This is a kozuka attributed to Funeda Ikkin from the late Edo period. It features a plum and moon design with kōsuki carving and kebori engraving, combined with flat inlay of gold and silver on a shakudō polished surface. It comes with a Kiri Box, NBTHK Hozon Paper, and Aoi Art estimation paper.
NihontoWatch
Ichijo Ikkin
Edo
Unsigned
Iebori · Dewa / Edo / Yamashiro
2 pieces on the market now
Funada Ikkin was born in Shonai in Dewa Province, the son of Funada Hirotsune, himself a pupil of Iwamoto Kanri. In Bunsei 9 (1826), at the age of fifteen, Ikkin went to Edo and studied under Kumagai Yoshiyuki before entering the school of Goto Ichijo in Bunsei 11 (1828), where he trained for seven years in Kyoto. He then returned to Edo, established himself independently, and became a retained artisan of the Sakai family of Shonai. He died in Bunkyu 3 (1863) at the age of fifty-two. The NBTHK consistently identifies him as "one of the foremost disciples" within the circle of Goto Ichijo, a position reinforced across multiple designations that place him at the summit of Ichijo's school.
Ikkin was highly proficient in both takabori and katakiribori, but it is in kosuki-bori that his reputation is singular: in this technique "he admitted no rival," and even his teacher Ichijo is said to have lamented that "kosuki-bori is beyond my own reach."[[c:3]] His work on shakudo ground -- whether nanako-ji or tsuchime-ji -- demonstrates precise control of depth and shallowness in the carving[[c:2]], and his application of gold and silver hira-zogan and iroe is repeatedly described as deft and accomplished. He favored traditional subjects of the Goto house, rendering the shikunshi (Four Gentlemen) and the crawling dragon -- a canonical okagei motif -- with an inventive, distinctive expression that nonetheless honors the lineage from which it springs.
The NBTHK's evaluations return consistently to a vocabulary of power tempered by refinement. His dragon sansho-mono is called "a dignified, forceful work in which Ikkin's vigor and commanding spirit are fully evident[[c:1]]," while his shikunshi sets are praised for "a clear, refined elegance." Of his kozuka depicting the Wago-shin, the assessment is direct: "a painstaking work demonstrating the highest level of skill among the disciples of Goto Ichijo[[c:4]]." The recurring judgment that his ability "comes very close to rivalling his master" places Funada Ikkin at the foremost rank of late Edo tosogu artists working within the Ichijo tradition.
Where Ikkin 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 · Kyoto
32 pieces on the market now
" Ichijo was the fifth-generation head of the Shichiroemon house, a cadet branch of the Goto family, and trained under Hanzaemon Kamejo before succeeding to the headship at fifteen. His imperial commissions -- fittings for Emperor Kokaku in 1824 and Emperor Komei in 1862 -- earned him the ranks of Hokyo and Hogen respectively, and his atelier in Kyoto attracted a circle of gifted disciples who extended his aesthetic into the Bakumatsu and early Meiji periods. Among them, the celebrated "Five Tigers" (Goko) -- Funada Ikkin, Imai Nagatake, Hashimoto Isshi, Nakagawa Issho, and Wada Isshin -- together with the master's younger brother Goto Koran, constituted one of the most prolific and technically accomplished workshops in the history of Japanese tosogu production. The collective technical identity of the Ichijo school rests upon a foundation of shakudo nanako-ji of surpassing fineness -- described as "minute and orderly, deep and limpid," meriting the appellation kinume-nanako -- upon which elaborate pictorial compositions are built through takabori enriched by polychrome iroe employing gold, silver, shakudo, shibuichi, and suaka. Ichijo himself established the artistic direction by shifting from the canonical iebori subjects of dragons and lions toward compositions centered on close observation (shasei), rendering grasses, flowers, insects, birds, and landscapes with meticulous carving and refined dignity. This painterly sensibility pervades the entire school. Nagatake brought a distinctive ornamental density, arranging seasonal plants across entire surfaces with richly varied colored metals.
" Ikkin developed an unrivaled command of kosuki-bori -- a bold, thick chiseling technique that even Ichijo conceded was "beyond my own reach[[c:1]]" -- and his dragon subjects carried a distinctive forcefulness. " Isshin absorbed the hereditary vocabulary while concentrating creative zeal into individual passages of invention, and Issho achieved works of luxurious, courtly elegance through refined kinu-nanako and precise kebori. Koran, working in a manner akin to his elder brother yet "finished with an even more delicate and nuanced sensibility," brought the Shichiroemon branch to its most accomplished expression. Across the school, the favored tsuba form is the sumi-iri mokko-gata, and many works exhibit chuya shitate -- "day-and-night" construction using contrasting alloys on obverse and reverse. Complete daisho soroe kanagu sets, coordinated around seasonal, auspicious, or literary-historical themes, represent the school's highest format. " This standard was transmitted faithfully through the circle. " The school's productions are consistently praised for an elevated, Kyoto-inflected refinement that balances splendor and restraint in just measure. Learn more →
| Smith | Era | Designated |
|---|---|---|
| Goto Ichijo後藤一乗 | — | 91 |
| Tomei東明 | — | 31 |
| Nagatake永武 | — | 14 |
| Ikkin一琴 | — | 11 |
| Issho一匠 | 1828-1876 | 10 |
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 kozuka attributed to Funeda Ikkin from the late Edo period. It features a plum and moon design with kōsuki carving and kebori engraving, combined with flat inlay of gold and silver on a shakudō polished surface. It comes with a Kiri Box, NBTHK Hozon Paper, and Aoi Art estimation paper.
NihontoWatchIchijo Ikkin
Edo
Unsigned
Iebori · Dewa / Edo / Yamashiro
2 pieces on the market now
Funada Ikkin was born in Shonai in Dewa Province, the son of Funada Hirotsune, himself a pupil of Iwamoto Kanri. In Bunsei 9 (1826), at the age of fifteen, Ikkin went to Edo and studied under Kumagai Yoshiyuki before entering the school of Goto Ichijo in Bunsei 11 (1828), where he trained for seven years in Kyoto. He then returned to Edo, established himself independently, and became a retained artisan of the Sakai family of Shonai. He died in Bunkyu 3 (1863) at the age of fifty-two. The NBTHK consistently identifies him as "one of the foremost disciples" within the circle of Goto Ichijo, a position reinforced across multiple designations that place him at the summit of Ichijo's school.
Ikkin was highly proficient in both takabori and katakiribori, but it is in kosuki-bori that his reputation is singular: in this technique "he admitted no rival," and even his teacher Ichijo is said to have lamented that "kosuki-bori is beyond my own reach."[[c:3]] His work on shakudo ground -- whether nanako-ji or tsuchime-ji -- demonstrates precise control of depth and shallowness in the carving[[c:2]], and his application of gold and silver hira-zogan and iroe is repeatedly described as deft and accomplished. He favored traditional subjects of the Goto house, rendering the shikunshi (Four Gentlemen) and the crawling dragon -- a canonical okagei motif -- with an inventive, distinctive expression that nonetheless honors the lineage from which it springs.
The NBTHK's evaluations return consistently to a vocabulary of power tempered by refinement. His dragon sansho-mono is called "a dignified, forceful work in which Ikkin's vigor and commanding spirit are fully evident[[c:1]]," while his shikunshi sets are praised for "a clear, refined elegance." Of his kozuka depicting the Wago-shin, the assessment is direct: "a painstaking work demonstrating the highest level of skill among the disciples of Goto Ichijo[[c:4]]." The recurring judgment that his ability "comes very close to rivalling his master" places Funada Ikkin at the foremost rank of late Edo tosogu artists working within the Ichijo tradition.
Where Ikkin 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 · Kyoto
32 pieces on the market now
" Ichijo was the fifth-generation head of the Shichiroemon house, a cadet branch of the Goto family, and trained under Hanzaemon Kamejo before succeeding to the headship at fifteen. His imperial commissions -- fittings for Emperor Kokaku in 1824 and Emperor Komei in 1862 -- earned him the ranks of Hokyo and Hogen respectively, and his atelier in Kyoto attracted a circle of gifted disciples who extended his aesthetic into the Bakumatsu and early Meiji periods. Among them, the celebrated "Five Tigers" (Goko) -- Funada Ikkin, Imai Nagatake, Hashimoto Isshi, Nakagawa Issho, and Wada Isshin -- together with the master's younger brother Goto Koran, constituted one of the most prolific and technically accomplished workshops in the history of Japanese tosogu production. The collective technical identity of the Ichijo school rests upon a foundation of shakudo nanako-ji of surpassing fineness -- described as "minute and orderly, deep and limpid," meriting the appellation kinume-nanako -- upon which elaborate pictorial compositions are built through takabori enriched by polychrome iroe employing gold, silver, shakudo, shibuichi, and suaka. Ichijo himself established the artistic direction by shifting from the canonical iebori subjects of dragons and lions toward compositions centered on close observation (shasei), rendering grasses, flowers, insects, birds, and landscapes with meticulous carving and refined dignity. This painterly sensibility pervades the entire school. Nagatake brought a distinctive ornamental density, arranging seasonal plants across entire surfaces with richly varied colored metals.
" Ikkin developed an unrivaled command of kosuki-bori -- a bold, thick chiseling technique that even Ichijo conceded was "beyond my own reach[[c:1]]" -- and his dragon subjects carried a distinctive forcefulness. " Isshin absorbed the hereditary vocabulary while concentrating creative zeal into individual passages of invention, and Issho achieved works of luxurious, courtly elegance through refined kinu-nanako and precise kebori. Koran, working in a manner akin to his elder brother yet "finished with an even more delicate and nuanced sensibility," brought the Shichiroemon branch to its most accomplished expression. Across the school, the favored tsuba form is the sumi-iri mokko-gata, and many works exhibit chuya shitate -- "day-and-night" construction using contrasting alloys on obverse and reverse. Complete daisho soroe kanagu sets, coordinated around seasonal, auspicious, or literary-historical themes, represent the school's highest format. " This standard was transmitted faithfully through the circle. " The school's productions are consistently praised for an elevated, Kyoto-inflected refinement that balances splendor and restraint in just measure. Learn more →
| Smith | Era | Designated |
|---|---|---|
| Goto Ichijo後藤一乗 | — | 91 |
| Tomei東明 | — | 31 |
| Nagatake永武 | — | 14 |
| Ikkin一琴 | — | 11 |
| Issho一匠 | 1828-1876 | 10 |
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.
