Unryū-zu (Cloud Dragon) Tsuba
This tsuba is signed by Hamano Naotoki, a master craftsman of the renowned Hamano school, known for their exceptional metalworking and carving traditions. The piece exemplifies the sophisticated tosogu arts of the Edo period, blending protective function with fine artistic expression. Its certification by the NBTHK confirms its recognition as a significant work of Japanese art.
Good; certified by NBTHK as a preservation-worthy piece of tosogu
This exceptional Unryū-zu (Cloud Dragon) tsuba, captures the divine power and fluid grace of the mythical dragon as it weaves through a celestial firmament. Crafted from refined suaka (unalloyed copper), the piece showcases a masterful use of takabori (high-relief carving) to bring the dragon’s form to life. The artistry is further elevated by: • Intricate Details: The dragon's fierce expression and sharp claws are highlighted with delicate kin-iro-e (gold accents), creating a striking contrast against the warm, polished copper ground. • Dynamic Composition: As seen in the dragon’s body appears and disappears through swirling, deeply carved clouds, suggesting immense scale and movement. • Historical Pedigree: The reverse side, shown, bears the signature of the master craftsman Hamano Naotoki, accompanied by his personal kaō (monogram). • Guaranteed Authenticity: This work is accompanied by a Hozon Tosogu (Preservation Tosogu) certificate from the Nihon Bijutsu Token Hozon Kyokai (NBTHK), dated April 27, 2011 (Heisei 23), confirming its status as a significant piece of Japanese art. Whether viewed from the front or the back, this tsuba stands as a testament to the sophisticated metalworking traditions of Japan, blending protective function with breathtaking aesthetic beauty. NBTHK Hozon Token.
Hamano Naotoki
浜野直特Hamano Naotoki (浜野直特) was a *kinkō* (metalwork) artisan active in Edo during the late Edo period, working within the prestigious Hamano school founded by the legendary master Hamano Shozui [[3]](https://www.militaria.co.za/nmb/topic/11315-the-hamano-school-and-the-varieties-of-expression/), [[12]](https://shibuiswords.com/hamano.htm). While he is a relatively obscure figure in historical records compared to primary luminaries like Hamano Naoyuki, he followed the school's tradition of expressive *takabori* (high-relief carving) and rich *iro-e* (colored metal) inlays, often featuring mythological or historical motifs [[10]](https://www.militaria.co.za/nmb/topic/39510-hamano-noriyuki-kozuka-fukurojuro/), [[19]](https://art.thewalters.org/browse/creator/hamano-naoyuki/). His work typically utilizes *shibuichi* and iron grounds, maintaining the bold, narrative-driven aesthetic that distinguished the Hamano lineage from its Nara school origins [[4]](https://www.militaria.co.za/nmb/topic/33647-interesting-hamano-shozui-tsuba-theme-of-time/), [[13]](https://www.metmuseum.org/art/collection/search/25776). For the serious collector, Naotoki represents the high technical standard maintained by secondary masters of the Hamano school during the 19th century, though his specific biographical details remain sparsely documented in major scholarly compendiums.