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Fine Kyoto Kinko aikuchi mounts and a tanto
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Description
Fine Kyoto Kinko aikuchi mounts and a tanto
signed, dated 1858
the complete set of an akagi-style koshirae saya and a tsuka mounted with iron and shakudo kanagu en suite decorated with peony, the kashira of a large peony: signed Isshi (Hashimoto) and with a kao, dated tsuchinoe nen haru, kiko nai; a shakudo-nanako band [tsuka-tsutsugane] with two inlaid iron peony hanashi menuki, one signed Hidekuni (Kawarabayashi) and the other Tokuoki (Shinoyama); another iron peony in two sections over an iron fuchi and a koiguchi, the recessed area for the kozuka in gold and signed Tomei (Araki) and with a kao, the silver lining further inscribed Ansei daigo tsuchinoe ushi toshi haru, kiko no uchi Ginshotei; an iron uragawara, signed Tokuhiro (Shinoyama) and with a kao; a kurikata signed Tsuchinoe ushi moshun Imai Nagatake saku and with a kao; a kojiri signed Ansei go kaigu no uchi, Gassan (Matsuo); a kozuka signed Botan kaigu kunin kiko nari, oju ko-gatana saya, Tansetsu tetsu Ishu, Ansei daigo tsuchinoe ushi toshi Shunsho, Isshin (Wada) Seiryu and with a kao, and an inlaid unsigned peony to the saya; with a hirazukuri tanto bearing a carving of bonji signifying Aizen Myo-o and a courtier on an ox, tang with two holes; mei: Soshu ju Hiromasa, 27.9cm.; suguha with nie and nioi; itame hada, in shirasaya, in a fitted lacquer box decorated in gold with a ginkgo leaf motif (3)
overall length of the mounts 17 1/2 in. (44.4cm.)
The koshirae is accompanied by an NBTHK juyo toso certificate.
These mounts were ordered to be made by the following celebrated students of Goto Ichijo (1791-1876) and Otsuki school:
Shinoyama Tokuoki (1813-1891)
Wada Isshin (1814-1882)
Matsuo Gassan (1815-1875)
Araki Tomei (1817-1874)
Imai Nagatake (1818-1882)
Hashimoto Isshi (1820-1896)
Kawarabayashi Hidekuni (1825-1891)
Shinoyama Tokuhiro (1831-1871)
Although the set was made by nine artists, all the flowers express masterful cohesion. They demonstrate the fine techniques taught by their masters even though iron is the most difficult medium to work with.
Published:
NBTHK, 1987
signed, dated 1858
the complete set of an akagi-style koshirae saya and a tsuka mounted with iron and shakudo kanagu en suite decorated with peony, the kashira of a large peony: signed Isshi (Hashimoto) and with a kao, dated tsuchinoe nen haru, kiko nai; a shakudo-nanako band [tsuka-tsutsugane] with two inlaid iron peony hanashi menuki, one signed Hidekuni (Kawarabayashi) and the other Tokuoki (Shinoyama); another iron peony in two sections over an iron fuchi and a koiguchi, the recessed area for the kozuka in gold and signed Tomei (Araki) and with a kao, the silver lining further inscribed Ansei daigo tsuchinoe ushi toshi haru, kiko no uchi Ginshotei; an iron uragawara, signed Tokuhiro (Shinoyama) and with a kao; a kurikata signed Tsuchinoe ushi moshun Imai Nagatake saku and with a kao; a kojiri signed Ansei go kaigu no uchi, Gassan (Matsuo); a kozuka signed Botan kaigu kunin kiko nari, oju ko-gatana saya, Tansetsu tetsu Ishu, Ansei daigo tsuchinoe ushi toshi Shunsho, Isshin (Wada) Seiryu and with a kao, and an inlaid unsigned peony to the saya; with a hirazukuri tanto bearing a carving of bonji signifying Aizen Myo-o and a courtier on an ox, tang with two holes; mei: Soshu ju Hiromasa, 27.9cm.; suguha with nie and nioi; itame hada, in shirasaya, in a fitted lacquer box decorated in gold with a ginkgo leaf motif (3)
overall length of the mounts 17 1/2 in. (44.4cm.)
The koshirae is accompanied by an NBTHK juyo toso certificate.
These mounts were ordered to be made by the following celebrated students of Goto Ichijo (1791-1876) and Otsuki school:
Shinoyama Tokuoki (1813-1891)
Wada Isshin (1814-1882)
Matsuo Gassan (1815-1875)
Araki Tomei (1817-1874)
Imai Nagatake (1818-1882)
Hashimoto Isshi (1820-1896)
Kawarabayashi Hidekuni (1825-1891)
Shinoyama Tokuhiro (1831-1871)
Although the set was made by nine artists, all the flowers express masterful cohesion. They demonstrate the fine techniques taught by their masters even though iron is the most difficult medium to work with.
Published:
NBTHK, 1987