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

Tsukamakishi: The Craftspeople Who Complete the Final Finishing of Sword Fittings

The koshirae (sword fittings) of Japanese swords are an accumulation of diverse craftspeople's skills. The sword smith forges the blade, the saya maker crafts the scabbard, the kinkoushi (metalworking craftspeople) create fittings like the tsuba, menuki, kozuka, and kogai, and the lacquer painter applies the finish—and then the tsukamakishi wraps cord around the tsuka (handle).

Though the work of tsukamakishi may seem unassuming at first glance, it actually requires highly specialized technical skill. Depending on how the tsuka-ito (handle cord) is wrapped, the sword's grip feel, grip security, and durability change significantly. Moreover, if the wrapping method does not follow proper etiquette and period style, the overall coherence of the sword fittings is lost. As a craftsperson finishing the part that directly touches a samurai's hand, the tsukamakishi held the final stage of sword fitting production.

During the Edo period, numerous tsukamakishi existed in sword-making centers in Edo, Osaka, and Kyoto. When samurai modified or repaired their swords, or had new ones made in preparation for ceremonial occasions, tsukamakishi were called upon and would finish them according to the lord's specified etiquette, materials, and wrapping method. Today, in the context of sword restoration, reconstruction, and martial arts equipment manufacturing, tsukamakishi techniques are being passed down.

Handle Cord Materials: Characteristics and Uses of Silk, Cotton, and Deer Leather

The materials used for tsuka-ito (handle cord) in handle wrapping vary depending on use, etiquette, and period. The main materials are three types: silk (kinu), cotton (momen), and deer leather (kawa).

Silk (kinu) cord: The highest-grade material, used for the formal dress swords of daimyo and the shogun's household. It has luster, and the vividness of dyes shows well. However, silk is weak against friction and has low durability, making it better suited for ceremonial and display fittings rather than battle swords used daily. Flat-woven silk cord, called "hiragachi," is often used.

Cotton (momen) cord: More practical and more durable than silk, it was widely used for samurai's everyday fittings and for the swords of ashigaru and lower-ranking samurai. Dyeing is possible, but cotton is not as vivid as silk, and ranks lower in terms of etiquette. Today, cotton cord is widely used for the handle wrapping of wooden swords and practice swords used in martial arts.

Deer Leather (kawa): Called "kawatsutsumi" (leather wrapping), there is a technique of cutting deer hide into narrow strips and wrapping them around the handle. Leather absorbs sweat and resists slipping, providing high grip stability. It is said to have been favored by samurai who anticipated combat use. The handle leather of modern kendo bamboo swords follows this lineage of deer leather wrapping with an emphasis on practical function.

Types of Wrapping Methods: Classification by Etiquette and Use

There are multiple styles of tsuka-ito wrapping, each with its own etiquette, meaning, and appropriate use.

Diamond wrapping (hishimaki): The most common wrapping method, a technique where the cord crosses in diamond shapes as it wraps the handle. When viewed from above the handle, diamond-shaped patterns appear in a row. The majority of samurai swords during the Edo period used this style, which corresponds to the etiquette rank of "namikaku" (standard rank). Diamond wrapping has a good balance of practicality and appearance, and became established as a versatile wrapping method.

Twisted cord (moroyori): A method of wrapping by twisting two cords together, creating finer patterns than diamond wrapping. It is often used on high-grade fittings, and when combined with fine silk cord, results in a refined finish.

Plover wrapping (chidorimaki): A wrapping method that creates a pattern resembling the flight of plovers, a variation of diamond wrapping. It is often combined with a layout that emphasizes the menuki (handle ornament) and has high decorative value.

Split diamond wrapping (waribishimaki): A wrapping method that creates a modified diamond pattern with vertical or horizontal lines through the center of the diamond, a special style seen in the weapons of certain schools.

Menuki Placement: The Most Critical Step in Handle Wrapping

The work of tsukamakishi requiring the most precise judgment is fixing the menuki (handle ornament). Menuki are decorative metal fittings placed on the front and back of the handle and simultaneously serve the practical function of stabilizing finger position when gripped.

The placement of menuki is designed so that the "front menuki" is positioned near the space between the thumb and index finger, and the "rear menuki" is positioned symmetrically on the back of the handle. Since this placement affects grip stability, specific positioning standards existed among sword smiths and martial arts schools.

The tsukamakishi first securely fixes the menuki to the tsukagi (handle wood), then wraps the tsuka-ito around the menuki. Ensuring that the menuki shows its "face," protruding appropriately from beneath the cord, and adjusting the cord tension and threading is the mark of mastery. If the menuki is buried too much, its decorative effect is lost, and if it protrudes too much, the grip feel becomes poor.

Tightening and Durability: The Final "Shimei" That the Craftsperson Controls

The final finishing of handle wrapping is called "shimei" (tightening). The wrapped cord is tightened uniformly in a process to fix it without any slack. The amount of force used in this tightening determines the durability and grip feel of the handle wrapping.

If the tightening is loose, the cord will gradually loosen over time, and in the worst case, during martial arts training or iaido practice, there is a risk of the entire handle coming loose. Conversely, if tightened too much, the handle wood may warp and the cord becomes prone to breaking. Furthermore, depending on the type of martial art—kendo, iaido, battojutsu, etc.—the required firmness of the wrapping differs, and judgment about the proper tightness according to the purpose of use becomes the craftsperson's experience-based knowledge.

As a post-tightening treatment, some traditional handle wrappings use "noriduke" (adhesive treatment), where rice paste or thinned lacquer is applied to the cord to secure it. This treatment increases durability, but once it hardens, disassembly becomes difficult, so when repairs are anticipated, adhesive treatment is often omitted.

Modern Tsukamakishi: Challenges in Transmission and Martial Arts Demand

Modern tsukamakishi work in two contexts: sword fitting restoration and reconstruction, and martial arts equipment manufacturing.

In the context of sword restoration, when repairing the fittings of famous swords held in museums and galleries, the skills of tsukamakishi are indispensable. To faithfully recreate Edo-period handle wrapping with modern materials and techniques, detailed knowledge of the styles, materials, and processes of that era is required. Tsukamakishi capable of such advanced restoration are still rare today, and cultivating successors has become an issue from a cultural property protection perspective.

In the context of martial arts equipment, craftspeople who wrap handles for iaido, kendo, and battojutsu enthusiasts exist in various locations. Martial arts handle wrapping prioritizes durability and function over aesthetic etiquette, and practical solutions using modern materials (synthetic fibers and artificial leather) are also employed.

For the transmission of traditional handle wrapping techniques, actual practice using real swords is essential, and modern legal restrictions (the Sword and Firearms Control Law) and the difficulty of obtaining swords are structural barriers to cultivating successors. In Japan's intangible cultural property system, there are cases where craftspeople receive recognition, resulting in official transmission and support of the technique.