NihontoWatchNihontoWatchThis work is an extremely magnificent set of daisho tsuba in iron, expressing an evocative riverside scene through a skillful composition and precise nikubori ji-sukashi technique. The subject matter consists of anchored boats moored at the water's edge and plovers flying vibrantly in flocks through the sky above, expressing a traditional motif beloved in Japanese poetry and painting since ancient times in a luxurious daisho matching set. On the dai tsuba, a boat firmly tied to a pier piling is sturdily positioned, and in the space extending from there, reeds and plovers are splendidly expressed through delicate sukashibori. On the sho tsuba, gently undulating wave crests, the prow of the boat depicted on the dai tsuba, and similarly, riverside reeds and plovers are arranged through magnificent sukashibori, creating a design where one can enjoy the subtle beauty of a single composition across the large and small pieces. What should be specially noted is the carving of the plovers arranged as if surrounding the upper part of the tsuba. The sight of them dancing through the space with wings spread and tails upturned, each bird in a different lively pose, is carefully pierced with a thick, three-dimensional feel; even when viewed from the ura, one can see that the overlapping feathers of the plovers, the structure of the boat, and the three-dimensionality of the waves are precisely carved without any collapse in form. The beauty of the composition in both the large and small pieces individually is outstanding, the forging of the iron ground is also good, and the calm, deep, and beautiful jet-black sabi-iro is an elegant masterpiece perfect for both practical use and appreciation, conveying a refined dignity to the present day. We recommend this with confidence as fittings that will further elevate the prestige of a daisho koshirae, or as a superior item for a collection.
NihontoWatchOffered by Toushin
We couldn’t find current papers for this piece. Ask the dealer whether it has been, or can be, submitted to shinsa. — Hoshi
2 on the market
As written by the shop
Machine translation from the shop's Japanese · may contain errors ·
Iron-tsuba · Musashi
2 pieces on the market now
Iron-tsuba · Musashi
53 pieces on the market now
The Ito school (伊藤派) was a prolific kinkō lineage based in Kanda, Edo, in Musashi province. The line was established by Masanaga (正長, d. 1727), who received appointment as official tsuba maker (kōgi o-kakae tsubashi) to the Tokugawa Shogunate following an audience with Shogun Ienobu in 1710. Successive heads bore the character 正 (Masa-) in their art names, producing ten recorded generations from the Genroku era through the Meiji period. The second-generation master Masatsune (正恒) developed ito-sukashi (糸透かし), the school's signature technique of extremely fine saw-cut openwork. The tenth and final head, Itō Katsumi (伊藤勝見, 1829--1910), originally named Masataka (正隆), entered the school of Tanaka Seiju (田中清寿) at twelve, was adopted into his master's household at seventeen, and received the rank of Hōkyō (法橋) while still young, together with the art name Tōryūsai (東竜斎). After parting ways with Seiju, Katsumi studied maki-e under Shibata Zeshin (柴田是真), and in Man'en 1 (1860) was adopted into the Itō Masahiro family, becoming the tenth-generation head. This dual formation -- kinkō discipline under the Tanaka lineage and lacquer refinement under Zeshin -- profoundly shaped the school's late output.
The Ito school's collective style is characterised by mastery of zōgan (象嵌, inlay) and iroe (色絵, polychrome metalwork) deployed with what the setsumei repeatedly describe as precision and accuracy. Works are executed on plates of iron, shibuichi (四分一), oboro-gin (朧銀), or shakudō (赤銅), frequently with nanako-ji (魚子地) grounds. The technical repertoire encompasses takabori (高彫, high relief), sukidashi takabori (鋤出高彫), katakiribori (片切彫), fine kebori (毛彫, hairline engraving), suemon-zōgan (据文象嵌), and nunome-zōgan (布目象嵌), often combined within a single composition. Masatsune's work employs shippō (七宝, cloisonné enamel) on iron plate, as seen in a unified uchigatana koshirae signed "Bushū-jū Masatsune" whose tsuba, fuchi-kashira, kurikata, and kaerizuno are coordinated as a single aesthetic programme[[c:1]] with raden (螺鈿, mother-of-pearl) and gold uchikomi (打込) work. Katsumi's mature output favours figural and narrative subjects: the Frog Battle after the celebrated Chōjū-giga scrolls attributed to Toba Sōjō, Gama Sennin with his toad beneath a willow, and Daisē Fudō Myōō realised with emphatic devotional presence. "[[c:6]] The Ito school occupies a distinctive place in the tsuba canon as a Musashi-based lineage that sustained high-level production across the entire Edo period. Its works were widely disseminated through the sankin-kōtai system, as samurai from all provinces acquired Ito tsuba during their attendance in Edo. "[[c:7]] That his tsuba depicting the Chōjū-giga Frog Battle is described as a "forceful work from his later years"[[c:5]] whose "composition, which successfully preserves the spirit of the original painting, is outstanding" confirms the school's enduring capacity to unite pictorial invention with metalworking virtuosity. Learn more →
| Smith | Era | Designated |
|---|---|---|
| Katsumi勝見 | — | 4 |
| Masafusa正房 | 1670 | 1 |
| Sadatsune貞恒 | — | 0 |
| Masayoshi正備 | — | 0 |
| Masakane正金 | — | 0 |
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.
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¥330,000