Chōshū Mitsutaka (光高) Cloud and Dragon TsubaChōshū Mitsutaka (光高) Cloud and Dragon Tsuba

Chōshū Mitsutaka (光高) Cloud and Dragon Tsuba

Collection Record
School / TraditionChōshū School 派
Historical PeriodLate-Edo Period
Typetsuba · tosogu
Material-

This tsuba was crafted by Mitsutaka (光高), a 3rd–4th generation master craftsman from Chōshū domain (modern Yamaguchi Prefecture). He was a disciple of Tomokata, the 6th head of the prestigious Okamoto family, and was renowned for his specialization in cloud and dragon designs. The piece exemplifies the refined metalworking tradition of the Chōshū school during the late Edo period. Its NBTHK Tokubetsu Hozon certification attests to its exceptional quality and authenticity.

Provenance & History

NBTHK Tokubetsu Hozon Token certified

Condition

NBTHK Tokubetsu Hozon Token certified; no additional condition notes provided

Specifications
Heightapproximately 73 mm
Widthapproximately 70 mm
Seppa-dai heightapproximately 6 mm
SubjectCloud and dragon (kumo-ryū)
TypeTsuba
NBTHK certificationTokubetsu Hozon Token
Full Description

Chōshū Mitsutaka (光高) 3rd–4th generation Late Edo period (circa 1800–1860) This cloud and dragon tsuba design by Mitsutaka 光高, a master craftsman from Chōshū (modern Yamaguchi Prefecture). He was a disciple of Tomokata, the 6th head of the Okamoto family, and specialized in cloud and dragon designs. Size is approximately 73 mm in height, 70 mm in width, and the height of the seppa-dai (washer base) is approximately 6 mm. NBTHK Tokubetsu Hozon Token.

Authentication & Papers
Detail Gallery
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刀工 — Maker Profile

Chōshū Mitsutaka

光高
SchoolChōshū
PeriodEdo Period
ProvinceChōshū

Chōshū Mitsutaka, often identified with the Ono family, was a proficient *tosogu* (sword fitting) artisan active in Nagato Province during the mid-to-late Edo period [17][18]. While specific details of his personal lineage remain relatively obscure in the broader historical record, his work is firmly grounded in the Chōshū school’s tradition of utilizing dense, high-quality iron as a canvas for sophisticated sculptural carving [13][17]. His stylistic hallmarks include the use of *nikubori sukashi* (sculptural openwork) and *takabori* (high relief), frequently featuring classical thematic motifs such as fierce dragons or refined botanical subjects [18][20]. Among collectors, Mitsutaka is regarded as a disciplined practitioner of the Chōshū aesthetic, valued for his ability to maintain robust material integrity while achieving the crisp, confident detailing characteristic of the region's master smiths [17][19].