NihontoWatchNihontoWatchA hon-kozuka made from a kogai-naoshi, with the mokko and warabite traces from its time as a kogai clearly remaining on both ends of the deep black shakudo ji-ita. If you ask whether there are no noteworthy highlights other than the fact it was structurally remade into a sode-kozuka, in truth, highlights—or rather, overlooked perspectives—are falling out all over the place... The contrast between the overly vivid gold and black jumps out at the eyes. From the sode to the ura-mei, the main body is wrapped all the way around in fukin. Furthermore, it is quite a thick gold plate. Similarly, the flowers are thick kin-iroe. At first glance, it looks like fukuro-gise, but it is probably yakitsuke. Despite being an old kogai-naoshi kozuka, there are no peeled areas. Casting a suspicious eye as to whether it is truly old and looking closely at the flowers, are they not worn down accordingly? On the sode at the koguchi side, the cut sections at both ends also have steps as if they were damaged. However, the gold plate covers both the flowers and the cut sections of the sode. In other words, one must conclude that the gold plate was applied to the state after it had worn down or been damaged. Is this how it happened? ...There was an old kogai. It was remade into a kozuka. At that time, or in a later generation, the gold plate was applied. Considering the current condition, the application of the gold plate is thought to be from a considerably later period, and I see it as coming down as far as the late Edo. This means the original kogai had no iroe and was solid black shakudo. To use a metaphor, it has been reborn as an alluring "bimajo" (beautiful witch)... it is to my liking. So, how old is it? A kozuka of almost identical shape and design is introduced in Kinko Mino Bori (written by Kokubo Kenichi). The period is late Muromachi. Compared to the published kozuka, although there is the difference of this work being a kogai, it is a precious reference for the kiwame of the period. As for this shop, we would like to place it in the Momoyama period due to the design feeling slightly newer, but here, for the reason that Mr. Kokubo's kiwame also has merit, we reach the conclusion of between late Muromachi and the Momoyama period... (Please do not get angry and say "What on earth is that?". I am led astray by the bimajo and my judgment is dulled.) Incidentally, this work has a hakogaki, and Mr. Kanzan gives the motif as "Kikyo-mon". Mr. Kokubo says "Kikyo Karakusa no zu". And the kanteisho says "Nadeshiko Karakusa zu". I think which one is correct can be left to each person's impression, but looking closely at the flowers... there is a slightly indented treatment on the outside of the petals. Was this intended to express a shape where the petals swell like a bowl? The tips of the five petals are not sharp, but seem to be rounded. Well, which do you all think it is? Or would you name a different flower? When ignoring such things as being trivial, there is also the proposal of simply "Shuka-zu" (Autumn Flower Design) rather than Akigusa-zu. After all, the kiwame is Ko-Mino. Regarding that Ko-Mino, this kozuka is no exception and is made in a sukidashibori style. However, if you look ve〜ry closely, the mon are not nikubori but rozuke suemon!
Offered by Asahi Token
29 on the market
Ko-Mino School
Pre-Edo
Unsigned
Hozon (NBTHK)
As written by the shop
Machine translation from the shop's Japanese · may contain errors ·
Kinko · Mino
29 pieces on the market now
The Ko-Mino school emerged during the mid-to-late Muromachi period, arising at approximately the same time as the Gotō family within the broader tradition of early metalworkers (ko-kinkō). While the Gotō lineage served the Ashikaga shogunal house from the first master Yūjō onward, Ko-Mino artisans operated outside official patronage, maintaining independence and at times working within the cultural sphere of the imperial capital. The school's chronological span extended through the Momoyama period, resulting in a notably wide range of workmanship across generations. Despite this temporal breadth, Ko-Mino developed a distinctive aesthetic identity separate from contemporary schools, establishing patterns and techniques that would define the tradition for generations. The defining characteristic of Ko-Mino work lies in its powerfully sculptural carving method, often described as "Mino's deep carving" (Mino no fukabori). On tsuba, kōgai, and kozuka, crests and motifs are executed with sharply rising chisel edges and pronounced three-dimensional relief achieved through sukidashi-bori and takabori techniques. In menuki, thin metal plates are worked with dramatic alternations of height and depth, frequently incorporating extensive openwork piercings (sukashi) that heighten the sense of movement and sculptural presence.
Materials typically include shakudō and yamagane with nanako-ji grounds, embellished with refined gold and silver iroe applied either through uttori (smooth, untextured reserves) or delicate inlay (zōgan). Thematically, Ko-Mino artisans favored autumn grasses—chrysanthemums, bush clover, patrinia—rendered with rich poetic sentiment, as well as grapevines (symbolizing the martial way through wordplay on budō), seaweed and shells (mogai-zu), pine trees, peonies with lions, and dragons. The so-called "Mino dragon" (Mino-ryū) represents a particularly distinctive motif, characterized by a tightly drawn body with numerous piercings and the dragon grasping the sacred jewel from the side, in marked contrast to Gotō dragons. " The school's impact on sword-fitting metalwork extended beyond technical innovation to encompass aesthetic philosophy—balancing sculptural dynamism with refined elegance (gami), and harmonizing powerful carving with delicate surface enrichment. Works exhibit characteristic structural features such as slender kōgai forms with long shafts, finely constricted necks, sharply rising mimikaki heads, and typical warabite terminals. The school's influence persisted into the Edo period, when appreciation for its bold relief carving gave rise to the designation "Mino deep carving," though later works in this manner represent a distinct development from the original Ko-Mino tradition. Through their mastery of three-dimensional carving and their introduction of fresh currents into sword-mounting aesthetics, Ko-Mino artisans established an enduring legacy that balances sculptural presence with courtly refinement. Learn more →
Certifies a genuine fitting worth preserving: a correct signature, or, if unsigned, an identifiable era and school, with recognized artistic and craft value.
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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