NihontoWatchNihontoWatchThe reading of the name Tomoyoshi is not known, but he was a kinko who was active in the late Edo period as one of the Choshu tsubako, and this work exhibits a style typical of Choshu tsuba, such as the calm tetsu-aji, dignified takabori, and a composition that skillfully brings the landscape together. This work is a daisho tsuba using tetsu-ji, depicting scenes of farming where a farmer sows seeds and pulls an ox to till the land, rendered through lively expressions of the figures and skillful takabori. The composition, which skillfully arranges mountain ranges, pine trees, private houses, and fields, has depth, and the structure, arranged so that a single landscape continues across the daisho, is also superb. Details are carefully finished, such as the kozuka-hitsuan being filled with shakudo on the dai-tsuba and the kogai-hitsuan being filled with shakudo on the sho-tsuba, and the tetsu-aji is also extremely good, with the jinie tinged with a calm blackness creating a dignified atmosphere. Zogan and iroe in kin, gin, shakudo, and suaka are also effectively placed to the necessary minimum, adding color to the scene without compromising the overall dignity, and it is a workmanship that fully demonstrates the excellent hori techniques and compositional power of Tomoyoshi. Works handed down as a daisho set that also possess Tokubetsu Hozon Tosogu Kanteisho are rare on the market, and this is a superior item with high value for both appreciation and as reference material.
NihontoWatchOffered by Toushin
19 on the market
As written by the shop
Machine translation from the shop's Japanese · may contain errors ·
Iron-tsuba · Nagato
19 pieces on the market now
The tsuba-making traditions of Choshu domain (Nagato Province) trace their origins to the migration of Heianjo-sukashi openwork craftsmen from Kyoto, invited by the Ouchi family of Suo and Nagato during the Muromachi period. This transplanted lineage gave rise to the Ko-Hagi group, which flourished from the late Muromachi into the early Edo period and established a distinctive regional idiom in iron openwork. Under the subsequent patronage of the Mori clan, Choshu developed into one of Japan's foremost centres of tsuba production, earning the epithet that placed it alongside Aizu as the two great guard-making provinces: notable both for the number of artisans and the volume of work. Multiple lineages emerged — among them the Kawaji, Nakahara, Hatto, Okada, Okamoto, Kaneko, and Nakai — with Nakai Tomotsune (also known as Zensuke) achieving particular renown as a kakae-ko (retainer craftsman) of the Mori household, receiving a stipend from Horeki 8 (1758). The collective vocabulary of the Choshu tradition is grounded in iron: thin, carefully forged plates with rich surface character, including tsuchime-ji (hammered ground).
" The later Nakai school extended this foundation into a broader technical range, deploying sukidashi takabori high relief, kinzogan iroe (gold inlay with polychrome accents), shibuichi, and gold nunome-zogan in compositions of considerable ambition — naturalistic subjects such as frolicking tenaga-zaru monkeys and theatrical Shiki Samban scenes rendered with "taut, controlled modeling" and effective distribution of irogane colour metals. The Choshu tradition occupies a singular position within the tosogu canon as a regional milieu whose finest productions transcend mere provincial category. The NBTHK has recognised that the best works by Nakai Tomotsune surpass "what is ordinarily encompassed by the category of so-called Hagi tsuba,"[[c:1]] distinguished in composition, carving technique, and the character of the iron (tetsumi) alike[[c:2]]. At the same time, the Ko-Hagi group preserves an older and quieter aesthetic — rooted in the Kyoto openwork heritage yet transformed into something "not seen in other makers' work" — that testifies to the depth and continuity of metalworking practice in Nagato Province across several centuries. Learn more →
| Smith | Era | Designated |
|---|---|---|
| Tomonori友矩 | 1770-1800 | 0 |
| Tomohiro友広 | — | 0 |
| Tomotsune友恒 | 1670 | 2 |
| Nobushige信重 | 1781-1867 | 0 |
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 siteAs a rule we do not accept returns, except when we have sent a different item from the one ordered or when there is a significant discrepancy between the description and the item. If you wish to return an item, please contact us within 3 days of its arrival and then send it back.
¥1,100,000