This is a tsuba made by Mon Tokujo Mitsutaka during the Edo period. It features a lion incense burner design colored with gold on a Shakudo nanakoji ground. The tsuba comes with a Kiri box, Aoi Art estimation paper, and NBTHK Tokubetsu Hozon Tosogu paper.
NihontoWatch
Goto Mitsutaka
Edo
Signed
Iebori · Nagato · around 1588
2 pieces on the market now
Goto Mitsutaka, known by the art name Enjo, was the eldest son and heir of the twelfth head of the Goto house, Goto Mitsusato (also recorded as Mitsumichi or Mitsuri), who bore the title Jujo. Mitsutaka was born in Kyoho 7 (1722). His childhood name was Kameichi; he later used the name Mitsunari, and his common name was Gennojo. In Kanpo 2 (1742), upon the death of his father, he changed his name to Shirobei Mitsutaka and succeeded as the thirteenth head of the Goto mainline. His tenure was the second-longest in the family's history, surpassed only by the tenth master Renjo, and he remained active over a remarkably extended period. In addition to his own creative production, Mitsutaka served as the foremost authenticator and appraiser of earlier Goto works, issuing kiwame judgments and origami valuations for pieces attributed to masters from the second generation Sojo through to the eighth generation Sokujo. His authentication inscriptions, bearing his kao, appear on works spanning the full breadth of the Goto legacy.
Mitsutaka's style largely inherits and faithfully transmits the established techniques of the Goto house, adhering closely to the canonical iebori tradition. His standard method employs shakudo nanako-ji grounds with takabori in gold and silver iroe on the kozuka and kogai, kin'ura gilt backing on the reverse, and solid gold (kinmuku) grounds for the menuki carved in rounded relief (yobori or nikubori). His thematic repertoire encompasses the officially sanctioned subjects (okite-mono) of the Goto house: lions (shishi), crawling dragons (hairyu), dancing cranes, the Twelve Zodiac Animals, tigers, phoenixes, horses, paired oxen, roosters, baku spirit-beasts, Kurikara dragons, rhinoceroses, and literary subjects drawn from The Tale of Genji. Among the NBTHK's recurring technical observations, it is noted that Goto works are generally executed with relatively few chisel strokes; while this tendency is visible in Mitsutaka's oeuvre, certain pieces stand out as exceptionally meticulous, displaying a greater density of chisel work and a carefully executed finish. His production strongly favors mitokoromono and sanshomono sets, whereas his tsuba output is comparatively scarce, a pattern noted explicitly in the NBTHK evaluations.
The NBTHK characterizes Mitsutaka's works as possessing a "poised dignity expressed with breadth" that represents the very forte of the Goto mainline. His lion carvings combine dignity with martial boldness; his monochrome shakudo compositions convey expressive power through the intensity of the black modeling alone; and his narrative scenes, such as the Kumagai-Atsumori temamono, achieve calm dignity amid dense, labor-intensive detail. Evaluative language across his designated works consistently invokes "elevated dignity," "serene spaciousness," and the "prestige and authority of the Goto mainline." Early-period works bearing his self-signature cut into the filed ground of the gilt back plate are identified as spirited masterpieces from his twenties, while mature productions demonstrate the full measure of Got tradition and formality. Mitsutaka occupies a pivotal position within the Goto lineage as the master who, across an exceptionally long career, consolidated and transmitted the iebori manner at its most authoritative, sustaining the house's institutional prestige through both his own accomplished carving and his role as the principal arbiter of the Goto canon.
Where Mitsutaka 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.
Iebori · Yamashiro
323 pieces on the market now
The Goto house stands as the preeminent dynasty of sword-fitting makers in the history of Japanese metalwork, an unbroken lineage of seventeen generations spanning from the founding master Yujo (1440--1512), who served Ashikaga Yoshimasa amid the refined culture of Higashiyama, through the final head Hojo (1816--1856) in the closing years of the Tokugawa shogunate. From its inception the house served successive rulers -- Ashikaga shoguns, Oda Nobunaga, Toyotomi Hideyoshi, and the Tokugawa -- and its productions became known as iebori, the "house carving" distinguished from machibori made for ordinary public demand. The fourth master Kojo first introduced warrior subjects and employed preparatory drawings by Kano Motonobu and Eitoku; the fifth master Tokujo struck the celebrated "Tokujo kiri" hallmark upon oban gold coinage for Hideyoshi; the third master Joshin -- "not only a metalworker but also a warrior" -- was killed in battle against the Azai clan in 1562. The seventh master Kenjo, praised since ancient times as a restorer of the house's fortunes (the finest exponents being termed Yuko-ken), traveled to Kaga and laid the foundations for the later flourishing of the Kaga-Goto tradition, while the tenth master Renjo carried the mainline from Kyoto to Edo, where it would remain through the seventeenth generation. The eleventh master Tsujo bridged the formal tradition with the expressive spirit of the Genroku era, and the thirteenth master Enjo served as an authoritative appraiser, authenticating works by earlier masters across the entire succession. The collective technical vocabulary of the Goto house is built upon shakudo nanako-ji grounds of extraordinarily minute and dense stippling, upon which motifs are rendered in takabori with kin-iroe and gin-iroe, frequently supplemented by solid gold (kinmuku) construction and kin'ura gilt backing. The sculptural manner is characterized by what the NBTHK repeatedly describes as "high mountains and deep valleys" -- a modulation of volume in which modeling rises emphatically while recesses are cut deep and clean, producing forceful and crisply articulated relief.
" Sojo inherited and tightened these forms with controlled elegance; Joshin amplified them to conspicuously larger scale with claws that are "characteristically large and long, with the tips splayed open"; Eijo brought a finer, more delicate precision to compositions of equally grand ambition; and Kenjo introduced a distinctive shosha quality -- austere and urbane -- that distinguished his work from the first six generations. The later masters sustained this discipline: Teijo's calm restraint and distinctive coloristic effects, Renjo's forty-five years of deeply worked takabori capturing instantaneous warrior movements, Tsujo's innovative left-right spreading compositions, and Hojo's reintroduction of machibori aesthetics into the official house style all demonstrate the lineage's capacity for renewal within tradition. The Goto house's enduring significance resides not merely in the technical excellence of individual masters but in the institutional continuity of a critical tradition sustained across four centuries. Works from the "upper six generations" (kami roku-dai) through Eijo established the canonical repertoire of prescribed okitemono motifs -- dragons, lions, paulownia crests, Kurikara, and auspicious figures -- while successive heads served simultaneously as makers and authenticators, issuing origami certificates and kiwame-mei inscriptions that themselves constitute important documents of connoisseurship. Valuations reaching one thousand kan and transmission through such distinguished collections as the Konoike, Shimazu, Tokugawa, and Maeda houses attest to the unrivaled esteem in which Goto metalwork has been held. Even Sokujo, whose tenure lasted barely four years before his death at thirty-two, left a small but distinguished body of work authenticated across eight subsequent generations of headmasters. From Yujo's founding vision through Hojo's final flowering -- whose technical command the NBTHK judges the finest from the twelfth master onward, betraying "not the slightest hint of the approaching conclusion" of the unbroken line -- the Goto house represents the defining standard against which all Japanese metalwork is measured, the wellspring from which the entire sokeN kinkO tradition flows. Learn more →
| Smith | Era | Designated |
|---|---|---|
| Goto Joshin後藤乗真 | 1512-1562 | 68 |
| Goto Yujo後藤祐乗 | 1440-1512 | 41 |
| Goto Kenjo後藤顕乗 | 1586-1663 | 46 |
| Goto Sojo後藤宗乗 | 1461-1538 | 55 |
| Goto Eijo後藤栄乗 | 1577-1617 | 35 |
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.
If you wish to return an item, please notify us within 3 days of receipt. After this period we cannot accept cancellations. Please ship the return to us within 5 business days. Cancellation is conditional on the item being kept in the same condition as at the time of sale, so please handle it with care.
This is a tsuba made by Mon Tokujo Mitsutaka during the Edo period. It features a lion incense burner design colored with gold on a Shakudo nanakoji ground. The tsuba comes with a Kiri box, Aoi Art estimation paper, and NBTHK Tokubetsu Hozon Tosogu paper.
NihontoWatchGoto Mitsutaka
Edo
Signed
Iebori · Nagato · around 1588
2 pieces on the market now
Goto Mitsutaka, known by the art name Enjo, was the eldest son and heir of the twelfth head of the Goto house, Goto Mitsusato (also recorded as Mitsumichi or Mitsuri), who bore the title Jujo. Mitsutaka was born in Kyoho 7 (1722). His childhood name was Kameichi; he later used the name Mitsunari, and his common name was Gennojo. In Kanpo 2 (1742), upon the death of his father, he changed his name to Shirobei Mitsutaka and succeeded as the thirteenth head of the Goto mainline. His tenure was the second-longest in the family's history, surpassed only by the tenth master Renjo, and he remained active over a remarkably extended period. In addition to his own creative production, Mitsutaka served as the foremost authenticator and appraiser of earlier Goto works, issuing kiwame judgments and origami valuations for pieces attributed to masters from the second generation Sojo through to the eighth generation Sokujo. His authentication inscriptions, bearing his kao, appear on works spanning the full breadth of the Goto legacy.
Mitsutaka's style largely inherits and faithfully transmits the established techniques of the Goto house, adhering closely to the canonical iebori tradition. His standard method employs shakudo nanako-ji grounds with takabori in gold and silver iroe on the kozuka and kogai, kin'ura gilt backing on the reverse, and solid gold (kinmuku) grounds for the menuki carved in rounded relief (yobori or nikubori). His thematic repertoire encompasses the officially sanctioned subjects (okite-mono) of the Goto house: lions (shishi), crawling dragons (hairyu), dancing cranes, the Twelve Zodiac Animals, tigers, phoenixes, horses, paired oxen, roosters, baku spirit-beasts, Kurikara dragons, rhinoceroses, and literary subjects drawn from The Tale of Genji. Among the NBTHK's recurring technical observations, it is noted that Goto works are generally executed with relatively few chisel strokes; while this tendency is visible in Mitsutaka's oeuvre, certain pieces stand out as exceptionally meticulous, displaying a greater density of chisel work and a carefully executed finish. His production strongly favors mitokoromono and sanshomono sets, whereas his tsuba output is comparatively scarce, a pattern noted explicitly in the NBTHK evaluations.
The NBTHK characterizes Mitsutaka's works as possessing a "poised dignity expressed with breadth" that represents the very forte of the Goto mainline. His lion carvings combine dignity with martial boldness; his monochrome shakudo compositions convey expressive power through the intensity of the black modeling alone; and his narrative scenes, such as the Kumagai-Atsumori temamono, achieve calm dignity amid dense, labor-intensive detail. Evaluative language across his designated works consistently invokes "elevated dignity," "serene spaciousness," and the "prestige and authority of the Goto mainline." Early-period works bearing his self-signature cut into the filed ground of the gilt back plate are identified as spirited masterpieces from his twenties, while mature productions demonstrate the full measure of Got tradition and formality. Mitsutaka occupies a pivotal position within the Goto lineage as the master who, across an exceptionally long career, consolidated and transmitted the iebori manner at its most authoritative, sustaining the house's institutional prestige through both his own accomplished carving and his role as the principal arbiter of the Goto canon.
Where Mitsutaka 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.
Iebori · Yamashiro
323 pieces on the market now
The Goto house stands as the preeminent dynasty of sword-fitting makers in the history of Japanese metalwork, an unbroken lineage of seventeen generations spanning from the founding master Yujo (1440--1512), who served Ashikaga Yoshimasa amid the refined culture of Higashiyama, through the final head Hojo (1816--1856) in the closing years of the Tokugawa shogunate. From its inception the house served successive rulers -- Ashikaga shoguns, Oda Nobunaga, Toyotomi Hideyoshi, and the Tokugawa -- and its productions became known as iebori, the "house carving" distinguished from machibori made for ordinary public demand. The fourth master Kojo first introduced warrior subjects and employed preparatory drawings by Kano Motonobu and Eitoku; the fifth master Tokujo struck the celebrated "Tokujo kiri" hallmark upon oban gold coinage for Hideyoshi; the third master Joshin -- "not only a metalworker but also a warrior" -- was killed in battle against the Azai clan in 1562. The seventh master Kenjo, praised since ancient times as a restorer of the house's fortunes (the finest exponents being termed Yuko-ken), traveled to Kaga and laid the foundations for the later flourishing of the Kaga-Goto tradition, while the tenth master Renjo carried the mainline from Kyoto to Edo, where it would remain through the seventeenth generation. The eleventh master Tsujo bridged the formal tradition with the expressive spirit of the Genroku era, and the thirteenth master Enjo served as an authoritative appraiser, authenticating works by earlier masters across the entire succession. The collective technical vocabulary of the Goto house is built upon shakudo nanako-ji grounds of extraordinarily minute and dense stippling, upon which motifs are rendered in takabori with kin-iroe and gin-iroe, frequently supplemented by solid gold (kinmuku) construction and kin'ura gilt backing. The sculptural manner is characterized by what the NBTHK repeatedly describes as "high mountains and deep valleys" -- a modulation of volume in which modeling rises emphatically while recesses are cut deep and clean, producing forceful and crisply articulated relief.
" Sojo inherited and tightened these forms with controlled elegance; Joshin amplified them to conspicuously larger scale with claws that are "characteristically large and long, with the tips splayed open"; Eijo brought a finer, more delicate precision to compositions of equally grand ambition; and Kenjo introduced a distinctive shosha quality -- austere and urbane -- that distinguished his work from the first six generations. The later masters sustained this discipline: Teijo's calm restraint and distinctive coloristic effects, Renjo's forty-five years of deeply worked takabori capturing instantaneous warrior movements, Tsujo's innovative left-right spreading compositions, and Hojo's reintroduction of machibori aesthetics into the official house style all demonstrate the lineage's capacity for renewal within tradition. The Goto house's enduring significance resides not merely in the technical excellence of individual masters but in the institutional continuity of a critical tradition sustained across four centuries. Works from the "upper six generations" (kami roku-dai) through Eijo established the canonical repertoire of prescribed okitemono motifs -- dragons, lions, paulownia crests, Kurikara, and auspicious figures -- while successive heads served simultaneously as makers and authenticators, issuing origami certificates and kiwame-mei inscriptions that themselves constitute important documents of connoisseurship. Valuations reaching one thousand kan and transmission through such distinguished collections as the Konoike, Shimazu, Tokugawa, and Maeda houses attest to the unrivaled esteem in which Goto metalwork has been held. Even Sokujo, whose tenure lasted barely four years before his death at thirty-two, left a small but distinguished body of work authenticated across eight subsequent generations of headmasters. From Yujo's founding vision through Hojo's final flowering -- whose technical command the NBTHK judges the finest from the twelfth master onward, betraying "not the slightest hint of the approaching conclusion" of the unbroken line -- the Goto house represents the defining standard against which all Japanese metalwork is measured, the wellspring from which the entire sokeN kinkO tradition flows. Learn more →
| Smith | Era | Designated |
|---|---|---|
| Goto Joshin後藤乗真 | 1512-1562 | 68 |
| Goto Yujo後藤祐乗 | 1440-1512 | 41 |
| Goto Kenjo後藤顕乗 | 1586-1663 | 46 |
| Goto Sojo後藤宗乗 | 1461-1538 | 55 |
| Goto Eijo後藤栄乗 | 1577-1617 | 35 |
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.
If you wish to return an item, please notify us within 3 days of receipt. After this period we cannot accept cancellations. Please ship the return to us within 5 business days. Cancellation is conditional on the item being kept in the same condition as at the time of sale, so please handle it with care.
