Ujiharu- 氏治

Ujiharu- 氏治 • This artisan is part of the Hamano (浜野) school lineage, specifically associated with the late-Edo metalworkers who specialized in high-relief carving (takabori) and mixed-metal inlay. Ujiharu's work is characterized by the dynamic, almost "painterly" quality of the carving, which was popular during the Bakumatsu era (the final years of the Shogunate). • Date: 慶應二年正月吉日 (Keiō ni-nen shōgatsu kichi-jitsu). • Keio 2 (1866): This is a critical year in Japanese history, just two years before the Meiji Restoration. 1866 was a time of immense social upheaval and civil unrest (the Boshin War was looming). • Lucky Day: The term Kichi-jitsu (lucky day) was a common auspicious way to date a custom-ordered piece, rather than naming a specific calendar day. Design and Motifs The style of this tsuba is known as Mokko-gata (four-lobed shape), resembling a cross-section of a quince fruit. The Dragon and Waves (Ryu to Nami) The primary motif is a Dragon weaving through turbulent Waves. • The Dragon: In Japanese culture, the dragon is a symbol of power, wisdom, and protection. During the turbulent 1860s, these symbols were often chosen by Samurai to represent strength in the face of political chaos. • The Carving Style: The deep, energetic carving seen here—where the dragon's body appears to dive in and out of the metal surface—is a hallmark of late Edo craftsmanship. Notice the fine detail in the scales and the "splashing" water droplets (represented by small raised dots or granules). Material The base metal appears to be Shibuichi (an alloy of copper and silver) or a patinated Yamagane (mountain copper). The dark, rich patina highlights the contrast between the polished highlights of the waves and the darker recesses of the scales. Historical Context 1866 was a year of "The Great Change." While this tsuba was being crafted, Japan was grappling with the arrival of Western powers and internal rebellion. It is very likely that a piece this ornate and dated so specifically was a custom commission for a high-ranking samurai or a wealthy patron who wanted a protective talisman (the dragon) during an era of extreme uncertainty. This is a beautiful example of "Bakumatsu-kinko" (late Edo metalwork), where the artisan moved away from the austere styles of the past toward more flamboyant, expressive art.