This is an antique copper Tsuba from the Edo period, featuring an oval shape and a Kozuka hole. It depicts a wise man riding his horse, intricately engraved and inlaid with gold and silver, with a bamboo forest design on the backside. The maker, Joi (1701-1761), was a pupil of Toshinaga Nara and became a famous Tsuba creator, known for his detailed sculpture technique called "Shishiai-Bori."
NihontoWatch
Machibori · Edo
1 piece on the market now
Sugiura Joi (1701-1761), known by the art name Issando, trained under Juei in the lineage of Nara Toshiharu and rose to become one of the celebrated "Three Masters of Nara" (Nara sansaku) alongside Toshihisa and Yasuchika. Born in Genroku 14, he also used the names Sen'emon and Eishun throughout his career. His place within this triumvirate secured his lasting reputation as one of the foremost independent metalworkers of the mid-Edo period, working outside the patronage structures that governed the Goto house.
Joi is most closely identified with nikuaibori, a modulated relief-carving technique he developed into a personal specialty of unrivaled refinement. Through subtle variations in height and volume, he coaxed remarkably expressive surfaces from bare metal grounds, often completing entire compositions through chisel work alone, dispensing with zogan (inlay) and iroe (colored metal accents). His preferred format was the kozuka, where nikuaibori found its fullest expression on oborogin polished grounds. He also employed kebori (fine line engraving) for textures such as fur and flowing water, and incisive katakiribori for sharp geological forms. When he did turn to inlaid techniques, as in his fuchi-kashira sets on brass or plain copper (suaka) grounds, his takabori (high relief) and sukidashi-bori displayed equal mastery, with precisely modulated gold and shakudo inlay enhancing the sculptural depth.
Joi's tsuba are recognized as extremely rare, making any authenticated example a significant survival. His most celebrated subject, the lion casting its cub into Chigiri Valley, exists in closely related versions across multiple designations and is published in the canonical reference Tagane no Hana. Whether rendering the anxious gaze of a parent lion or the lively expressions of Chinese boys at play, Joi's work is distinguished by its immediacy and the sheer expressive authority of his chisel.
Where Joi stands among comparable artisans: across all of nihontō, and within tradition, era, and period. The tiers (Foremost · Leading · Major · Notable) weigh official designations from the NBTHK and Japan's Agency for Cultural Affairs, together with historical honors of lasting repute such as the Sansaku and Meibutsu-chō.
Select a lens to see how it's measured.
Machibori · Edo
82 pieces on the market now
The Nara school of kinko (metalwork) emerged in the mid-Edo period as one of the most celebrated independent traditions of sword-fitting craftsmanship, its masters working outside the patronage structures that governed the Goto house. The school coalesced around the figure of Nara Toshihisa (1667--1736), also known as Tahee, who as head master during its creative zenith defined the mature idiom of the lineage. Though the school's origins are often traced through the successive generations of the Nara family beginning with Toshiharu, its lasting fame rests upon the Nara sansaku — the Three Masters of Nara: Toshihisa, Tsuchiya Yasuchika, and Sugiura Joi. " Joi (1701--1761), trained under Juei in the lineage of Toshiharu, rose to become the third pillar of this triumvirate. Together, and joined by masters of allied lineages such as Hayashi Shigemitsu of the Higo kinko tradition, the Nara school and its circle represent the highest achievement of independent metalwork in the Edo period. The collective technical vocabulary of the Nara school encompasses an extraordinary breadth of materials and methods. Its masters worked in iron, shakudo, shibuichi, brass (shinchu), refined copper (suaka), and oborogin, treating surfaces as polished grounds (migaki-ji), hammered textures (tsuchime-ji), and stone-grain finishes (ishime-ji) — the latter developed by Toshihisa into a distinctive personal manner. The school's carving methods span the full spectrum: sukidashi-bori modeled relief, takabori high relief, the thread-fine line work of kebori, and the single-stroke katakiribori incision. " Yet individual specialties distinguish the masters within this shared vocabulary.
Toshihisa's art finds its fullest expression in sukidashi takabori — relief carving in which figures are raised with subtly graduated heights to produce an illusion of spatial depth — executed against his richly textured ishime-ji grounds. Joi developed nikuaibori, a modulated relief technique of unrivaled refinement, producing entire compositions through chisel work alone on polished oborogin grounds, dispensing with inlay and colored-metal accents. Yasuchika's range is perhaps the broadest, encompassing the distinctive daigaku-gata iron tsuba conceived for his patron and kozuka that "draw forth a small universe" within a confined surface, while his late works signed with the art name Tou achieve an austere, detached realm the NBTHK terms kotan. The legacy of the Nara school rests on the singular ability of its masters to transcend decorative function and achieve genuine artistic expression within the confines of sword fittings. Toshihisa, as the senior figure among the sansaku, established the standard of dignified, powerfully carved relief against richly textured grounds, and his figural subjects — gamecocks, tigers, Bishamonten — consistently achieve what NBTHK scholarship identifies as the philosophical duality of do (movement) and sei (stillness) within a single composition. " Joi, working primarily in the intimate format of the kozuka, achieved expressive authority through the sheer subtlety of his nikuaibori chisel work — his celebrated lion-and-cub compositions existing in closely related versions across multiple designations and published in the canonical reference Tagane no Hana. That the school also attracted masters of allied provincial traditions — Hayashi Shigemitsu of Higo, whose iron tsuba display the characteristic murasaki-sabi patina and "somewhat gentler feeling" that distinguishes the second generation from the founder Matahichi — attests to its gravitational influence on Edo-period metalwork as a whole. Across the school's production, the NBTHK's evaluative language converges on a consistent theme: compositional intelligence, technical command across the full range of materials and carving methods, and an expressive depth that elevates the finest works from accomplished craft to art of the highest order. Learn more →
| Smith | Era | Designated |
|---|---|---|
| Yasuchika安親 | — | 85 |
| Joi乗意 | — | 12 |
| Toshinaga利寿 | — | 28 |
| Nara奈良 | — | 2 |
| Toshiyoshi利善 | — | 0 |
We could not find an authenticity certificate on the seller’s listing. Japanese swords and fittings are normally papered by the NBTHK (or the NTHK). Without one, the attribution is the seller’s own assessment and has not been independently verified — treat it with caution and ask the dealer about certification before buying.
Returns/exchanges limited to defects caused by shipping (except willful misconduct or gross negligence by the company); customers must contact within 72 hours of receiving the product.
This is an antique copper Tsuba from the Edo period, featuring an oval shape and a Kozuka hole. It depicts a wise man riding his horse, intricately engraved and inlaid with gold and silver, with a bamboo forest design on the backside. The maker, Joi (1701-1761), was a pupil of Toshinaga Nara and became a famous Tsuba creator, known for his detailed sculpture technique called "Shishiai-Bori."
NihontoWatchMachibori · Edo
1 piece on the market now
Sugiura Joi (1701-1761), known by the art name Issando, trained under Juei in the lineage of Nara Toshiharu and rose to become one of the celebrated "Three Masters of Nara" (Nara sansaku) alongside Toshihisa and Yasuchika. Born in Genroku 14, he also used the names Sen'emon and Eishun throughout his career. His place within this triumvirate secured his lasting reputation as one of the foremost independent metalworkers of the mid-Edo period, working outside the patronage structures that governed the Goto house.
Joi is most closely identified with nikuaibori, a modulated relief-carving technique he developed into a personal specialty of unrivaled refinement. Through subtle variations in height and volume, he coaxed remarkably expressive surfaces from bare metal grounds, often completing entire compositions through chisel work alone, dispensing with zogan (inlay) and iroe (colored metal accents). His preferred format was the kozuka, where nikuaibori found its fullest expression on oborogin polished grounds. He also employed kebori (fine line engraving) for textures such as fur and flowing water, and incisive katakiribori for sharp geological forms. When he did turn to inlaid techniques, as in his fuchi-kashira sets on brass or plain copper (suaka) grounds, his takabori (high relief) and sukidashi-bori displayed equal mastery, with precisely modulated gold and shakudo inlay enhancing the sculptural depth.
Joi's tsuba are recognized as extremely rare, making any authenticated example a significant survival. His most celebrated subject, the lion casting its cub into Chigiri Valley, exists in closely related versions across multiple designations and is published in the canonical reference Tagane no Hana. Whether rendering the anxious gaze of a parent lion or the lively expressions of Chinese boys at play, Joi's work is distinguished by its immediacy and the sheer expressive authority of his chisel.
Where Joi stands among comparable artisans: across all of nihontō, and within tradition, era, and period. The tiers (Foremost · Leading · Major · Notable) weigh official designations from the NBTHK and Japan's Agency for Cultural Affairs, together with historical honors of lasting repute such as the Sansaku and Meibutsu-chō.
Select a lens to see how it's measured.
Machibori · Edo
82 pieces on the market now
The Nara school of kinko (metalwork) emerged in the mid-Edo period as one of the most celebrated independent traditions of sword-fitting craftsmanship, its masters working outside the patronage structures that governed the Goto house. The school coalesced around the figure of Nara Toshihisa (1667--1736), also known as Tahee, who as head master during its creative zenith defined the mature idiom of the lineage. Though the school's origins are often traced through the successive generations of the Nara family beginning with Toshiharu, its lasting fame rests upon the Nara sansaku — the Three Masters of Nara: Toshihisa, Tsuchiya Yasuchika, and Sugiura Joi. " Joi (1701--1761), trained under Juei in the lineage of Toshiharu, rose to become the third pillar of this triumvirate. Together, and joined by masters of allied lineages such as Hayashi Shigemitsu of the Higo kinko tradition, the Nara school and its circle represent the highest achievement of independent metalwork in the Edo period. The collective technical vocabulary of the Nara school encompasses an extraordinary breadth of materials and methods. Its masters worked in iron, shakudo, shibuichi, brass (shinchu), refined copper (suaka), and oborogin, treating surfaces as polished grounds (migaki-ji), hammered textures (tsuchime-ji), and stone-grain finishes (ishime-ji) — the latter developed by Toshihisa into a distinctive personal manner. The school's carving methods span the full spectrum: sukidashi-bori modeled relief, takabori high relief, the thread-fine line work of kebori, and the single-stroke katakiribori incision. " Yet individual specialties distinguish the masters within this shared vocabulary.
Toshihisa's art finds its fullest expression in sukidashi takabori — relief carving in which figures are raised with subtly graduated heights to produce an illusion of spatial depth — executed against his richly textured ishime-ji grounds. Joi developed nikuaibori, a modulated relief technique of unrivaled refinement, producing entire compositions through chisel work alone on polished oborogin grounds, dispensing with inlay and colored-metal accents. Yasuchika's range is perhaps the broadest, encompassing the distinctive daigaku-gata iron tsuba conceived for his patron and kozuka that "draw forth a small universe" within a confined surface, while his late works signed with the art name Tou achieve an austere, detached realm the NBTHK terms kotan. The legacy of the Nara school rests on the singular ability of its masters to transcend decorative function and achieve genuine artistic expression within the confines of sword fittings. Toshihisa, as the senior figure among the sansaku, established the standard of dignified, powerfully carved relief against richly textured grounds, and his figural subjects — gamecocks, tigers, Bishamonten — consistently achieve what NBTHK scholarship identifies as the philosophical duality of do (movement) and sei (stillness) within a single composition. " Joi, working primarily in the intimate format of the kozuka, achieved expressive authority through the sheer subtlety of his nikuaibori chisel work — his celebrated lion-and-cub compositions existing in closely related versions across multiple designations and published in the canonical reference Tagane no Hana. That the school also attracted masters of allied provincial traditions — Hayashi Shigemitsu of Higo, whose iron tsuba display the characteristic murasaki-sabi patina and "somewhat gentler feeling" that distinguishes the second generation from the founder Matahichi — attests to its gravitational influence on Edo-period metalwork as a whole. Across the school's production, the NBTHK's evaluative language converges on a consistent theme: compositional intelligence, technical command across the full range of materials and carving methods, and an expressive depth that elevates the finest works from accomplished craft to art of the highest order. Learn more →
| Smith | Era | Designated |
|---|---|---|
| Yasuchika安親 | — | 85 |
| Joi乗意 | — | 12 |
| Toshinaga利寿 | — | 28 |
| Nara奈良 | — | 2 |
| Toshiyoshi利善 | — | 0 |
We could not find an authenticity certificate on the seller’s listing. Japanese swords and fittings are normally papered by the NBTHK (or the NTHK). Without one, the attribution is the seller’s own assessment and has not been independently verified — treat it with caution and ask the dealer about certification before buying.
Returns/exchanges limited to defects caused by shipping (except willful misconduct or gross negligence by the company); customers must contact within 72 hours of receiving the product.
