NihontoWatchNihontoWatchI want to avoid expressing things too abstractly, but one is drawn to its elegance at a single glance. The trunk of the old pine is depicted like a vine, and while the scattered pine needles are understated, the silver tsuyu-zogan is effective. Perhaps the artist intended to express a stylish impression similar to a komon pattern, intentionally omitting a central protagonist from the subject matter. If pressed, the tips of the pine needles (silver tsuyu-zogan) are the protagonists, and their effortless arrangement is likely what makes it exquisite. The color of the yamagane also suits this texture, possessing a charm not found in shakudo. To use a metaphor, this kozuka is like having one's own wife by one's side. Looking at the nanako, one can see wear from being together for many years, but there are no losses to the silver zogan of the pine needles, and it is in good condition. Likely due to the composition of the subject and the sukidashi-style takabori, it has been given a kiwame of Ko-Mino. What exactly does Ko-Mino refer to? Style? Location? Composition? Materials? It is a realm difficult to understand with our level of knowledge. Surely they are not issuing kiwame based on someone's remarks or images... oh, excuse me. This work is a sode-kozuka converted from a kogai, and I view the era of the original kogai as late Muromachi. Based on the workmanship and condition, I would like to place it in the mid-Muromachi, but it is said that if it were Ko-Mino of that era, the niku-oki would be higher and the walls of the sukidashi carving would be closer to vertical, so let us interpret it according to the okite? In any case, it is my personal opinion that this is a charming masterpiece carrying the scent of Taisho Roman.
NihontoWatchOffered by Asahi Token
29 on the market
Ko-Mino School
Pre-Edo
Unsigned
Tokuho (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 →
A Hozon-certified fitting of notably superior craftsmanship and condition, often with signature or workmanship of high reference 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.
NBTHK official siteReturns are accepted within 7 days of the item's arrival, provided its condition has not changed since the time of sale. Once the return is confirmed, the payment is promptly refunded to your designated account.
¥280,000