The early examples of Owari sukashi tsuba were made around the same period as the Heianjō tsuba (early Kyō sukashi tsuba), which emerged in the mid-Muromachi period. Most were circular in shape, with the rare occurrence of Mokko-gata (quatrefoil shape). All existing Owari tsuba are said to be unsigned.

While it was customary to use in-sukashi (negative openwork) on plate tsuba, as seen in Tosho tsuba and Kacchu-shi tsuba, Heianjō and Owari tsuba employed the technique of yō-sukashi (positive openwork), where patterns were retained, creating large open spaces and introducing a fresh, innovative style that greatly deviated from traditional designs. This marked the beginning of what is known as genuine sukashi tsuba. The production area of the ancient Owari tsuba was likely around Kiyosu, with early makers such as Yamakichi 山吉, Nobuie 信家, and Hōan 法安 leading the way.

By the Kanbun era of the early Edo period, skilled artisans such as Fukui Tsuguzaemon 福井次左衛門, Toda Hikozayemon 戸田彦左衛門, and Sakura Yamakichi 桜山吉 emerged and rode the trends of the time. However, following the peak era of the Yagyu tsuba 柳生鍔, the production of Owari sukashi tsuba gradually declined.

Early Owari tsuba featured angular Mimi (rim) with small contoured ridge, while later examples had thicker, rounded rims that tended to be heavier. The design of Owari tsuba's openwork was distinctive, often incorporating one or two main motifs arranged symmetrically or in a manner unique to the craftsman. The thick, connected yō-sukashi motifs had a solid, robust, and rustic feel that appealed to the tastes of the warrior class in Mikawa and Owari. The valleys of the openwork sections were straight, the hammering marks on the surface were flat with no carving, and the broad, rounded rectangular seppa-dai was often slightly lower in the center. The forging of the base iron was of remarkably high quality, and the iron patina, with its purple rust, was especially esteemed and referred to as "Owari jitetetsu."

Many tsuba with angular Mimi and small ridges revealed iron bones (structural lines) on the rim, featuring simple yet bold designs that exuded a sense of weight and created an aesthetic space admired by sword guard collectors. This characteristic sense of heft captivated enthusiasts with its unique beauty.

early Edo period