NihontoWatchNihontoWatchThis Kozuka is made from the Shakudou (赤銅). It has often been used for sword mountings due to its material properties. And it gives an elegant black color for the works as you see in this Kozuka. The surface of this Kozuka is decorated with the Nanako-Ji (魚子地) technique. It is made by hitting the Nanako-Ji Tagane (魚子地鏨, chisel used for this technique). As you see in this work, it makes delicate fish egg-shaped protrusions on the surface. The theme of this Kozuka’s design is the Shatou Sakura Zu (社頭桜図). Shatou (社頭) means in front of the main building of a Shinto shrine. And Sakura (桜) is the representative flower in Japan: the cherry blossom. This Kozuka depicts the scenery at the Shatou. There is a Torii (鳥居, a gateway at the entrance to a shrine), and cherry blossoms are growing around it. Golden and silvery colorings make this Kozuka looks gorgeous. Details such as each petal are carefully engraved, and it shows its maker’s excellent skill. This Kozuka is recognized by The Society for the Preservation of Japanese Art Swords, which is known as NBTHK. According to the certificate, this Kozuka’s maker was judged Ichijo (一乗). Speaking of Ichijo, there was a famous metalworker who did well in the late Edo period. He was born in Kyoto, and was the second son of Gotou Shichirouuemon Jujo (後藤七郎右衛門重乗). He made sword mountings even for the then emperor; we imagine his works were highly evaluated. Authentication Paper They authenticated the Kozuka on Oct 9th in the 36th year of Showa (1961). They appraised it as Tokubetsu Kichou Kodougu, the Kozuka worth preserving for Japanese society.
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Ichijo School
Edo
Unsigned
Tokubetsu Kichō (NBTHK)
Iebori · Kyoto
35 pieces on the market now
" Ichijo was the fifth-generation head of the Shichiroemon house, a cadet branch of the Goto family, and trained under Hanzaemon Kamejo before succeeding to the headship at fifteen. His imperial commissions -- fittings for Emperor Kokaku in 1824 and Emperor Komei in 1862 -- earned him the ranks of Hokyo and Hogen respectively, and his atelier in Kyoto attracted a circle of gifted disciples who extended his aesthetic into the Bakumatsu and early Meiji periods. Among them, the celebrated "Five Tigers" (Goko) -- Funada Ikkin, Imai Nagatake, Hashimoto Isshi, Nakagawa Issho, and Wada Isshin -- together with the master's younger brother Goto Koran, constituted one of the most prolific and technically accomplished workshops in the history of Japanese tosogu production. The collective technical identity of the Ichijo school rests upon a foundation of shakudo nanako-ji of surpassing fineness -- described as "minute and orderly, deep and limpid," meriting the appellation kinume-nanako -- upon which elaborate pictorial compositions are built through takabori enriched by polychrome iroe employing gold, silver, shakudo, shibuichi, and suaka. Ichijo himself established the artistic direction by shifting from the canonical iebori subjects of dragons and lions toward compositions centered on close observation (shasei), rendering grasses, flowers, insects, birds, and landscapes with meticulous carving and refined dignity. This painterly sensibility pervades the entire school. Nagatake brought a distinctive ornamental density, arranging seasonal plants across entire surfaces with richly varied colored metals.
" Ikkin developed an unrivaled command of kosuki-bori -- a bold, thick chiseling technique that even Ichijo conceded was "beyond my own reach[[c:1]]" -- and his dragon subjects carried a distinctive forcefulness. " Isshin absorbed the hereditary vocabulary while concentrating creative zeal into individual passages of invention, and Issho achieved works of luxurious, courtly elegance through refined kinu-nanako and precise kebori. Koran, working in a manner akin to his elder brother yet "finished with an even more delicate and nuanced sensibility," brought the Shichiroemon branch to its most accomplished expression. Across the school, the favored tsuba form is the sumi-iri mokko-gata, and many works exhibit chuya shitate -- "day-and-night" construction using contrasting alloys on obverse and reverse. Complete daisho soroe kanagu sets, coordinated around seasonal, auspicious, or literary-historical themes, represent the school's highest format. " This standard was transmitted faithfully through the circle. " The school's productions are consistently praised for an elevated, Kyoto-inflected refinement that balances splendor and restraint in just measure. Learn more →
| Smith | Era | Designated |
|---|---|---|
| Goto Ichijo後藤一乗 | — | 91 |
| Tomei東明 | — | 30 |
| Nagatake永武 | — | 13 |
| Ikkin一琴 | — | 11 |
| Issho一匠 | 1828-1876 | 10 |
This work carries older NBTHK “Kichō”-era papers, which the NBTHK no longer issues and largely disavows today. To confirm the attribution, submission to an official Japanese examination body (such as the NBTHK or NTHK) for modern certification could be considered.
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