NihontoWatchNihontoWatchKikuoka Mitsutoshi was the son of Mitsumasa, lived in Edo Kanda, and is said to have died at the age of 70 in Bunkyu 3. This kozuka and kogai represent the minogame, an auspicious symbol of longevity, rendered in kin-muku suemon. It can be called a masterpiece by Mitsutoshi, equal to or even surpassing the powerful works of his father, Mitsumasa, the head of the Kikuoka family. This set consists of a kozuka and kogai that were originally independent, but a connoisseur brought them together as a nisho because they share the same design and the same maker. Appraisal certificates are attached to the kozuka and kogai individually, rather than as a nisho. A connoisseur assembled them as a nisho and placed them in a custom-fitted box for a nisho.
NihontoWatchOffered by Tsuruginoya
2 on the market
Kikuoka Mitsutoshi
Edo
Musashi
Signed
Hozon (NBTHK)
As written by the shop
Machine translation from the shop's Japanese · may contain errors ·
Machibori · around 1670
2 pieces on the market now
Where Mitsutoshi 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
12 pieces on the market now
The Kikuoka school (Kikuoka-ha) was founded in Edo by Kikuoka Mitsuyuki (菊岡光行), a disciple of Yanagawa Naomitsu (柳川直光) of the Yokoya lineage. Born in Kan'en 3 (1750) in Kanda Kajimachi, Mitsuyuki trained thoroughly under the Yanagawa house and established an independent line that perpetuated the mainline machibori tradition. His younger brother Mitsumasa (菊岡光政, 1759--1824) likewise studied under Naomitsu and became a leading kinko in his own right. The two brothers were not only influential metalworkers but also celebrated bunjin and haikai poets, both adopting the inherited literary sobriquet Senryo (沾涼) passed down from their forebears. Mitsuyuki further used the art-name Katsukenshi (活剣子) and died in Kansei 12 (1800) at the age of fifty-one. Succession passed through his son Mitsutomo (光朝) as second generation, then to Mitsushige (菊岡光重), who had originally studied under Naomitsu before being adopted into the Kikuoka house as third-generation head. Mitsutoshi (菊岡光利), son of Mitsumasa, continued the principal line into the Bakumatsu era, dying in Bunkyu 3 (1863). A further generation is represented by Unsuiken Toshinobu[[c:1]], a pupil of Mitsutoshi, and by Jounsai Shigeyoshi (茂義), a retained craftsman of the Takamatsu domain who studied under Mitsushige.
The collective style of the Kikuoka school is rooted in the Yokoya-Yanagawa vocabulary and characterized by what the NBTHK consistently terms "precise and steadfast carving technique" (seiko kenjitsu na chogi). The canonical material treatment employs a shakudo nanako-ji[[c:2]] ground with gold crests (kinmon) and a gilt reverse (kin'ura), while menuki are typically executed in solid gold (kinmuku) using rounded sculptural carving (yobori). Carving methods follow the Yokoya manner: takabori (高彫) with colored-metal inlay (iro-e) and applied work (suemon), producing bold, volumetric compositions. '" Beyond lions, the repertoire embraced animals, birds, human figures, mythical beasts such as kirin (麒麟), and characteristically machibori themes drawn from literary and theatrical culture -- mice at play with the Noh properties of Shiki Sanban, Nio guardians modeled from life at Shinagawa Hoozan Kokoku-ji, dancing cranes, parent-and-child chickens, tigers, and auspicious early-spring imagery. Matching sets -- mitokoromono and sanshomono -- are the school's characteristic format, frequently bearing coordinated signatures on kozuka and kogai with split-tanzaku inscriptions (wari-tanzaku mei) on menuki. " The Kikuoka school occupies a distinguished position in the urban machibori lineage as the direct continuation of the Yokoya-Yanagawa mainstream. The NBTHK characterizes Mitsuyuki's manner as closely resembling that of Yokoya Somin (宗珉), noting that "some works display a level of skill approaching that of Somin" -- a comparison of the highest order. " Even the rare surviving works of Toshinobu are valued for confirming the "high level of his technique" within the Kikuoka idiom. Learn more →
| Smith | Era | Designated |
|---|---|---|
| Mitsuyuki光行 | 1750-1800 | 14 |
| Yukinobu行信 | — | 0 |
| Mitsutomo光朝 | — | 0 |
| Mitsushige光重 | 1670 | 1 |
| Yukiyoshi行善 | — | 0 |
Certifies a genuine blade worth preserving: a signature confirmed correct, or, if unsigned, an era, province, and school that the NBTHK can reliably identify.
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 sitePlease exercise cooling-off within 8 days of the item's arrival. (1) We cannot accept items that have been altered or worked on in any way (e.g. test cutting, polishing or other work, display at viewing meetings, photography, taking oshigata rubbings, use for appreciation, copying of books). (2) Return shipping is at the customer's expense. (3) Costs other than the item price (bank transfer fees, cash-on-delivery fees, installment fees, etc.) cannot be refunded. (4) For cash-on-delivery and similar payments, the refund is made after the payment has reached us. (5) We cannot accept a return when a trade-in item is involved. (6) Items delivered overseas cannot be returned or refunded (because of the time involved and, for swords, the surrender of the registration certificate and other circumstances).
¥680,000