Emerging from the Depths: The Power of Chōshū Tomonobu
This tsuba is a striking example of the Chōshū school's masterful metalwork from the Edo period. It demonstrates the school's hallmark sukidashibori technique, where the background is carved away to leave the design in dramatic high relief. The piece exemplifies the Chōshū tradition of transforming iron into scenes of fluid, dynamic motion.
Good condition; deep chiseling and jet-black patina intact, with dramatic high-relief carving well-preserved.
Emerging from the Depths: The Power of Chōshū Tomonobu The raw, mythological power of the dragon (龍, ryū) is captured in solid metal, breaching the surface of churning waves and turbulent storm clouds. This exceptional tsuba (鍔) bears the signature Chōshū Tomonobu saku (長州友信作), a striking example of the Chōshū school's masterful metalwork from the Edo period. Tomonobu utilized the school's hallmark sukidashibori (鋤出彫) technique—the painstaking process of carving away the solid background to leave the design in dramatic, high relief. Emerging from the jet-black void, the deep chiseling catches the shadows perfectly, breathing life and aggressive three-dimensionality into the dragon’s intense gaze and the sweeping, kinetic energy of the sea. A stunning testament to the Chōshū artisans, who forged unyielding iron and bronze into scenes of fluid, breathing motion. Made of iron with beautifully carved dragon. Size: 75 mm x 71 mm x 4 mm
Chōshū Tomonobu
長州友信Chōshū Tomonobu (長州友信), most commonly identified as a member of the **Nakai family** within the Chōshū school, was a skilled artisan of sword fittings (*tosogu*) active in Nagato Province during the mid-to-late Edo period. Trained in the rigorous traditions of the Nakai lineage, his work is defined by the masterful manipulation of *tetsu-ji* (iron), typically featuring elegant *yo-sukashi* (positive silhouette) and refined *nikubori* (fleshy, high-relief carving) that exemplifies the Chōshū aesthetic [3]. His thematic motifs frequently drew from classical nature, such as gnarled pines, flowering plum branches, and traditional landscapes, executed with a precision that balances the inherent strength of the iron with a delicate, painterly sensibility [3], [7]. While he remains a more specialized figure compared to the school's primary masters, Tomonobu is regarded by scholars and serious collectors as a sophisticated practitioner whose works represent the technical maturity and stylistic grace of late Chōshū metalwork.