A MASTERPIECE OF NARRATIVE ART: THE BATTLE OF UJIGAWA CROSSING

A MASTERPIECE OF NARRATIVE ART: THE BATTLE OF UJIGAWA CROSSING

Collection Record
School / TraditionGōzan 派
Historical PeriodLate Edo Period
Typetsuba · tosogu
Material—
Analyzing details...

Behold the breathtaking detail and dramatic narrative of this exquisite Tate Mura-Gata (oval) Tsuba, a work of art from the renowned Hamano school. This piece captures a pivotal moment from the Battle of Ujigawa that took place on June 20, 1180; marking the beginning of the Genpai War, rendered with all the skill and artistry for which this lineage is famed.

Provenance & History

On one side (Omote), a determined samurai in full, meticulously rendered armor surveys the treacherous Uji River from the safety of a rocky shore, holding a war fan and standard aloft, as a pine branch arches above. Turn the tsuba to the Ura side, and the same figure and his horse are plunged into the frothing, turbulent waves, half-submerged as they struggle against the current with a bow, striving to make it across. The sense of movement and power in the churning water, highlighted by frothing gold spray, is palpable, creating a powerful sequential narrative across the two faces.

Full Description

A MASTERPIECE OF NARRATIVE ART: THE BATTLE OF UJIGAWA CROSSING Behold the breathtaking detail and dramatic narrative of this exquisite Tate Mura-Gata (oval) Tsuba, a work of art from the renowned Hamano school. This piece captures a pivotal moment from the Battle of Ujigawa that took place on June 20, 1180; marking the beginning of the Genpai War, rendered with all the skill and artistry for which this lineage is famed. On one side (Omote), a determined samurai in full, meticulously rendered armor surveys the treacherous Uji River from the safety of a rocky shore, holding a war fan and standard aloft, as a pine branch arches above. Turn the tsuba to the Ura side, and the same figure and his horse are plunged into the frothing, turbulent waves, half-submerged as they struggle against the current with a bow, striving to make it across. The sense of movement and power in the churning water, highlighted by frothing gold spray, is palpable, creating a powerful sequential narrative across the two faces. This is a tour-de-force of machibori craftsmanship, the specialty of the Hamano school. The deep, rich Shakudō plate provides a velvety dark background for the high-relief (takazōgan and shishiaibori) inlay of copper, gold, and different shades of shakudō, creating a symphony of textures and tones. Every element, from the individual plates of the armor to the texture of the water and the delicate tree needles, is rendered with stunning precision. The Hamano lineage, founded by the seminal artist Hamano Shōzui, was a premier machibori school that thrived on creating such highly detailed, narrative-driven scenes from literature and history. This specific piece is a key to unlocking the master's hand, thanks to the rare, comprehensive signature on the reverse face (Ura). Decoded from right to left, the characters read: 瑞雲堂 (Zuiundō): The artist's distinctive art name or studio name, 'Hall of Auspicious Clouds.' 濱野 (Hamano): Stamping his authority and lineage within the Hamano school. 吉兵衛尉 (Kichibē-jō): An honorary title used within the school's upper echelons. 満 (Mitsu): The artist's personal name, or Mitsuru. Thus, this Tsuba is the work of Kichibē-jō Mitsu (also known as Zuiundō Hamano Mitsu), a master craftsman who has captured a piece of epic history and preserved it within this elegant, functional frame. This is more than an artifact; it is a portal into the narrative world of Edo-period Japan.

刀工 — Maker Profile

Hamano Naoyuki

濱野吉兵衛尉満
PeriodEdo Period
ProvinceEdo

Hamano Naoyuki (1754–1829), active in Edo under the art name Zuiundō, was a preeminent master of the Hamano school and a direct pupil of Hamano Noriyuki [[1]](http://nihontofrance.com/tosogu-2/tsuba-naoyuki-2/?lang=en), [[4]](https://www.metmuseum.org/art/collection/search/25738). His oeuvre epitomizes the school’s transition into the late Edo period, characterized by a vigorous application of *taka-nikubori* (high relief) and *iroe taka-zōgan* (multi-colored metal inlay) often set against rich *shakudō* or iron grounds [[9]](https://www.christies.com/en/lot/lot-4962485), [[11]](https://yakiba.com/kozuka-hamano-noriyuki/). Naoyuki is celebrated for his sophisticated treatment of classical Chinese themes and historical figures, a stylistic hallmark that earned him a *Jōkō* (Superior Artisan) ranking in the *Kinkō Meikan* [[1]](http://nihontofrance.com/tosogu-2/tsuba-naoyuki-2/?lang=en), [[4]](https://www.metmuseum.org/art/collection/search/25738). Today, his work is highly sought by collectors for its technical virtuosity and its embodiment of the *machibori* (townsman carving) movement’s expressive power [[11]](https://yakiba.com/kozuka-hamano-noriyuki/).