NihontoWatchNihontoWatch宗與は元禄十三年に横谷宗寿の次男として江戸で生まれ、男児の居なかった宗珉の養子となり、享保十七年に四代目を継いだ。明和三年六十七歳にて没。作域は四分一磨地に片切彫のものが多いが、赤銅魚子地に高彫象嵌色絵の作も僅かに残されており、横谷宗珉の後継者としての力感、品格を備えた見事な出来栄えの物を見る。 掲出の小柄は太平記二十三巻の名場面として知られる大森彦七図である。 南北朝時代の武将、大森盛長（通称彦七）は湊川の戦いで楠木正成軍を破る手柄を立てた伊予の武将。ある夜、猿楽に出かけたところ、川を渡れずに困っている女人が佇んでいた。彦七は女人を背負って川を渡る。川の途中急に背中が重くなったので不審に思い、月明かりで川面に映った美女の顔を見ると、なんとそれは鬼の顔。実はこの鬼は楠木正成の怨霊で、彦七に祟りをなそうとするのがこの図の背景となる物語である。 浮世絵に多く描かれ、歌舞伎十八番としても著名な本図は、重要文化財に指定された利寿の作を始め、浜野政随、堀江興成など同時代の奈良派が得意とした感があるが、さすが名人宗與も見事であり、河を廃し、鬼女を睨め付ける彦七という独自の図案は迫力と存在感に満ち、正面から側面に巡らせた高彫と背面の片切彫は彼の真骨頂ともいえる高い技量を余すところなく示している。過去経眼した同作中でも最高の出来栄えを示した傑作である。
横谷宗興は元禄十三年に江戸で生まれ、宗珉の養子となり、享保十八年、三十四歳で家督を継いだ。宗興の作域は四分一磨地に片切彫工法 のものが多いが、赤銅魚子地に高彫象嵌色絵工法の作柄も僅少ながら現存している。片切彫は、師父宗珉譲りの優れた技術を発揮している。ま た魚子地に高彫象嵌色絵の作には、横谷宗珉の後継者としての力量と品格を備えた見事な出来映えのものを多く見る。 本作は宗輿の真骨頂の一作ともいえる作である。細かな技巧が細部にまでいきわたり、ことに鬼の眼と手の動きは秀逸であり、まさに今も動 き出すかの如くである。さらには、手の動きや組み方、また足の動きにも宗輿の技が冴えわたり、肉感的ですらある。 宗興の卓抜した写実力と 抜群の彫技が躍動感のある画面を作り上げた優品である。
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Yokoya Soyo II
Edo
Jūyō #65 (NBTHK)
As written by the shop
Machibori · Edo
3 pieces on the market now
Yokoya Soyo was born in Edo in Genroku 13 (1700), the second son of Yokoya Soju, with an elder brother named Eisei. At the request of others he became the adopted son of Yokoya Somin, and in Kyoho 18 (1733), after Somin's death, he took over the family work at thirty-four and kept the distinguished Yokoya name; in his later years he used the art name Shokei. The published sources describe him as inheriting his father's manner, skilled in both high relief and katakiribori, and "among the many metalworkers called machibori, an outstanding presence"[[c:1]].
His usual work, they write, is katakiribori on polished shibuichi[[c:2]], the single-sided chisel line that Somin created. On a polished oborogin tsuba of bamboo and tiger, his favoured form and method, the commentary praises a chisel that sets bold, powerful katakiribori beside delicate kebori. On a shakudo tsuba of lion and peony it notes how he uses chisels of different widths, the strong katakiribori and fine kebori together, and how the gold sayagata inlay on the rim brings colour to a plain surface. A wakizashi mounting carries his fittings throughout, all on the theme of the gods of good fortune, the tsuba, fuchigashira and kozuka in shibuichi katakiribori.
The other side of his work is high relief with colour inlay on shakudo nanako-ji. The published sources say such pieces are few[[c:3]], yet among them they see many fine works with the ability and dignity of Somin's successor[[c:4]]. The Yokoya lion, the house subject that began with Somin, appears on a two-piece kozuka and kogai. A kozuka shows a large kirin rising through auspicious clouds, and his Omori Hikoshichi kozuka and Fukurokuju kozuka are each called among his finest, the eyes and hands of the figures so alive they seem about to move. A tsuba of horses follows Somin's horse faithfully, and another, of eight horses in shakudo alone with only the eyes in gold, shows his drawing from life; its rim was later restored by Natsuo.
His fullest work is a matched set of lion-and-peony fittings, tsuba, fuchigashira and menuki. It was designated Juyo in 1960 and Tokubetsu Juyo in 1978, and both commentaries stress its rarity: a high-relief tsuba is "extremely rare among his works"[[c:5]], and the large size and completeness of the set make it probably his masterpiece. Another set carries documents of its own making. On a kirin kozuka with matching menuki he wrote his own origami, which show that the work dates to Horeki 13 (1763), the menuki finished in the tenth month and the kozuka in the twelfth.
He signs Soyo with a kao, cut powerfully in kaisho script, the menuki signed on a small tablet. The published sources read him through Somin throughout: the lion, the horse and the katakiribori all come from the father, while in a crawling-dragon kozuka they also find the freshness of machibori added to the traditional house carving[[c:6]].
His record is thirteen designated works, one at Tokubetsu Juyo and twelve at Juyo. One kirin kozuka descends from the Tsugaru house of Mutsu. The katakiribori pieces are the more usual, and a high-relief Soyo set appears only rarely.
Where Soyo 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.
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Machibori · Edo
109 pieces on the market now
The Yokoya school was the largest metalworking lineage of the Edo period, founded in the early seventeenth century when the first-generation Yokoya Soyo -- sometimes distinguished as "Sofu Soyo" or "Ko-Soyo" -- studied under Goto Injo Mitsutomi and established an independent atelier in Edo. The school's trajectory was decisively shaped by the third-generation master Somin (1670--1733), who trained in the hereditary iebori manner of the Goto house but, finding its convention-bound idiom unsatisfying, resigned his shogunal stipend and entered the sphere of independent work. There he "exercised his abilities to the fullest, achieved great success, and came to be called the founder of machibori" -- the town-carver tradition that would fundamentally reshape the world of Edo-period sword fittings. Somin cultivated a close friendship with the Kano-school-trained painter Hanabusa Iccho, from whom he received guidance regarding pictorial conceptions, and also studied with Kano Tan'yu, deepening his art through direct engagement with painters' designs. His adopted son and successor Soyo (1700--1734) faithfully continued the atelier's methods, while Soju (1651--1734), a disciple connected with both the first-generation Soyo and Somin, contributed rigorously unified daisho koshirae that exemplify the school's commitment to integrated, thematic ensembles. The Yokoya school's collective technical achievement divides broadly into two principal modes, both originated or perfected by Somin and transmitted through successive generations. The first is richly modeled takabori with polychrome metal inlay (iroe) in gold, silver, and shibuichi on shakudo nanako-ji grounds, where the carving displays an overwhelming abundance of modeled volume -- bold rises and falls in the flesh producing a forceful and crisply articulated manner that clearly reveals the school's Goto lineage and the thoroughness of its training. Soyo's works in this mode are described as possessing "both the capability and the dignity expected of Somin's successor," while Soju's takabori on shakudo nanako-ji achieves a dignified and well-ordered atmosphere across complete, unified fitting suites.
The second mode is katakiribori, a single-edge chisel technique that Somin originated, in which pronounced modulation and decisive strokes alternate depth and shallowness at will, producing modulations of speed and emphasis that recall ink painting. Soyo inherited this specialty with excellent technique, deftly alternating chisels of varying widths to combine bold katakiribori with delicate kebori linework. Among the school's most distinctive inventions are the celebrated "Yokoya lions" -- shishi rendered with such immediacy that one experiences the illusion that the lion might spring forth from the kozuka itself -- and Somin's innovative vertically oriented tatezu compositions depicting lions, tigers, horses, and other subjects from unconventional angles. The Yokoya school's enduring significance lies in its having opened a new artistic direction through freer, life-sketch-based realism that broke decisively with the formalized conventions of the Goto house while retaining that lineage's technical rigor. Somin's command of nanako-ji grounds in shakudo, polished shibuichi surfaces, and techniques such as sukidashi-bori, kebori, and yobori was comprehensive, and this breadth of technical vocabulary was transmitted intact to his successors. Soju's hereditary daisho mounting of the Uesugi family of Yonezawa Domain exemplifies the school's integrative vision -- every component sustaining a single coherent theme across the entire suite -- while Soyo's takabori works, described as "extremely rare," lend special value to surviving matched sets. Whether working in the restrained monochrome palette of polished shakudo or introducing touches of color through kinhira-zogan accents and gold iroe, the Yokoya masters consistently achieved what the NBTHK characterizes as a severity and awe-inspiring intensity that exerted a major influence on later generations of metalworkers, establishing the machibori tradition as the dominant creative current of Edo-period sword fittings. Learn more →
| Smith | Era | Designated |
|---|---|---|
| Somin宗珉 | — | 50 |
| Soyo宗與 | — | 13 |
| Soju宗壽 | — | 3 |
| Yasukiyo安精 | — | 0 |
| Genchin元珍 | 1670 | 1 |
Exceptional craft of very high artistic value, judged to rank with a nationally recognized Important Art Object (Jūyō Bijutsuhin).
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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