This striking Japanese sword guard (tsuba) features an intricate, high-relief ca
As seen on the obverse in, the central web (seppa-dai) bears the engraved signature (mei) of Goto Mitsuyoshi. The authenticity of this signature is a subject of notable discussion within the sword-fitting community.
This striking Japanese sword guard (tsuba) features an intricate, high-relief carving of dragons circling the rim, set against a highly detailed, stippled nanako (fish-roe) background. The piece takes the traditional four-lobed mokko-gata shape, showcasing highly skilled and dynamic metalwork. Signature and Authenticity Debate: As seen on the obverse in, the central web (seppa-dai) bears the engraved signature (mei) of Goto Mitsuyoshi. The authenticity of this signature is a subject of notable discussion within the sword-fitting community. While it is widely believed by many to be a gimei (a false signature added later to increase value), the renowned Japanese metalwork expert Ford Hallam has stated that he considers it to be a true, authentic mei. Despite Hallam's assessment, other specialists and collectors maintain differing opinions, leaving its definitive status a matter of ongoing debate. The reverse side, displayed, beautifully continues the fluid, wrapping dragon motif without any signature, maintaining the high quality of the carved nanako ground. Before his untimely departure, Mr. Ford Hallam did review this piece and its Mei. “Just to be clear, I think the work is of the standard of the artist named and that the Mei is correct.” Sent from my iPhone 04/22/2022.
2 high-resolution detail views — use zoom viewer to inspect hamon, jihada, and metalwork
Goto Mitsuyoshi
後藤光美Goto Mitsuyoshi (後藤光美, 1783–1835), historically recognized as Shinjo, the 15th mainline head of the illustrious Goto family, was a preeminent metalwork artist active in Edo during the late Tokugawa shogunate. Succeeding his father, Keijo (Mitsumori), he was a master of the Ie-bori (mainline) tradition, specializing in the classic combination of rich shakudō and nanako grounds adorned with exquisite iro-e takabori (colored high-relief carving). His work occasionally reflects the evolving tastes of the late Edo period through delicate kebori (fine engraving) and polished surfaces, featuring motifs such as peonies and ox-herding boys. Today, he is regarded by serious collectors as a vital link in the Goto succession, with his signed works serving as essential benchmarks for the 'Okite' (standard) of late-period orthodox metalwork.