The Craft of the Tsukamakishi (Handle Wrapper): Materials, Wrapping Techniques, and Modern Transmission of the Handle-Binding Art

The Tsukamakishi (Handle-Wrapping Craftsman) — The Final Finishing of Japanese Sword Fittings

The koshirae (fittings) of a Japanese sword represent the accumulated skills of diverse craftspeople. There is the swordsmith who forges the blade, the sayashi (scabbard maker) who creates the scabbard, the kinkoushi (metal craftsman) who makes the tsuba, menuki, kogai, kanzashi, and other metal fittings, the nurishi (lacquer painter) who applies lacquer — and the tsukamakishi (handle-wrapping craftsman) who winds cord around the tsuka (handle).

The work of a tsukamakishi may appear simple on the surface, but it actually requires highly specialized expertise. The manner of wrapping the tsukaire (handle cord) alone can significantly affect the grip feel, slip resistance, and durability of the sword, and if the wrapping does not follow the prescribed formality and period style, the overall unity of the sword fittings is compromised. As the craftsman who finishes the part that directly touches the warrior's hand, the tsukamakishi was responsible for the final stage of sword-fitting production.

During the Edo period, numerous tsukamakishi existed in the sword-producing centers of Edo, Osaka, and Kyoto. When samurai needed to modify or repair their swords, or when commissioning new fittings for ceremonial occasions, tsukamakishi were called upon to complete the work according to the master's specified formality, materials, and wrapping style. In modern times, the techniques of the tsukamakishi are carried on in the contexts of sword restoration, reproduction, and martial arts equipment manufacturing, and their technical preservation is valued from the perspective of cultural property protection.

Handle-Cord Materials — The Characteristics and Uses of Silk, Cotton, and Deer Leather

The materials used for tsukaire (handle cord) in handle wrapping vary according to use, formality, and period. The three main materials are silk (kinu), cotton (momen), and deer leather (kawa).

• Silk (kinu) cord: The most formal material, used for the ceremonial swords of daimyo and shogunal families. It has a lustrous sheen and allows vibrant dyeing. However, because silk is weak to friction and lacks durability, it is better suited to ceremonial and display fittings than to practical combat swords used daily. Flat-woven silk ribbon, called hiraumichi, is often used, offering a rich palette of color choices and allowing designs that reflect the owner's social status and preferences.
• Cotton (momen) cord: More practical and durable than silk, it was widely used in everyday sword fittings for samurai and the swords of foot soldiers and lower-ranking warriors. While dyeing is possible, it lacks the vibrancy of silk and is formally ranked below it. In modern times, cotton cord is widely used for handle wrapping on wooden training swords and replica swords used in martial arts, and its adoption continues to grow due to its availability and ease of handling.
• Deer leather (kawa): There is a technique called kawagattsumi (leather wrapping), in which deer leather is cut into strips and wrapped around the handle. Leather absorbs perspiration and resists slipping, providing high grip stability. It is said that warriors who anticipated actual combat favored this material. The handle leather on modern kendo bamboo swords is descended from this deer leather wrapping technique, emphasizing practicality, and continues to be valued today as a material that withstands intense training.

Types of Wrapping Methods — Classification by Formality and Use

There are multiple styles of wrapping handle cord, each with its own formality, significance, and appropriate use.

• Hishimaki (diamond wrapping): The most common wrapping method, in which cord is crossed in a diamond pattern while being wrapped around the handle. When viewed from above, diamond-shaped patterns appear in succession. The majority of warrior swords in the Edo period used this style, ranking formally as namikaku (standard formality). Hishimaki achieved a good balance between practicality and appearance, becoming established as a versatile wrapping method. The impression changes depending on how the spacing of the diamonds is set, allowing the craftsman's individuality to shine through.
• Moroyori (twisted wrapping): A method in which two cords are twisted together while being wrapped, creating finer patterns than hishimaki. It is often used in high-formality fittings, and when combined with quality silk cord, produces a refined finish. Managing the tension of the cord is difficult, making this a technique that requires expertise.
• Chidorimaki (thousand birds wrapping): A wrapping method that creates a pattern resembling the flight of birds in formation, one of the variations of hishimaki. It is often combined with positioning that emphasizes the menuki (handle ornament), resulting in high decorative value. It was particularly favored for ceremonial and display swords.
• Waribishi (split diamond wrapping): A wrapping method that creates a modified diamond pattern with vertical or horizontal lines through the center of the diamonds. This special form is seen in the equipment of certain martial schools, and examples remain of its adoption in fittings that symbolized the authority of masters and school heads.

Fixing the Menuki — The Most Critical Step in Handle Wrapping

Among the work of a tsukamakishi, the most precise judgment required is in fixing the menuki (handle ornament). The menuki is a decorative metal fitting positioned on the front and back of the handle and simultaneously serves the practical function of stabilizing the position of the fingers when gripping.

The positioning of the menuki is designed so that the front menuki is positioned near where the thumb and index finger meet, with the rear menuki positioned symmetrically on the back of the handle. Because this positioning affects grip stability, detailed positional specifications were established by swordsmiths and martial arts schools. Some schools established strict rules regarding the orientation of the menuki (whether the head faces up or down).

The tsukamakishi first properly fixes the menuki to the tsukagi (handle wood), then wraps the tsukaire around it. The skill lies in adjusting the tightness and threading of the cord so that the menuki rises appropriately from beneath the cord, allowing its "face" to show. If the menuki becomes too buried, its decorative effect is lost; conversely, if it rises too much, the grip becomes uncomfortable. The subtle adjustment according to the material and depth of the carved metal ornament is where the tsukamakishi's skill truly shows.

Tightening and Durability — The Final "Shibori" Decided by the Craftsman

The final finishing of handle wrapping is called shibori (tightening). This is the process of uniformly tightening the wrapped tsukaire and fixing it without looseness. The amount of force applied in this shibori determines both the durability and grip feel of the wrapped handle.

If the shibori is too loose, the tsukaire will come unraveled over time, and in the worst case, the handle could come loose entirely during martial arts training or iaido. Conversely, if tightened too much, the handle wood may warp or the cord may break easily. Additionally, different martial arts disciplines — kendo, iaido, and battojutsu among them — require different degrees of tightness, and determining the appropriate degree of tightening according to the intended use becomes the craftsman's matter of experience. The more experienced a tsukamakishi is, the more they listen to the client's intended use and martial arts style before applying the optimal shibori.

As a post-tightening treatment, some traditional handle wrappings employ norizuke (starch adhesion) — applying diluted rice paste or lacquer to penetrate and fix the cord. This treatment increases durability, but once set, disassembly becomes difficult, so adhesion is often omitted if future repair is anticipated.

The Modern Tsukamakishi — The Challenge of Succession and Demand from Martial Arts

The modern tsukamakishi works in two contexts: the restoration and reproduction of sword fittings and the manufacture of martial arts equipment.

In the context of sword restoration, the technique of the tsukamakishi is essential when museums and other institutions repair the fittings of famous swords in their collections. Faithfully recreating Edo-period handle wrapping with modern materials and techniques requires detailed knowledge of the period's styles, materials, and processes. Tsukamakishi capable of undertaking such sophisticated restoration work remain rare today, and cultivating successors is an urgent issue from the perspective of cultural property protection.

In the context of martial arts equipment, craftsmen who perform handle wrapping for enthusiasts of iaido, kendo, and battojutsu exist in various regions. Since martial arts handle wrapping prioritizes durability and function over aesthetic formality, practical approaches using modern materials (synthetic fibers and artificial leather) are also undertaken. Orders from high-ranking practitioners and instructors sometimes call for "handle wrapping that becomes the school's trademark," requiring craftsmen to balance function with formality.

For the transmission of traditional tsukamaki techniques, training with actual swords is indispensable, and contemporary legal restrictions (the Firearm and Sword Law) and the difficulty in obtaining swords present structural barriers to cultivating successors. There are instances where, through Japan's Intangible Cultural Property system, tsukamakishi receive official recognition, enabling the formal succession and support of their techniques. As interest in sword culture continues to grow both domestically and internationally, the significance and relevance of the tsukamakishi craftsman is receiving renewed attention.