This is a shakudo nanako-ground tsuba in a sumiiri-kakugata shape, decorated with paulownia crests and scattered karakusa arabesque motifs rendered in sukidashi-bori and iroe techniques. The tsuba is from the Edo period and is attributed to the Mino school. It comes with a paulownia wood box and an Aoi Art appraisal certificate.
NihontoWatch
Mino School
Nanbokuchō
Mino
Unsigned
Hozon (NBTHK)
Kinko · Mino
22 pieces on the market now
The Mino metalworking tradition emerged as a distinct school of early kinkō (sword-fittings artisans) active from the late Muromachi period through the Momoyama era. Rooted in the broader stream of ko-kanagu-shi (early metal-fittings makers), Mino craftsmen developed alongside but separate from the courtly Gotō lineage, serving a different aesthetic sensibility. Their chronological range extended through the transition into the early Edo period, though the tradition's characteristic vocabulary crystallized during the turbulent decades of the late sixteenth century. The hallmark of Mino workmanship lies in its distinctive approach to relief carving and decorative treatment. Rather than the refined, minutely detailed dragons favored by the Gotō house, Mino artisans developed the specialized "Mino dragon" (Mino-ryū) idiom: large-scale compositions executed in usukin-dashi (thin raised metal), characterized by sinuous, writhing forms with extensive sukashi (openwork).
Beyond dragon motifs, Mino craftsmen rendered auspicious subjects—cranes, turtles, pine, and bamboo—as well as floral designs such as wisteria in karakusa (arabesque) arrangements. The technical vocabulary consistently emphasizes vigorous yōbori (high-relief carving) with robust, thick-boned modeling and forceful execution, often on grounds of shakudō nanako-ji or solid gold, with enrichment through gold iroe and inlay. Works attributed to the Mino school are valued for their sumptuous materiality and animated sculptural presence. The tradition's preference for deeply cut relief with pronounced peaks and valleys creates a dynamic visual effect distinct from the more restrained aesthetic of contemporary Kyoto workshops. Surviving examples of Mino metalwork—ranging from menuki and kogai to complete koshirae suites—document a regional aesthetic that prioritized bold composition and vigorous carving over courtly refinement, reflecting the martial culture of the Sengoku and early unification periods. Learn more →
| Smith | Era | Designated |
|---|---|---|
| Mitsuharu光春 | — | 0 |
| Mitsunaka光仲 | — | 0 |
| Mitsunobu光伸 | — | 0 |
| Nakayuki仲之 | — | 0 |
| Nagamasa長正 | — | 0 |
Certifies a genuine fitting worth preserving: a correct signature, or, if unsigned, an identifiable era and school, with recognized artistic and craft value.
The NBTHK (Nihon Bijutsu Tōken Hozon Kyōkai, the Society for the Preservation of Japanese Art Swords) is a public-interest incorporated foundation founded in 1948 and supervised by Japan’s Agency for Cultural Affairs (Bunkachō); it is based at the Japanese Sword Museum in Tokyo. Its expert panels physically examine each submitted work (shinsa) and issue a certificate (kanteishō) ranking it by artistic and historical merit. NBTHK papers are the most widely recognized standard of authentication for Japanese swords and fittings.
NBTHK official siteIf you wish to return an item, please notify us within 3 days of receipt. After this period we cannot accept cancellations. Please ship the return to us within 5 business days. Cancellation is conditional on the item being kept in the same condition as at the time of sale, so please handle it with care.
This is a shakudo nanako-ground tsuba in a sumiiri-kakugata shape, decorated with paulownia crests and scattered karakusa arabesque motifs rendered in sukidashi-bori and iroe techniques. The tsuba is from the Edo period and is attributed to the Mino school. It comes with a paulownia wood box and an Aoi Art appraisal certificate.
NihontoWatchMino School
Nanbokuchō
Mino
Unsigned
Hozon (NBTHK)
Kinko · Mino
22 pieces on the market now
The Mino metalworking tradition emerged as a distinct school of early kinkō (sword-fittings artisans) active from the late Muromachi period through the Momoyama era. Rooted in the broader stream of ko-kanagu-shi (early metal-fittings makers), Mino craftsmen developed alongside but separate from the courtly Gotō lineage, serving a different aesthetic sensibility. Their chronological range extended through the transition into the early Edo period, though the tradition's characteristic vocabulary crystallized during the turbulent decades of the late sixteenth century. The hallmark of Mino workmanship lies in its distinctive approach to relief carving and decorative treatment. Rather than the refined, minutely detailed dragons favored by the Gotō house, Mino artisans developed the specialized "Mino dragon" (Mino-ryū) idiom: large-scale compositions executed in usukin-dashi (thin raised metal), characterized by sinuous, writhing forms with extensive sukashi (openwork).
Beyond dragon motifs, Mino craftsmen rendered auspicious subjects—cranes, turtles, pine, and bamboo—as well as floral designs such as wisteria in karakusa (arabesque) arrangements. The technical vocabulary consistently emphasizes vigorous yōbori (high-relief carving) with robust, thick-boned modeling and forceful execution, often on grounds of shakudō nanako-ji or solid gold, with enrichment through gold iroe and inlay. Works attributed to the Mino school are valued for their sumptuous materiality and animated sculptural presence. The tradition's preference for deeply cut relief with pronounced peaks and valleys creates a dynamic visual effect distinct from the more restrained aesthetic of contemporary Kyoto workshops. Surviving examples of Mino metalwork—ranging from menuki and kogai to complete koshirae suites—document a regional aesthetic that prioritized bold composition and vigorous carving over courtly refinement, reflecting the martial culture of the Sengoku and early unification periods. Learn more →
| Smith | Era | Designated |
|---|---|---|
| Mitsuharu光春 | — | 0 |
| Mitsunaka光仲 | — | 0 |
| Mitsunobu光伸 | — | 0 |
| Nakayuki仲之 | — | 0 |
| Nagamasa長正 | — | 0 |
Certifies a genuine fitting worth preserving: a correct signature, or, if unsigned, an identifiable era and school, with recognized artistic and craft value.
The NBTHK (Nihon Bijutsu Tōken Hozon Kyōkai, the Society for the Preservation of Japanese Art Swords) is a public-interest incorporated foundation founded in 1948 and supervised by Japan’s Agency for Cultural Affairs (Bunkachō); it is based at the Japanese Sword Museum in Tokyo. Its expert panels physically examine each submitted work (shinsa) and issue a certificate (kanteishō) ranking it by artistic and historical merit. NBTHK papers are the most widely recognized standard of authentication for Japanese swords and fittings.
NBTHK official siteIf you wish to return an item, please notify us within 3 days of receipt. After this period we cannot accept cancellations. Please ship the return to us within 5 business days. Cancellation is conditional on the item being kept in the same condition as at the time of sale, so please handle it with care.
