rapid paper
MENUKI hilt ornaments
Slow Burning Brittle
MEKUGI peg that secures hilt Silk
oran/yellow hair bead
MEKUGI ANA holes in the hilt
Wool, Burning Brittle
MUNE the side opposite cutting edge Slow, blue
hair feathers bead
NAKAGO tang of sword Sparks, Burnt
Rayon Black ash
OMOTE the side that faces out orange paper
TSUKA hilt or sword handle Rapid,
Acetate Vinegarish Hard bead
TSUKAITO cloth braid covering tsuka sparks
SAME shark or ray skin
(page 1)
URA the side that faces in Melts, no Like
Nylon Hard bead
flame celery
TOOLS
SUGGESTED ITO LENGTHS
For holding the tsuka: a stand that will hold the tsuka
firmly in place for both wrapping and tightening, and Although I have encounter several different ways to
will allow work to be done easily on both the omote and derive the required length of ito, ranging from special
ura side. formulas and ratios, to wrapping the tsuka from end to
end and half way back, I tend to follow the simple
For inserting the paper wedges, and adjusting the ito: guidelines given me by Takahashi-sensi.
tweezers, a pick (any small pointed tool), and any small
hand held tool with a blunt wedge shaped tip. You can TANTO (4" tsuka) 6 feet of ito
most likely find all of these in used dental tools.
WAKIZASHI (6" tsuka) 8 feet of ito
For holding the ito in place: a clamp that can be worked KATANA (10" tsuka) 12 feet of ito
around freely, will not allow the ito to shift, and goes on
and comes off readily. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
PREPARING THE TSUKA HISHI-GAMI (THE PAPER WEDGES)
In preparing the tsuka, start by stretching a sample of
the desired ito tight and measuring its width (1W).
To give the maki a proper shape, the tsukaito is folded
over various styles of hishi-gami, or small paper
wedges. Here are a few of the many different styles
used.
Using a small amount of rice paste glue, place thin
paper strips along both the ha and mune sides of the
tsuka. By Layering the paper you will decide the
finished shape of the tsuka, and also gaurd the ito from
snaring on the surface of the same. Continue layering
the paper until the fuchi/kashira will be flush with the
edges of the tsuka (after the ito is in place).
(page 2)
In making the wedges, begin by folding a sheet of
newsprint, or standard weight paper 5-11 times. Cut
off excess paper, then cut the folded paper into two
width (2W) segments. Use these to make any of the
wedge styles previously illustrated in this article.
Measure and mark the ha and mune sides in tsukaito
width segments (1W). The distance between the fuchi
and kashira should measure an odd number of width
units along both the ha and mune. If not, either the
tsuka may have to be altered, or a different weight ito
may have to be selected in order to fit within an odd
number of spaces.
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ One alternative to the previously mentioned
hishi-gami, is made from a piece of paper (1" X 1/2")
folded as shown above.
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
placed after the third set of folds from the fuchi on the
omote side and three sets of folds from the knot on the
ura side. In reference to wakizashi and tanto, the
menuki are commonly place after the second or third
set of folds. In any event, the positioning of the may
vary because of the tsuka size, menuki size, ito width,
or placement of the mekugi-ana.
Another, fatter alternative wedge, can be made from a
piece of paper (7 1/2" X 1 3/4W) folded as shown
above.
THE WRAPPING OF THE HANDLE
To begin with, it should be stated that both Japanese
tradition, and personal observation, suggest that
tsukamaki should be started and completed on the
omote, or the side of the tsuka that faces outward when
being worn. This is almost always true regarless of the
style of wrap.
Measure half the length of the tsukaito.
Place the first two paper wedges on the ura (side
(page 3)
opposite the omote), and align them with the
marks on the paper strips.
Make the first two tsukaito folds overlap the
paper wedges.
Bring the other half of the braid around and make
the next two folds.
Repeat with other length of ito.
Continue this procedure on the other side,
alternating the direction of the folds.
During the wrapping, tightness should be a primary
concern. Each fold should be drawn or stretched so that
there is no slackness or looseness.
Throughout the process, continually monitor and adjust
the symmetry of the folds and open areas, and try to
maintain a smooth surface appearance along the ha and
mune edges of the tuska. Ultimately, a quality
tsukamaki maintains a consistent tightness and
(Ito Maki no Katana)
exactness.
TYING THE URA SIDE KNOT
PLACING THE MENUKI
In both the ito maki no katana, as well as the ito maki
no tachi, the menuki are usually
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
(Tying the Ura Knot)
At the end of the tsuka, on the ura side, pass the end
of the tsukaito, coming from the mune, over and then
under the proceeding fold. Then, pass the end from
the ura over the other end, and under the previous
fold, making a loop. Bring it back again under the
fold. Thread both ends through the shitadome (if
present) and the kashira side-by-side.
TYING THE OMOTE SIDE KNOT
To start the omote knot, pass the bottom end of the
tsukaito under the top set of folds, pull the braid over
the fold, cut off,
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
(Tying the Omote Knot)
apply rice paste glue, and tuck under. Take the top end
of the tsukaito under the top set of flold, repeating the
first part of the previous step. Then, make a loop by
bringing it back again under thefolds. At this point,
insert a small wad of paper and fold the tsukaito over
and tighten. Bring the top length around to the left and
down again cut off, apply and paste glue and tuck
under.
ALTERNATIVE KNOTS
(MAKIKAKE NO KASHIRA)
ALTERNATIVE TSUKAMAKI STYLES
Of the more than forty styles of tsuka-maki that I am
familiar with, here are five of the most common.
(page 4)
(COMMON GUNTO KNOT) (Tsumami maki)
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
(Tachi Tsukagashira Kake maki )
(Katate maki)
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
(page 5)
(Two Variations of Kami Hira Maki zuka)
(Hoso Jabaraito Kumiage zuka)
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
VARIOUS SAGEO KNOTS
(Sageo Knots)
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
(Kami Hira Maki zuka)
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
