NihontoWatchNihontoWatchIron tsuba signed "Seijuken Hamano Haruyoshi". Decorated with Ri Haku (Li Bai) and his attendants looking at the Kan-Baku (Great Waterfall) located in Lushan. Li Bai was a Chinese poet of the Tang Dynasty that ruled over China between year 618 and 907. Hamano Haruyoshi was active around 1825 and resided in Edo (Tokyo). He was a student of second Hamano Noriyuki, Yoshiharu and Haruchika. It seems that he specialised in shakudo and iron tsuba depicting Ri Haku. Made of iron and decorated with gold, shakudo, copper and silver inlay. Condition: this tsuba was in poor condition and was cleaned. However spots where rust was now have small holes that are well visible on otherwise even ground. This piece is not certified however I guarantee it will pass NBTHK shinsa. Size: 75 mm x 70 mm x 5 mm
NihontoWatchOffered by Soryu
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32 on the market
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Machibori · Edo
32 pieces on the market now
The Hamano school of machibori carving was established in mid-Edo Edo by Hamano Masazui (浜野政隨), commonly known as Tarōbei, an exceptionally gifted pupil of Nara Toshihisa. As the Edo Kinkō Meifu states of him that he "thunders through the world," Masazui won widespread renown as one of the "Four Guardian Kings of Nara" (Nara Shitennō). Training many disciples and employing numerous art names—including Otsuryūken, Aji-zumi, Kankei, Rifūdō, Yūkotei, Shūhōsai, Hankei-shi, and Isshunan—he formed what came to be known as the Hamano school, establishing one of the principal lineages of machibori artistry and founding an independent house. " Works are rendered by means of yōbori (sculptural carving) upon varied grounds—gold-and-silver imo-tsugi-ji, solid gold (kinmuku)—with details frequently treated in the in'yō-kon mode, suggesting the early Gotō masters as models.
The carving is executed with "ample, well-judged volume (nikudori)" and "exceptionally full, weighty presence," while applied metal (okigane) in silver and shakudō with shakudō iroe tightens pictorial fields and imparts additional movement. Later Hamano artists such as Katsurano Akafumi maintained this technical versatility, favoring polychrome inlay applied to high-relief compositions. " The NBTHK repeatedly notes that works "clearly demonstrate the high level of technique," "amply demonstrate advanced technical mastery," and possess "a composed dignity"—attestations to the school's sustained excellence across generations and its enduring place within the broader machibori tradition. Learn more →
| Smith | Era | Designated |
|---|---|---|
| Shozui政随 | — | 17 |
| Sekibun赤文 | 1670 | 8 |
| Noriyuki矩随 | — | 4 |
| Naotoshi直寿 | — | 0 |
| Naoharu直春 | — | 0 |
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