NihontoWatchNihontoWatchThe theme of sōshi (storybooks) gives this hon-kozuka a perspective that hints slightly at culture. Since it features sōshi, the theme is likely not intended to carry wishes for prosperity or wealth, but rather reflects an awareness of scholarship, knowledge, rank, and dignity. It seems to symbolize a work from around the middle Edo period, a truly stable era. As a kozuka, it falls into the newer category (within our shop's classification, of course). Both the workmanship and texture follow the style of the mid-Edo period onwards; the construction is a nimai-bari with an inlaid jita, and the mon is a low-profile rozuke-suemon, but in exchange, the state of preservation is good and the nanako-ji shows a degree of wear appropriate for its age. The theme of this work consists of three sōshi, but a five-book version using the same design also exists, so there must have been a fair number of variations. That said, it is not a crude kazumono. The color of the jigane is black, and the nanako grains are fine and spread in an orderly fashion. Based on the workmanship and characteristics seen here, the kiwame on the kanteisho attributing it to Kaga Goto is appropriate. If it were not Kaga Goto, the composition would leave no choice but to attribute it to Waki-Goto or Kyo-kinko, but above all, the zogan of kin-iroe applied to two of the books seems to be the deciding factor for the Kaga Goto kiwame. The highlight is the workmanship where the cover patterns of the sōshi are carefully carved and filled with gold, and it is also interesting that the characters of the titles are carved (what is written there, hiragana? kanji?). While going to such lengths, the kin-iroe and gin-iroe on the other book appear to be a vapor deposition, and the coexistence of a worn texture alongside the zogan portions feels slightly out of place. If they had at least used yakitsuke, I think it would have been a very striking work... (though it is misplaced for us in later generations to make such demands).
NihontoWatchOffered by Asahi Token
16 on the market
Kaga-Goto School
Edo
Kaga
Unsigned
Hozon (NBTHK)
As written by the shop
Machine translation from the shop's Japanese · may contain errors ·
Iebori · Kaga
16 pieces on the market now
The Kaga Goto (加賀後藤) school arose when the Maeda lords of Kaga Province drew masters of the Goto house from Kyoto into their direct service. The founding figure was Goto Kakujo Mitsunobu (覚乗光信), born in Kyoto in Tensho 17 (1589) as the second son of Chojo. By the directive of Tokugawa Ieyasu, the Goto family's closely guarded techniques, transmitted as an exclusive isshi soden (一子相伝) lineage, were conferred in full upon Kakujo of the Kanbei house, although it was not the main line. Retained by the Maeda at the extraordinary stipend of 150 koku, he was held in particular favour by Lord Maeda Toshitsune. The school's second principal figure was Goto Etsujo Mitsukuni (悦乗光邦), second son of Teijo, who strengthened the Rihei branch. Together with Enjo (演乗) of the Kanbei house, Etsujo alternated yearly between Kyoto and Kanazawa, training many disciples and devoting himself to the development of Kaga metalwork. The designated corpus reveals a body of work executed entirely in the orthodox Goto house manner (o-ie-ryu).
The prevailing ground is shakudo nanako-ji[[c:1]], upon which designs are rendered in takabori with gold iroe (金色絵) and, in polychrome compositions, gold, silver, and shakudo suemon. Gold nanako-ji grounds also appear, as in Kakujo's Kurikara futokoro-mono set upon a gold plate with polychrome accents. " In complete ito-maki tachi koshirae ensembles, the full suite of fittings is worked in shakudo nanako-ji scattered with the family crest in gold sukidashi takabori with kin-iroe, yielding mountings of courtly splendour. " The setsumei attest to the Kaga Goto's significance within the broader Goto tradition. Etsujo's workmanship adheres "exclusively to the orthodox Goto house style," with skill "in no way inferior to that of his father Teijo," and the construction and nikuoki of Mitsukuni's signed mitokoromono match Teijo's own work. " Their rarity, combined with the exceptional technical standard the corpus documents, underscores the Kaga Goto school's place within the Goto legacy and the Edo-period tosogu canon. Learn more →
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.
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¥50,000