Cover and next page:

Painting by Kitao Kōsuisai Shigemasa (北尾紅翠斎重政)

„Portrait of 28 kinkō Artists“
(„Sankō-nijūhachi-kishō“, 鑽工廿八気象)

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 Markus Sesko

The Japanese
tōsō-kinkō Schools

© 2012 Markus Sesko

Print and Publishing:

Lulu, Inc.
ISBN 978-1-291-02498-2

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Map of the old provinces of Japan:

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Preface

While working as a translator and also doing, for example,

translations of appraisals of tsuba and kodōgu I often come across the
problem that the quotation (translation) of just the name of the artist or
the school in question is not very satisfactory for my customers.
Significantly improving this issue was Robert E. Haynes’ great project
„The Index of Japanese Fittings and Associated Artists“ (Nihon Art
Publishers, Ellwangen). This was the first step of making accessible the
Japanese tōsō-kinkō artists to the Western reader in a large and
comprehensive way. With this I was at least able to refer to an entry
which roughly outlines the data of the artist. But this does not solve the
problem when there is only an attribution to a school. Haynes of course
comments as much as possible about the school and the master of an
artist but – and this was my starting point for this work – his position
within a system of schools, families and lineages is not evident at a
glance. But it has to be mentioned that this was not the aim of Robert E.
Haynes because his work is first of all, as the name suggests, an index
of tōsō-kinkō artists.
So I began to draw up these connections myself, and as not to
reinvent the wheel every time when looking for an artist, I consolidated
all available sources step by step, whereas it quickly turned out how
inconsistent they are. As this work started to take shape, in 2011 I
decided to publish it in German, so to speak as the first attempt to
systematically record the Japanese tōsō-kinkō schools.
Basically it has to be explained that, in Japan, the artists and
craftsmen who produced sword fittings are divided into two categories:
namely those who worked in iron, the tankō (鐔工), and those who
worked in soft metal, the kinkō (金工). Almost every Japanese
publication strictly abides to this division, just like the schools of
swordsmiths are mostly grouped according to their geographical
location along the old main roads like the Tōkaidō or San´indō, or
according to their production time as Kotō, Shintō, and Shinshintō.

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 In this publication I also added schools and artists which only
worked marginally in soft metal and whose main occupation was that of
tankō. This, for example, applies also to the Shōami group which serves
quasi as a springboard for the historical introduction to the tōsō-kinkō,
the (Japanese) craftsmen who produced sword fittings and which also
serves as a bridge with the early soft-metal lineages like those of the
Gotō, the Umetada and the tachi-kanagu-shi.
Because this book is called „The Japanese tōsō-kinkō Schools“, I
have consciously left out the earliest antique works in soft metal. The
most difficult part was the omission of the so-called „Ko-Kinkō“
(古金工). As mentioned in chapter 1.6, the term „Ko-Kinkō“ is – very
simply expressed – rather a „big bag“ into which all pre-Edo soft metal
fittings which can’t be attributed to a certain artist or school are put. Of
course one could elaborate on subtle differences between the Ko-Gotō
or the Ko-Umetada schools but this is not the aim of this publication, as
it is not the aim to deal in detail with the workmanship of the schools
and the signatures of individual artists.
Finally, I would like to explain the diction of this book. The reader
may be surprised by the volume occupied by the names of the artists
alone. This goes back, on the one hand, to the practice of changing
names (more later), and on the other hand to the many different possible
readings of the characters used for a name. Japanese in principle offers
two ways of reading: the Japanese (on-yomi, 音読み) and the Sino-
Japanese (kun-yomi, 訓読み). Let us take for example the word for
„carving“ written with the characters (彫物). The Japanese reading is
„horimono“ and the Sino-Japanese reading is „chōbutsu“. This also
applies to names but is extended by a special reading for the usage of a
character in a name, the so-called „nanori“ (名乗り). Fortunately, most
of the nanori are defined but almost every character comes with two or
more nanori. In the case of the kinkō artist Nara Toshinaga (奈良利寿),
the characters for his craftsman name could theoretically also be read as
„Toshihisa“, „Norinaga“, „Toshinobu“, „Riju“ and others. Further, a
person was able to select a completely different reading for his name
regardless of the nanori.

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 However, most of the readings of kinkō names have been handed
down, have been established by themselves, or can be reconstructed
from the context of the school or the master. This means that had a
master chosen the Sino-Japanese reading for his craftsman name, then
his students followed this custom. For example, if a fictitious student of
Nara Toshinaga signed with the characters (利広), then we would read
„Toshihiro“ and not „Rikō“. But this shows how difficult it is to quote
Japanese names. References to the Haynes Index or to other sources for
unclear readings should not be considered as reporting errors but rather
as additional information to the reader.
Another mentioned complexity of the matter is the common feature
among Japanese artists of changing names. A Japanese name was in the
past composed of a family name (myōji, 苗字), an eventual title (shōgō,
称号), a common name (zokumyō, 俗名), and the actual name (nanori,
名乗 or jisumei, 実名) which was adopted after the coming of age
(genpuku, 元服) ceremony. This was followed in our case by the name
with which an artist signed (kinkō-mei, 金工銘) – called „craftsman
name“ in this publication – and one or more pseudonyms (gō, 号).
Another option was also the use of a Buddhist lay name (nyūdō-gō,
入道号) if the artist entered priesthood. The structure of such a name is
not as complicated as it looks. In most of the cases, a family had a
certain common name which was handed-down from the father to the
oldest son and heir. But often the oldest son had also another common
name and the other way round, when an artist was adopted as the heir,
he also inherited the common name of his adoptive father. A
craftsman’s name was changed to mark an important event in his life,
for example after finishing his apprenticeship, upon entering another
master-student relationship, succeeding as head of a family and the like.
Most of the time one character from the father and/or the master’s name
was adopted in the use of the craftsman’s name.

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 The composition of a gō allowed more liberty but characters with a
lyric meaning or certain characters from a master or from family
members were often combined. A nyūdō-gō was mostly chosen for the
artist by the ordaining priest. Gō as well as nyūdō-gō are always read by
their kun-yumi.

Salzburg, July 2012

Markus Sesko

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Contents

Kyōto

1. The Shōami school (正阿弥) 29

1.1 Outline of the historical background 29
1.2 Cultural background 31
1.3 The origins of the Shōami school 38
1.4 The differences between Shōami and Gotō 40
1.5 Overview of the development of the different styles of swords 44
1.6 The uchigatana and the changing market of sword fittings 47
1.7 The sphere of activity of the Shōami school and the emergence… 49
1.8 Individual Shōami artists 53

2. The Gotō school (後藤) 57

st
2.1 Gotō Yūjō (後藤祐乗), 1 gen. 57
nd
2.2 Gotō Sōjō (後藤宗乗), 2 gen. 57
rd
2.3 Gotō Jōshin (後藤乗真), 3 gen. 58
2.4 Gotō Kōjō (後藤光乗), 4th gen. 58
th
2.5 Gotō Tokujō (後藤徳乗), 5 gen. 58
th
2.6 Gotō Eijō (後藤栄乗), 6 gen. 59
th
2.7 Gotō Kenjō (後藤顕乗), 7 gen. 60
2.8 Gotō Sokujō (後藤即乗), 8th gen. 60
th
2.9 Gotō Teijō (後藤程乗), 9 gen. 61
th
2.10 Gotō Renjō (後藤廉乗), 10 gen. 61
th
2.11 Gotō Tsūjō (後藤通乗), 11 gen. 62
2.12 Gotō Jujō (後藤寿乗), 12th gen. 62
th
2.13 Gotō Enjō (後藤延乗), 13 gen. 63
th
2.14 Gotō Keijō (後藤桂乗), 14 gen. 63
th
2.15 Gotō Shinjō (後藤真乗), 15 gen. 64
2.16 Gotō Hōjō (後藤方乗), 16th gen. 64
th
2.17 Gotō Tenjō (後藤典乗), 17 gen. 65
2.18 Genealogies of the Gotō family 65

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 Genealogy of the Shirōbei, i.e. the Gotō mainline 66
Genealogy of the Ribei, Hachirōbei and Shichirō´emon line 67
Genealogy of the Kanbei and Jinbei line 68
Genealogy of the Jizaemon and Kibei line 69
Genealogy of the Hanzaemon, Saburō´emon and Genbei line 70
Genealogy of the Shichirōbei, Gonbei and Seibei line 71
Genealogy of the Edo-Seijō line 72

3. The Gotō-Ichijō school (後藤一乗) 73

3.1 Gotō Ichijō 73
3.2 Funada Ikkin (船田一琴) 75
3.3 Hashimoto Isshi (橋本一至) 77
3.4 Nakagawa Isshō (中川一匠) 79
3.5 Wada Isshin (和田一真) 80
3.6 Imai Nagatake (今井永武) 81
3.7 Araki Tōmei (荒木東明) 81

4. Tachi-shi or tachi-kanagu-shi 83
4.1 Muneta family (宗田) 83
Genealogy of the Muneta-family 84
4.2 Isono family (磯野) 85
4.3 Uemura line (植村) 86
4.4 Inoue line (井上) 86
4.5 Furukawa (古川) and Yasui family (保井) 87

5. The Umetada school (埋忠) 88

5.1 Umetada Myōju (埋忠明寿) 89
5.2 Umetada Myōshin (埋忠明真) 91
5.3 Umetada Jusai (埋忠寿斎) 92
5.4 Umetada Myōho (埋忠明甫) 93
5.5 Umetada Shigeyoshi (埋忠重義) 93
5.6 Umetada Jukan (埋忠寿閑) 95
5.7 Umetada Muneyoshi (埋忠宗義) 95
Genealogies of the Umetada family 97

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5.8 Umetada Muneshige (埋忠宗茂) 99
5.9 Umetada Shigehide (埋忠重栄) 99
5.10 Umetada Yoshihisa (埋忠良久) 99
5.11 Umetada Muneaki (埋忠宗明) 99
5.12 Umetada Munetake (埋忠宗武) 100
5.13 Edo-Umetada Narishige (埋忠就受) 100
5.14 Edo-Umetada Naritoshi (埋忠就寿) 102
5.15 Mitsutada (光忠) 103

6. The Ichinomiya school (一宮) 104

6.1 Ichinomiya Nagatsune (一宮長常) 104
6.2 Ichinomiya Nagayoshi (一宮長義) 106
6.3 Ichinomiya Nagayoshi (一宮長美) 107
6.4 Tsunenao (常直) 107
Genealogy of the Ichinomiya school 108

7. The Ōtsuki school (大月) 109

7.1 Ōtsuki Kōrin (大月光林) 109
7.2 Ōtsuki Mitsutsune (大月光恒) 109
7.3 Ōtsuki Mitsuyoshi (大月光芳) 110
7.4 Ōtsuki Mitsuoki (大月光興) 110
7.5 Ōtsuki Mitsuhiro (大月光弘) 111
7.6 Kawarabayashi Hideoki (川原林秀興) and students 112
7.7 Other artists of the Ōtsuki school 114
Genealogy of the Ōtsuki school 116

8. The Tetsugendō school (鉄元堂) 117

8.1 Okamoto Harukuni (岡本治国) 117
8.2 Tetsugendō Shōraku (鉄元堂正楽) 117
8.3 Tetsugendō Shōraku Naofusa (鉄元堂正楽尚房) 118
8.4 Other artists of the Tetsugendō school 119
Genealogy of the Tetsugendō- school 119

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9. The Hirata school (平田) 120
Genealogy of the Hirata school 122

10. Other kinkō artists from Kyōto 123

10.1 Yamazaki Ichiga (山崎一賀) 123
10.2 Hosono Masamori (細野政守) 123
10.3 Ayanokōji Nagamine (綾小路永峯) 124
10.4 Aoki Harutsura (青木春貫) 125
10.5 Kazutsura (加寿貫) 125
10.6 Ishiyama Mototada (石山基董) 127
10.7 Yamashita Bokusen (山下牧川) 128
10.8 Suminoe Buzen (墨江武禅) 128

Edo

11. The Yokoya school (横谷) 133

st st
11.1 Yokoya Sōyo (横谷宗與), 1 gen. Yokoya, 1 gen. Sōyo 133
nd st
11.2 Yokoya Sōmin (横谷宗珉), 2 gen. Yokoya, 1 gen. Sōmin 134
11.3 Yokoya Sōyo (横谷宗與), 3rd gen. Yokoya, 2nd gen. Sōyo 136
th nd
11.4 Yokoya Sōmin (横谷宗珉), 4 gen. Yokoya, 2 gen. Sōmin 137
11.5 The Terukiyo line (英精) 138
Genealogy of the Yokoya school 140

12. The Nara school (奈良) 141

12.1 Nara Toshiteru (奈良利輝) 143
st
12.2 Nara Toshimune (奈良利宗), 1 gen. 144
12.3 Nara Toshiharu (奈良利治), 2nd gen. 144
rd
12.4 Nara Toshinaga (奈良利永), 3 gen. 145
12.5 Subsequent generations of the Nara mainline 146
12.6 Other artists of the Nara school 147
12.7 Sugiura Jōi (杉浦乗意) 148
Genealogy of the Nara school 149

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13. The Hamano school (浜野) 150
13.1 Hamano Shōzui (浜野政随) 150
nd
13.2 Hamano Kaneyuki (浜野兼随), 2 gen. 151
13.3 Hamano Nobuyuki (浜野鋪随), 3rd gen. 152
13.4 Hamano Noriyuki (浜野矩随) 153
13.5 Other artists of the Hamano school 155
Genealogy of the Hamano school 158

14. The Tsuchiya-school (土屋) 159

st
14.1 Tsuchiya Yasuchika (土屋安親), 1 gen. 159
nd
14.2 Tsuchiya Yasuchika (土屋安親), 2 gen. 161
14.3 Tsuchiya Yasuchika (土屋安親), 3rd gen. 161
th
14.4 Yasuchika (安親), 4 gen. 162
th
14.5 Kunichika (国親), 5 gen. Yasuchika 162
th
14.6 Masachika (昌親), 6 gen. Yasuchika 163
Genealogy of the Tsuchiya school 164

15. The Yoshioka school (吉岡) 165

15.1 The Yoshioka branch school 170
Genealogy of the Yoshioka school 172

16. The Yanagawa school (柳川) 173

st
16.1 Yanagawa Naomasa (柳川直政), 1 gen 173
16.2 Yanagawa Naomitsu (柳川直光), 2nd gen. 174
16.3 Yanagawa Naohisa (柳川直故) 175
rd
16.4 Yanagawa Naoharu (柳川直春), 3 gen. 175
th
16.5 Yanagawa Naotsura (柳川直連), 4 gen. 176
16.6 Other artists of the Yanagawa school 176
Genealogy of the Yanagawa-school 178

17. The Ishiguro school (石黒) 179

17.1 Ishiguro Masatsune (石黒政常), 1st gen. 179
nd
17.2 Ishiguro Masatsune (石黒政常), 2 gen. 180
rd
17.3 Ishiguro Masatsune (石黒政常), 3 gen. 180

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17.4 Ishiguro Koretsune (石黒是常) 180
17.5 Ishiguro Masayoshi (石黒政美) 181
17.6 Other artists of the Ishiguro school 182
Genealogy of the Ishiguro-school 183

18. The Ōmori school (大森) 184

st
18.1 Ōmori Terumasa (大森英昌), 1 gen. 184
18.2 Ōmori Teruhide (大森英秀), 2nd gen. 185
rd
18.3 Ōmori Terumitsu (大森英満), 3 gen. 186
18.4 Other artists of the Ōmori school 187
Genealogy of the Ōmori school 188

19. The Iwamoto school (岩本) 189

th th
19.1 Iwamoto Ryōkan (岩本良寛), 4 + 5 gen. 189
th
19.2 Iwamoto Konkan (岩本昆寛), 6 gen. 190
19.3 Iwamoto Kanri (岩本寛利), 7th gen. 192
19.4 Other artists of the Iwamoto school 192
Genealogy of the Iwamoto school 194

20. The Sano school (佐野) 195

st
20.1 Sano Naoyoshi (佐野直好), 1 gen. 195
nd
20.2 Sano Naoteru (佐野直照), 2 gen. 195
rd
20.3 Sano Tokinobu (佐野時信), 3 gen. 196
20.4 Sano Tokiyoshi (佐野時美), 4th gen. 196
20.5 Other artists of the Sano school 197
Genealogy of the Sano school 198

21. The Kōno school (河野) 199

21.1 Kōno Haruaki (河野春明) 199
st nd
21.2 Tanabe Tomomasa (田辺伴正), 1 + 2 gen. 200
21.3 Other artists of the Kōno school 201
Genealogy of the Kōno school 202

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22. The Kikuoka school (菊岡) 203
st
22.1 Kikuoka Mitsuyuki (菊岡光行), 1 gen. 203
nd
22.2 Kikuoka Mitsutomo (菊岡光朝), 2 gen. 204
22.3 Kikuoka Mitsushige (菊岡光重), 3rd gen. 204
22.4 Other artists of the Kikuoka school 205
Genealogy of the Kikuoka school 207

23. The Inagawa school (稲川) 208

st
23.1 Inagawa Naoshige (稲川直重), 1 gen. 208
nd
23.2 Inagawa Naokatsu (稲川直克), 2 gen. 208
rd
23.3 Inagawa Yoshikatsu (稲川良克), 3 gen. 209
23.4 Inagawa Shigekatsu (稲川茂克), 4th gen. 209
th
23.5 Inagawa Nobukatsu (稲川信克), 5 gen. 210
23.6 Other artists of the Inagawa school 210
Genealogy of the Inagawa school 211

24. The Kikuchi school (菊池) 212

st
24.1 Kikuchi Tsunekatsu (菊池序克), 1 gen. 212
nd
24.2 Kikuchi Tsuneoki (菊池序沖), 2 gen. 212
24.3 Kikuchi Tsunemitsu (菊池序光) 213
24.4 Kikuchi Tsunetomo and Tsunesada (菊池序朝・序定) 213
24.5 Further artists of the Kikuchi school 214
24.6 Bamen Tsunemasa (馬面序政) 214
Genealogy of the Kikuchi school 215

25. The Tanaka-Tōryūsai school (田中東竜斎) 216

25.1 Tanaka Kiyotoshi (田中清寿) 216
25.2 Tanaka Kiyoshige (田中清重) 218
25.3 Toshiyoshi (寿良) 218
25.4 Toshikage (寿景) 219
25.5 Masakage and Yoshikage (政景・義景) 219
25.6 Itō Katsumi (伊藤勝見) 220
25.7 Other artists of the Tanaka-Tōryūsai school 221
Genealogy of the Tanaka-Tōryūsai school 223

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26. The Someya school (染谷) 224
26.1 Someya Masanobu (染谷昌信) 224
26.2 Someya Tomonobu (染谷知信) 224
26.3 Someya Masanobu (染谷正信) 225
26.4 Someya Kazunobu (染谷一信) 225
26.5 The line of Tomomichi (知道・知至) 226
Genealogy of the Someya school 227

27. The Nomura school (野村) 228

st
27.1 Nomura Masatoki (野村正時), 1 gen. 228
27.2 Nomura Masanori (野村正則), 2nd gen. 228
rd
27.3 Nomura Masatada (野村正矢), 3 gen. 229
27.4 Subsequent generations of the Nomura family 230
27.5 Other artists of the Nomura family 231
27.6 Tsu Jinpo (津尋甫) 232
Genealogy of the Nomura school 234

28. The Murakami school (村上) 235

28.1 Murakami Jochiku (村上如竹) 235
28.2 Other artists of the Murakami family 236
28.3 Other artists of the Murakami school 237
Genealogy of the Murakami school 239

29. The Katsura school (桂) 240

st
29.1 Katsura Eiju (桂永寿), 1 gen. 240
nd
29.2 Egawa Toshimasa (江川利政), 2 gen. 241
29.3 Students of the Katsura or Egawa school respectively 241
Genealogy of the Katsura school 242

30. Other kinkō artists from Edo 243

30.1 Kumagai Yoshitsugu und Yoshiyuki (熊谷義次・義之) 243
30.2 Horie Okinari (堀江興成) 245
30.3 Furukawa Genchin (古川元珍) 246

– 20 –
30.4 Kikugawa Muneyoshi (菊川宗吉) 247
Genealogy of the Kikugawa school 248
30.5 Ozaki Naomasa (尾崎直政) 249
30.6 The Tsuji school (辻) 250
30.7 Miyake Terumitsu (三宅英充) 252
30.8 Mori Joken (森如件) 253
30.9 Seki Yoshinori (関義則) 253
30.10 The Takahashi school (高橋) 254
30.11 The Yasuda school (安田) 255
Genealogy of the Yasuda school 257
30.12 Miyata Nobukiyo (宮田信清) 259
30.13 Tobari Tomihisa (戸張富久) 260
30.14 The Tanaka and Sonobe school (田中・薗部) 261
Genealogy of the Tanaka/Sonobe school 263
30.15 Fukawa Kazunori (府川一則) 264
30.16 Okada Setsuga (岡田雪峨) 266
30.17 Toyokawa Mitsunaga (豊川光長) 266

31. The kinkō artists around Kanō Natsuo 268

31.1 Kanō Natsuo (加納夏雄) 268
31.2 Ikeda Takao (池田隆雄) 270
31.3 Tsukada Hideaki (塚田秀鏡) 270
31.4 Kagawa Katsuhiro (香川勝広) 271
31.5 Nomura Katsumori (野村勝守) 272
31.6 Unnō Shōmin (海野勝珉) 272
nd
31.7 2 gen. Unno Yoshimori (二代海野美盛) 273

– 21 –
Other Provinces

32. The northern Mutsu region (陸奥) 279

32.1 Sendai´s Shibuya school (渋谷) 279
32.2 Sendai´s Oguma school (小熊) 280
32.3 Sendai´s Kusakari school (草刈) 281
Genealogy of the Kusakari school 283
32.4 The craftsmen from Aizu-Wakamatsu (会津若松) 283

33. The northern Dewa region (出羽) 285

33.1 Dewa´s Akita-Shōami group (秋田正阿弥) 285
Genealogy of the Akita-Shōami group 288
33.2 Mototane (元胤) 289
33.3 Watanabe Arichika (渡辺在哉) 289
33.4 Shōnai´s Washida school (鷲田) 291
Genealogy of the Washida school 293
33.5 Shōnai´s Katsurano school (桂野) 294
Genealogy of the Katsurano school 296
33.6 Tsurugaoka´s Kimura school (木村) 296
Genealogy of the Kimura school 297
33.7 Other Shōnai-kinkō artists 297

34. Mito (水戸) 298

34.1 Gunji Yogorō and Akashi Yodayū (軍地与五郎・明石与太夫) 298
34.2 Yatabe Michitoshi (谷田部通寿) 300
Genealogy of the early Mito-kinkō 301
34.3 The Shinozaki school (篠崎) 302
Genealogy of the Shinozaki school 303
34.4 Hagiya Katsuhira (萩谷勝平) 303
Genealogy of the Hagiya Katsuhira line 305
34.5 The Ichiryū school (一柳) 306
Genealogy of the Ichiryū school 309
34.6 The Tamagawa school (玉川) 310
Genealogy of the Tamagawa school 313

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34.7 The Uchikoshi school (打越) 314
34.8 The Nukagawa school (額川) 315
34.9 The Ōyama/Sekijōken school (泰山・赤城軒) 316
Genealogy of the Ōyama/Sekijōken school 320

35. The eastern Kantō area (関東) 321

35.1 Munemichi (致道) 321

36. The Echigo and Etchū (越後・越中) provinces 322

36.1 Echigo´s Oguri school (小栗) 322
36.2 Etchū´s Yasukawa school (安川) and Chikayuki (親随) 323

37. Shinano (信濃) 324

37.1 The Ho group (甫) 324

38. Kaga (加賀) 325

38.1 The Kuwamura school (桑村) 325
38.2 The Mizuno school (水野) 327
38.3 The Katsuki and Kaneko school (勝木・金子) 329
Genealogy of the Katsuki/Kaneko school 332
38.4 The Koichi and Katsuo school (小市・勝尾) 333
38.5 The Kaga-Gotō line (加賀後藤) 334
Genealogy of the Kaga-Gotō line 336
38.6 Other kinkō artists from Kaga 337

39. Ōmi (近江) 340

39.1 The Sōten school (宗典) 340
39.2 Rinsendō Mitsumasa (臨川堂充昌) 342

40. Kii (紀伊) 344

40.1 Kanahara Naosada (金原直貞) 344
40.2 Gotō Tsunemasa (後藤常正) 344

– 23 –
41. Mimasaka (美作) 345
41.1 The Hisasuke line (久助) 345
Genealogy of the Hisasuke line 346
41.2 The Nakagawa school (中川) 346
Genealogy of the Nakagawa school 349

42. Bizen (備前) 350

42.1 Katsuyoshi and the Bizen-Shōami line (勝義・備前正阿弥) 350
42.2 The Inoue school (井上) 352

43. Izumo (出雲) 353

43.1 The Tani school (谷) 353

44. The island of Shikoku (四国) 355

44.1 The Awa-Shōami and Hirata line (阿波正阿弥・平田) 355
44.2 Awa´s Kōno school (河野) 356
Genealogy of Awa´s Kōno school 358
44.2 The Iyo-Shōami group (伊予正阿弥) 359
44.3 Tosa (土佐) 360

45. The island of Kyūshū (九州) 360

45.1 Hizen’s Hirado Kunishige (平戸国重) 360
45.2 Hizen’s Sawa Eichin (沢永珍) 361
45.3 Satsuma´s Oda school (小田) 362
45.4 Satsuma´s Chishiki school (知識) 363
45.5 Satsuma´s Kanasugi line (金杉) 364
45.6 Other kinkō artists from Satsuma 364
45.7 Chikugo´s Ichi group (一) 365
45.8 Other kinkō artists from Chikugo 366

– 24 –
46. The Higo-kinkō (肥後金工) 367
46.1 The Hirata school (平田) 369
46.2 The Shimizu school (志水) 370
46.3 The Nishigaki school (西垣) 372
46.4 Other Higo-kinkō 374
Genealogy of the Higo-kinkō 376

Bibliography 379
The Edo-period era names (nengō) 382
List of names 383

– 25 –
– 26 –
Kyōto

– 27 –
– 28 –
1. The Shōami school (正阿弥)

1.1 Outline of the historical background

The origins of the Shōami school can be considered with the victory
of Ashikaga Takauji (足利尊氏, 1305-1358) at the battle of Minato
River (Minatogawa no tatakai, 湊川の戦い) in 1336. He entered Kyōto
and, two years later, was “appointed” shōgun by emperor Kōmyō
(光明天皇, 1321-1380) who, incidentally, had been put on the throne
by Takauji himself. This marked the beginning of the Muromachi
period and, with this official act, the political centre returned to the old
imperial city of Kyōto after 150 years of interruption by the Kamakura-
bakufu. The clash of the then prevailing aristocratic culture with the
emulating culture of the warrior class resulted in the development of
Japan’s cultural and artistic history, whose aesthetic ideals have
characterized the land until today.
But peace did not last long as the northern and southern imperial
dynasties fought for the succession of the throne. This rivalry went
down in history as the so-called „Nanbokuchō“ era and is dealt with in
detail in other publications. Only when Takauji´s grandson, Ashikaga
Yoshimitsu (足利義満, 1358-1408, r. 1368-1394), managed to establish
a compromise between the two dynasties was peace restored. Through a
cleverly devised system of hierarchy and ranking among his retainers
and the creation of new offices and administrative bodies, Yoshimitsu
was able to keep in check rivalling families and alliances and provide a
basis for political stability and peace.
In 1394 Yoshimitsu conferred the office of shōgun to his still
underage son, Yoshimochi (義持, 1386-1428), incurring that he was
still pulling all the strings of political and military power, while at the
same time being able to hold the then aristocratic office of Chancellor
(daijōdaijin, 太政大臣). After only two weeks he entered priesthood,
under the name „Dōyū“ (道有), which he later changed to „Dōgi“
(道義).

– 29 –
 A milestone for the subsequent cultural developments was that
Yoshimitsu appointed himself as a tributary vassal of the second
emperor*1 of the Ming Dynasty in the eighth year of Ōei (応永, 1401).
With this, three years later the official trade (kangō-bōeki, 勘合貿易)
was able to be launched between Japan and Ming-China, which would
last until the year 1551.*2
Some years earlier, more precisely in Ōei four (1397), Yoshimitsu
started to prepare his country estate in the northern Kitayama district
(北山) of Kyōto for his time in retirement from the post of shōgun. This
included extensive renovation of the local Rokuon-ji (鹿苑寺), as well
as the erection of a place (shari-den, 舎利殿) for housing relics of
Buddha’s ashes. The two top stories of this new pavilion were covered
with pure gold leaf, which earned it the nickname „Golden Pavilion“
(Kinkaku-ji, 金閣寺).
The transfer of Yoshimitsu´s centre of rule to Kitayama was the
name giver to the entire subsequent cultural heydays of the co-called
„Kitayama culture“ (Kitayama-bunka, 北山文化) which is described in
detail in the next chapter.

*1
Jìanwén (建文, Jap. Genbun, 1377-1402, r. 1398-1402)
*2
The collapse came from independent contact and trade of rich traders with Ming China and the
mainland as well as from the appearance of European competitors in the East Asian waters.

– 30 –
1.2 Cultural background

As already mentioned, with the march on Kyōto´s Muromachi

district by the Ashikaga-bakufu, two cultural worlds collided. The
warrior class had been continuously seeking for recognition by the
cultural world since their move to Kamakura, but they were constantly
lagging behind the refined aristocracy. Because this self-contained
culture was unattainable, even by the available financial resources, the
bushi started to focus more on objects imported from the mainland, i.e.
the karamono (唐物, lit. „Chinese things“).
Both Buddhism and tea served as the main catalyst for this process.
Buddhism practiced in Japan during the Heian period was elitist,
strongly ritualized, and way too complex to be understood by ordinary
citizens and, in many cases, by the warrior class too. Thus, a more
„secular“ interpretation of Buddhist teachings emerged throughout the
succeeding Kamakura period. This was the classical period of Amidism
whose doctrine was simplified in the hope of redemption in believing in
Amida (阿弥陀, Amitābha) by reciting his name (nenbutsu, 念仏). The
second major development in Buddhism during the Kamakura period
was the emergence of independent Zen sects. It was especially Zen
Buddhism, with its favour of direct self-realization through meditation,
rigid mental exercises to leave behind one’s own self, the non-
renunciation of everyday life, and the willing acceptance of death that
made it quasi tailor-made for the warrior class.
The key figures in the connections with China had always been the
Buddhist monks. During the Nara and Heian period Japan mainly
imported from the mainland political ideas for the erection of its own
state. But with the Kamakura period, the influence shifted more and
more towards cultural and artistic achievements, and the warrior class
had to rely on the support of the monks who had an abundant amount of
knowledge achieved through religious contacts with the mainland for
centuries.

– 31 –
 Towards the end of the Kamakura period members of the „Ji-shū“
(時衆)*3 group, which was founded by the itinerant preacher Ippen
(一遍, 1239-1289), were common features amongst the warrior class.
The priests of the Ji-shū accompanied the warrior onto the battlefield in
the role of army chaplains (jinsō, 陣僧) and physicians. In the case of
near death, they recited the nenbutsu to the warriors in order to help
their passing to the „Pure Land“ (jōdo, 浄土) of Amida Buddha. For
example, we read in the war chronicle „Kusunoki-kassen-chūmon“
(楠木合戦注文) that in the third year of Genkō (元弘, 1333), the army
of the bakufu was accompanied by 200 Ji-shū priests.
Because of their close relationship with Amida Buddha, the Ji priests
used „a“ (阿) or „ami“ (阿弥) as a suffix in their priest names. One of
the first to adopt this was Ippen´s successor Ta´a (他阿, 1237-1319).*4
Following Ippen´s tradition as an itinerant preacher, many followers of
the Ji-shū travelled around the country. This way they distributed their
doctrines, but also their understanding of art, among the local rulers.
And soon in the Nanbokuchō era they were widely known as the „Ami-
shū“ (阿弥衆, lit. „Ami people“).
At this point, the warrior class comes into play again. At the time of
the first Ashikaga shōguns, the balance of power was everything but
settled. Any bigger clan would have been able – alone or in association
with others – to cause significant problems for the Ashikaga. So it was
necessary to openly display ones power and wealth quasi as a deterrent,
and not only in the military field. A very important tool for the fostering
and initiation of alliances, as well as for the presentation of ones taste
and understanding of art, were the popular tea parties (cha-yoriai,
茶寄合) and tea contests (tōcha, 闘茶).

*3
The „Ji school“ (Ji-shū) which emerged from the „time sect“ during the Edo period was written
with the characters (時宗). The name „time sect“ comes from Ippen´s introduction to order his
followers to recite the nenbutsu during each of the so-called „six times“ (rokuji, 六時) of the day
and night, which meant quasi around the clock.
*4
His full name was „Ta´amida-butsu“ (他阿弥陀仏).

– 32 –
 These tea contests, based on the so-called „mono-awase“ (物合) of
the Heian-period court aristocracy, consisted of different things (mono,
物) such as the pairing of shells, flowers, fans or paintings (awase,
合わせ), it also included singing and poetry. The challenge of the tea
contest then was to taste different types of tea and guess which tea was
of the highest quality. The winner was opulently awarded. The origins
of the tea contest date to the Sòng-era China (宋, Jap. Sō, 960-1279)
and, accordingly, such contests were equipped with Chinese-style
utensils and furniture. The most precious and exquisite art objects from
the mainland were proudly shown to the guests. As mentioned, in order
to display ones wealth, these tea parties had to be held in the greatest
possible pomp and luxury, roughly comparable to the ball and salon
company of the European upper class of the 19th century.
The luxurious behaviour of these parties was so expensive that even
Ashikaga Takauji was obliged to prohibit the so-called „extravagant“ or
„dissolute tea“ (basara-cha, 婆娑羅茶) in his 1336 promulgated legal
code „Kenmu-shikimoku“ (建武式目). The first of 17 articles read:

1. 近日婆左羅と号して、専ら過差を好み、綾羅錦繍・精好銀剣・風流服飾、
目を驚かさざるはなし。頗る物狂と謂ふべきか。富者はいよいよこれを誇り、
貧者は及ばざるを恥づ。俗の凋弊これより甚だしきはなし。もつとも厳制ある
べきか。
„Kinjitsu, basara to gō-shite, moppara saka o konomi, ryōra-kinshū, seigō-ginken,
furyū-fukushoku, me o odorokasazaru wa nashi. Sukoburu bukkyō to ifubeki ka. Fusha
wo iyoiyo kore o hakori, hinja oyobazaru o hazu. Zoku no chōhei kore yori
hanahadashiki wa nashi. Mottomo gensei arubeki ka.“
„Recently the exaggerated fashion to let oneself go into luxury and excess, for
example the wearing of silk damask, embroidered brocade, swords mounted entirely in
silver, where one can only shake his head. This has by now degenerated. The rich are
bursting with pride but the poor are ashamed because they cannot keep up. So this [i.e.
excess] is one of the main reasons for the poverty of the population and has to be
rigorously stopped.“

– 33 –
 During the time of Ashikaga Yoshinori (足利義教, 1394-1441, r.
1428-1441), the sixth Ashikaga-shōgun after Takauji and the son of
Yoshimitsu, the so-called institution of the „dōbō-shū“ (同朋衆)
emerged. Literally, dōbō-shū means „group of fellow believers“ or
„group of comrades“. There are generally two theories about the
etymological origins of this term: The first sees a religious background
in the term „dōgō-dōbō“ (同行同朋), which refers to a „fellow like-
minded comrade“ (for example on a pilgrimage). The other theory
believes that it comes from the identically pronounced term „dōbō“
(童坊, lit. „the monks of the child“). This term originally referred to the
six monks who were selected by Hosokawa Yoriyuki (細川頼之, 1329-
1392) for the education of the then underage Ashikaga Yoshimitsu.
The dōbō-shū were the Ji-shū who had been officially hired by the
shōgun and the bakufu as the artistic advisors in the newly established
office of the „karamono-bugyō“ (唐物奉行, „magistrate for goods from
China“). As the name implies, it was responsible for appraising and
estimation of goods imported from the mainland. The vast majority of
the dōbō-shū continued the tradition of the Ji-shū by using the
characters „a“ or „ami“ in their pseudonyms, but not all dōbō-shū were
members of the religious group of the Ji-shū nor were all Ji-shū
working as dōbō-shū for the bakufu.
One of the prerequisite of the dōbō-shū to gain access to the ruling
class was the so-called practice of „hermitage“ (tonsei, 遁世). During
the Heian and Kamakura periods this hermitage should be understood in
its literal sense, being a true seclusion from the world, but during the
Muromachi period it became more profane. This resulted in a
confession to hermitage where a person of the „tonsei-sha“ (遁世者)
swore to live in modesty and renounce permanent residence, but what
was more important he swore to be politically neutral. This was an
important point because, due to previous incidents, the warrior class
feared of being infiltrated by politically engaged priests disguised as
miscellaneous advisors.

– 34 –
 In the „Manzai-jugō-nikki“ (満済准后日記)*5 we find within the
descriptions of the New Year celebrations of Ashikaga Yoshinori the
following entry for the 13th day of the first month of Eikyō four (永享,
1432):

„Tonsei-sha ichinin. Cha no yū-ka“ (遁世者一人。茶涌科。)

„Tonsei-sha, one person. [Assigned to the] field of tea ceremony.“

The most famous representatives of the then dōbō-shū were surely

Nōami (能阿弥, 1397-1471), his son Geiami (芸阿弥, 1431-1485), and
his grandson Sōami (相阿弥, ?-1525). Together they were known as the
„san-ami“ (三阿弥), the „Three Ami“. Later, their art of painting was
called „Ami school“ (Ami-ha, 阿弥派), with Nōami being the first
generation. They were not only painters but „all-round artists“, working
as artistic advisers and appraisers for the shōgun in their function as
members of the dōbō-shū.
Well, Yoshinori found himself confronted with increasing unrests
among the military governors (shugo, 守護) of the provinces. New
alliances were formed, families wiped out, but in the end Yoshinori was
assassinated by Akamatsu Mitsusuke (赤松密祐, 1373/1381-1441).
This so-called „Kakitsu Incident“ – named after the first year of Kakitsu
(嘉吉, 1441) where it occurred – marked de facto the beginning of the
end of the Ashikaga political and military power, but also of the office
of the shōgun itself. About one hundred years after Yoshimitsu, the
political power of the eighth Ashikaga-shōgun Yoshimasa (足利義政,
1436-1490, r. 1449-1473) was as insignificant as the political power of
the emperor during the Kamakura period.

*5
„Diary of Jugō Manzai“. The current extant documents of the diary of monk Manzai, who was a
close confidant of Ashikaga Yoshimitsu and Yoshinori, cover the time from the 18 th year of Ōei
(応永, 1411) to the seventh year of Eikyō (永享, 1435).

– 35 –
 Every faction saw a chance of gaining power and so in the first year
of Ōnin (応仁, 1467) a dispute over the succession of the shōgun
aroused within the Ashikaga family and their allies. This resulted in a
decade of constant warfare, the so-called „Ōnin War“ (Ōnin no ran,
応仁の乱) which resulted, firstly, in the end of the Shogunate and,
secondly, in the beginning of the Sengoku period where a more and
more decentralized state system under the now independent military
governors began to form. Within the turmoil’s of the Ōnin War
Yoshimasa transferred the office of shōgun to his son Yoshihisa
(足利義尚, 1465-1489, r. 1473-1489) and retired ten years later upon
the erection of the „Silver Pavilion“ (Ginkaku-ji, 銀閣寺) on his lands
in Kyōto´s north-eastern Higashiyama district (東山). Like
Yoshimitsu´s Kitayama, Higashiyama also became synonymous for the
cultural current that originated and developed in this period, the so-
called „Higashiyama Culture“ (Higashiyama-bunka, 東山文化).
In the period between Yoshimitsu and Yoshimasa, the aesthetical
senses of the warrior class changed, mostly due to the uncertain times,
the outbreak of the Ōnin War, and the increasing adoption of Zen
Buddhism among the bushi. This strongly influenced the tea parties
which were still important for maintaining contacts with allies and, in
some cases, also with the enemies. As mentioned, the early parties
resembled ostentatious feasts where tea was served rather „on the side“,
the meetings of the Higashiyama era were much more similar to the
establishments of the European „study“ or „smoking room“ of the
second half of the 19th century. The men of the European upper class
withdrew in a smaller group to the study after the „official“ meeting, to
smoke and drink alcohol while discussing politics and business, that
means topics which were not suited to discus at table. In Japan it was
exactly the other way round because, during the secluded tea ceremony,
profound topics like politics and the like were inappropriate.

– 36 –
 In practical terms, the ceremonies took place in the so-called
„kaisho“ (会所, lit. „meeting point“) areas of the residences. The
residences themselves were modelled on the palace buildings, an
architecture which is called „shinden-zukuri“ (寝殿造). Gradually,
these kaisho were out-housed to an extension, and later an annex
specially constructed for this effect. Influenced by Zen Buddhism, the
high-ranking warriors started to furnish these extensions in the style of
the monk’s modest studies or drawing rooms (sho´in, 書院). This gave
this architectural style the name „sho´in-zukuri“ (書院造). The simpler
style of tea houses developed in parallel with sho´in-zukuri but it was
first and foremost the famous 16th century tea masters like Sen no Rikyū
(千利休, 1522-1591) who established the tea house as we know of
today.
The dōbō-shū were then responsible for the entire furnishing of the
extensions as well as for the tea utensils and the course of the tea
gatherings.

– 37 –
1.3 The origins of the Shōami school

First of all it has to be mentioned that no documents or written

evidence containing detailed information on the origins, the early phase,
or even genealogies of the Shōami artists are extant. At least the „ami“
suffix suggests that they originally belonged to the group of dōbō-shū.
One of the earliest entries mentioning the word „Shōami“, or rather its
abbreviated form „Shō´a“ (the according sections are underlined), is
found in the diary „Ōdate Jōkō-nikki“ (大舘常興日記),*6 and concerns
the ninth year of Tenbun (天文, 1540).

銀細工正阿右衛門三郎申敷地事二番衆へ被成御尋へく候或段尤候正阿事もとも
とより御用被仰付者候事之間御侘事申すも無余儀存候但此二番存知儀候条御尋
可然候由申候也。
Gin-saiku Shō´a Uemonsaburō ga mōsu-shikichi no koto wa, niban-shū he o-
tazune-nasareru koto ga yoi. Shō´a wa motomoto yori goyō o ōsetsukerarete-mono,
wabishii-koto o mōsu mo yogi naku zonji-sōrō. Tadashi, kono niban ga zonji-sōrō
kudari wa, o-tazune-nasarete shikarubeki-sōrō, sōrō-yoshi nari.
„The second guard has informed us about the incident concerning the property of
the silver smith Shō´a Uemonsaburō. Regarding Shō´a, he and his predecessors have
been continuously in the service of the shōgun but with this, our hands are tied.
However, it has to be mentioned at this point that the second guard acted appropriately.“

Well, the entry does not mention who was involved in this incident
or what this incident was all about, but for the understanding of the
origins of the Shōami school it is doubly important. We learn namely
that they held the office of silver smith (gin-saiku 銀細工, or
shirogane-shi, 白銀師) and that they officially worked for the bakufu
(goyō, 御用).

*6
Diary of Ōdate Hisauji (大舘尚氏, 1454-1546). His priest name was „Jōkō“ (常興).

– 38 –
 Moreover, the artists of the Shōami school must have maintained
close relationship with the Ōdate family over a certain period of time
because in the diary „Tokitsugu-kyōki“ (言継卿記) of the court noble
Gondainagon Yamashina Tokitsugu (権大納言山科言継, 1507-1579)
we find for the 29th day of the fifth month of Genki two (元亀, 1571)
the following entry:

正親町竹子汁可振舞之由有之、則罷向、朝餉有之、人数予、竹内三位入道、亭
主、大舘治部少輔、生阿み銀師、等也。
Ōgimachi, takenoko-shiru o furumai-beki no yoru kore aru, sunawachi mukai-
makari, chōshō kore aru, ninzū ware, Takenouchi Sanmi Nyūdō, teishu, Ōdate Jibu no
Shōsuke, shiroganeshi Shōami, nado ari.
„The bamboo shoot soup was served quiet early at [or in the residence of emperor]
Ōgimachi, followed by a snack. The participants were myself, Takenouchi Sanmi
Nyūdō, the host, Ōdate – who was the deputy officer of the Ministry of Administration
– the silver smith Shōami, and others.“

This entry is quite interesting because it tells us that a representative

of the Shōami school was even allowed to sit at the table of very high-
ranking persons, court nobles, and even the emperor, in this case
Ōgimachi (正親町, 1517-1593, r. 1557-1586). Well, maybe the end of
the entry „and others“ implies that there were more lower-ranking
persons attending and the choice of the name Shōami is just a stroke of
luck for our investigations. It has to be noted that different characters
(生阿み) were used for „Shōami“ (正阿弥) but with the identical
reading.
But let us return to the first entry from the ninth year of Tenbun.
This entry allows us to say that the Shōami school, or maybe individual
Shōami artists, were officially working for the Muromachi bakufu at the
latest around the time of Jōshin (乗真, 1508-1562), i.e. the third Gotō
generation. And from their employment by the latter we can assume
that they enjoyed then a similar rank to the Gotō family, that means the
name „Shōami“ had a much higher reputation than today.

– 39 –
 I want to take this as the starting point for the next chapter which
deals with the differences between the Shōami and the Gotō school in
terms of status and area of activity. And as the examination continues, I
will introduce two more families which played a major role in the then
world of swords and sword fittings, namely those of the Hon´ami and
the Umetada.

1.4 The differences between Shōami and Gotō

Fundamentally, we can ascertain two large differences between the

Shōami school and the Gotō school, namely firstly their social status –
the Gotō family belonged to the bushi class, the Shōami artists did not –
and secondly the difference in clients. The Gotō school worked, at least
from the Muromachi to the early Edo period, exclusively for customers
from the upper warrior class, that means first and foremost for the
circles surrounding the shōgun. The Shōami group on the other hand
had customers from the middle bushi class and also from the civil
sector. But what did the affiliation of the Gotō family to the bushi class
mean? Before I answer this I want to explain the origins and the
development of the Gotō up until Yūjō (後藤祐乗), the ancestor of the
Gotō-kinkō lineage.
Yūjō – born in the twelfth year of Eikyō (永享, 1440) and died in
the ninth year of Eishō (永正, 1512) at the age of 73 – was the son of
Uemon no Jō Mototsuna (右衛門尉基綱, 1354-1442). According to the
genealogy of the Gotō family, Mototsuna was the son of Tamemitsu
(為光, 1264-1361),*7 who in turn was the second son of Endō Saemon
no Jō Tamemori (遠藤左衛門尉為盛). The latter was again a successor
of the Heian-period court noble Fujiwara no Tadabumi (藤原忠文, 873-
947).

*7
The information that Mototsuna was born in the third year of Bunna (文和, 1354), i.e. when
Tamemitsu was already 90 years old, implies that he was the adopted son of the latter.

– 40 –
 Such provenance was very important in Japan, in particular when it
came to the appointment of an office or the granting of honorary titles.
The farther back a genealogy could be traced the better, and ideally to
famous names such as „Fujiwara“ or „Minamoto“.*8
In 1221 after the Jōkyū War (Jōkyū no ran, 承久の乱) where the
abdicated emperor Gotoba (後鳥羽, 1180-1239) tried to overthrow the
Kamakura-bakufu, the acting emperor Juntoku (順徳, 1197-1242) was
forced to abdicate and exiled to the island of Sado (佐渡). Endō
Saemon no Jō Tamemori, and his son Tamemitsu, accompanied him to
Sado, the later becoming a student of the Buddhist reformer Nichiren
(日蓮, 1222-1283). Tamemitsu returned to Kyōto in the third year of
Kōan (弘安, 1280). According to transmission, he once had an audience
with a certain court noble of the Kujō family (九条) and was presented
with a wisteria branch (Jap. fuji, 藤; in its Sino-Japanese reading „tō“ or
voiced „dō“). So the original family name „Endō“ (遠藤) – which also
contained the character for „wisteria – became „Gotō“ (後藤) because
Tadamitsu belonged to a later (gō, 後) branch of this lineage.
Yūjō´s (see picture 1) civilian first name was „Shirōbei“
(四郎兵衛). He took the name „Yūjō“ after entering priesthood (nyūdō,
入道). He was a retainer of the Ashikaga family and was granted with a
big land in the district of Sakamoto (坂本) in Ōmi province of roughly
300 hectare. Several sources say that Yūjō was a close friend of the
eighth Ashikaga-shōgun Yoshimasa (足利義政, 1436-1490, r. 1449-
1473), or rather that he was under his patronage. Yoshimasa, on the
other hand, sounded the bell for the Higashiyama culture after retiring
to the district of the same name, as we have read in chapter two.

*8
Therefore later „corrections“, supplements and „decorations“ of successors are very likely and
were the order of the day.

– 41 –
Picture 1: Portrait of Gotō Yūjō. Jūyō-bijutsuhin. Unknown artist, handed-down as a work of Kanō
Motonobu (狩野元信, 1476-1559). At the centre above the portrait we read the inscription „Namu-
myōhō-renge-kyō“ (南無妙法蓮華経), the invocation of the Lotus sutra, at the right „sōso Yūjō-
reikon“ (曽祖祐乗霊魂), „the soul of the ancestor Yūjō“, and to the left the date „Eishō kunen
mizunoe-saru gogatsu nanoka“ (永正九年壬申五月七日), „seventh day of the fifth month of
Eishō nine (1512), year of the monkey“. This date corresponds to Yūjō´s date of death, that means
the painting was made on the occasion of the ascension of Yūjō´s soul

– 42 –
 With their affiliation to the warrior class, the Gotō family had certain
obligations and duties. They had to take care of their own financial
management and accountancy, maintain obligatory militia functions
and, besides that, their family system was organized centrally, i.e. a
head had to be appointed, headquarters had to be maintained, and for
the creation of branch families and many other things permission from
the bakufu had to be sought. Except for the latter, most of this was not
applicable to the Shōami artists. They belonged – within the group of
dōbō-shū – to the class of craftsmen (shokunin, 職人), and the dōbō-shū
were aides to the bakufu but not integrated into their administrative
organization.
Let us now turn to the above mentioned differences in their areas of
activity. The first thing that stands out is the fact that the early Gotō
artisans did not make tsuba or fittings for tachi mounts. They were
ordered to make sword fittings which had, in those days, the highest
ornamental rank, namely the menuki, the kōgai and the kozuka, summed
up as „mitokoromono“ (三所物, lit. „things [fittings] of the three places“).
Tsuba did not belong to the category of sword fittings (kodōgu,
小道具). This is further clarified by the collective name „tsuba-kodōgu“
which came in use from about the mid Edo period onwards. This term
goes back to older times when the entire mounting of a sword was also
called „ōdōgu“ (大道具), besides the more familiar „koshirae“ (拵).
„Ōdōgu“ means literally „large utensils/ fittings“ and can roughly be
translated as „furnishing“. The individual fittings, like menuki, kozuka
or kōgai were accordingly called „kodōgu“ (lit. „small
utensils/fittings“). And so the tsuba and the smaller fittings were
summarized as „tsuba-kodōgu“. In the West, such a detailed separation
by using different names is rather uncommon and the umbrella term
„sword fittings“ is mostly used regardless if there is a tsuba or not.*9

*9
However, such an umbrella term also exists in Japanese, namely „tōsōgu“ (刀装具). So it can be
said that a tsuba is a tōsōgu but not a kodōgu.

– 43 –
 For a better understanding of the individual areas of activity, the
development of the different sword shapes up until the emergence of the
Gotō family has to be explained, from about the time of the mid to the
late Muromachi period.

1.5 Overview of the development of the different styles of swords

From the Heian to about the beginning of the Sengoku period,

persons of the warrior class wore – when going into battle – a tachi
hanging more or less horizontally at their waist with the cutting edge
down. As a companion weapon, the so-called „sashizoe“ (差添え), they
carried a short and uncurved koshigatana (腰刀) which was worn thrust
through the belt with the cutting edge facing upwards. This sashizoe
served as the last weapon of self-defence in the case of a close combat,
for severing the head of an enemy as a proof of ones merit, or for ritual
suicide (seppuku, 切腹). This koshigatana was equipped with certain
tools: a „kozuka“ (小柄), an all-purpose knife, and a „kōgai“ (笄) for
which purpose several theories exist.*10
Persons not belonging to the warrior class wore a so-called
„uchigatana“ (打刀) to defend themselves. This sword was, as the
name „utsu“ (打つ, „to strike, to hit“) suggests, used as a cutting
weapon. For this it had to be somewhat larger than the companion
sword, the koshigatana, and had a curve (sori, 反り). In principle they
were not equipped with a tsuba, only sometimes their longer variants.
These were accordingly called „tsuba-gatana“ (鐔刀).

*10
Some sources say the rear part was used for cleaning ears and the kōgai itself as a needle to sew
the skin of the severed head of an enemy around the neck. Others say, and which is more likely,
that the kōgai was used to push back loose hair under the headgear (helmet of a formal eboshi) or
to scratch oneself on the head without taking off the latter.

– 44 –
 The furnishing and the value of the mounting and the fittings
corresponded to the status and wealth of its wearer of course, but the
tsuba of an uchigatana or a tsuba-gatana respectively was mostly plain
and showed no or only very little decoration or small sukashi openings.
It should be noted that the uchigatana did not emerge from a reduction
in the size of the tachi but from a gradual lengthening of the
koshigatana. Regardless of the status of the wearer, until the
Muromachi period these uchigatana were made like the koshigatana in
hira-zukuri without a shinogi edge.
From about the mid-15th century, i.e. the mid Muromachi period
around the time of the eighth Ashikaga-shōgun Yoshimasa, the trend
was for the companion swords of bushi to become longer and to be
equipped with an edge, i.e. formed in shinogi-zukuri, and they gradually
replaced the tachi as the main sword. Also the hilts of these swords
were wrapped and they were also worn in civilian life, namely as they
were worn with armour, thrust through the belt with the cutting edge
upwards.
These changes bring us back to the original examination of the
sword fittings. As mentioned, there were different areas of activity for
the metal workers depending on the sword shape and ornamentation.
Tachi fittings, ornamentations and tsuba were made by a group of
craftsmen which we summarize today as „tachi-kanagu-shi“*11
(太刀金具師, „makers of tachi fittings“). The production of the parts
for a koshigatana, i.e. menuki, kōgai, kozuka and the like, fell within the
area of activity of silver or goldsmiths, the shirogane-shi (白銀師) or
kinkō (金工) respectively. However, the latter also produced more
ornate fittings for tachi mountings from time to time. The Gotō family
then belonged to the latter group of kinkō and was able, through the
extraordinary talent of Yūjō and his relationship with Yoshimasa, to
reach a certain dominating position for the production of the most
expensive sword fittings for the upper warrior class and the circles
surrounding the shōgun.

*11
Sometimes also abbreviated as „tachi-shi“ (太刀師).

– 45 –
 An enormous new potential for artists and craftsmen in the field of
metal work came from the aforementioned trend among higher ranking
bushi of wearing their uchigatana in civil life. Through this
development increasing focus was turned on the tsuba as it was the
most visible expression of the personal taste of the wearer. Earlier
uchigatana-tsuba worn by low ranking bushi and persons outside of the
warrior class had – if at all – only small sukashi openings (so-called
„ko-sukashi“, 小透) which mostly depicted simple objects from every-
day life. The „new generation“ of uchigatana-tsuba showed more
openings in many different interpretations in the form of positive or
negative silhouettes. This was the birth of the so-called „ji-sukashi-
tsuba“ (地透鐔), tsuba whose openings occupy a large or the largest
part of the surface (ji, 地).
Unfortunately we don’t have any contemporary entries concerning
the introduction of ji-sukashi-tsuba and the earliest extant treatises on
this subject go back to the mid Edo period. Ise Sadatake (伊勢貞丈,
1718-1784), an expert on the etiquette of the warrior class, wrote in his
work „Sadatake-zakki“ (貞丈雑記, „Miscellaneous Records of
Sadatake“) the following: „Regarding sukashi on tsuba of tachi and
uchigatana, their origins are not clear, but it is said that at least since
the Genki (元亀, 1570-1573) and Tenshō (天正, 1573-1592) periods,
sukashi*12 were applied. […]According to a theory, the production of
such pieces [i.e. sukashi-tsuba] increased with the fondness of Lord
Higashiyama Yoshimasa (東山義政) for such works. But no opinions
on this subject are found in old records.“ Based on current knowledge,
the Ōnin era (応仁, 1467-1469) can be regarded as the launch of the
production of ji-sukashi-tsuba.*13

*12
This of course refers to ji-sukashi.
*13
For a more detailed reflection on the entire subject, I recommend Sasano Masayuki´s
(笹野大行) book „Tōsōgu no kigen“ (刀装具の起源), „The Origins of Sword Fittings from the
point of view of changes in uchigatana, tsuba, kozuka und kōgai“.

– 46 –
1.6 The uchigatana and the changing market for sword fittings

The changeover to the uchigatana did not only stimulate the

production of tsuba. Because this sword was now gradually replacing
the koshigatana as the companion sword, high-ranking warriors did not
want to give up their accustomed tools, or rather decorations (and also
status symbols), of the fine kozuka and kōgai. As a sidenote, during
official and ceremonial occasions, richly ornamented koshigatana
without hilt wrapping were still worn. As a result, uchigatana also had
to be equipped with kozuka and/or kōgai according to the status of the
wearer. Artists and craftsmen from other areas of metalwork like
„kazari-shoku“ (錺職 or 飾職)*14 who were specialized in the
production of metal ornamentations and fittings for furniture or temple
furnishings now entered this new market.
They were joined by a Mino-based group of metalworkers who,
according to transmission, resided since the Nanbokuchō period in the
village of Kagano (加賀野村)*15 in the Ōgaki district (大垣) of the
province, making sword and armour fittings. It is also said that Gotō
Yūjō was born in Mino and originally belonged to this group of
metalworkers. These characteristic works have been know since the
Edo period as „Mino-bori“ (美濃彫, lit. „Mino carvings“), but their first
written mention is found in Inaba Michitatsu´s (稲葉通竜) book
„Sōken-kishō“ (装剣奇賞) from the first year of Tenmei (1781).
Therein we read: „Mitsuaki (光暁), signed with ´Nōshū-jū Mitsuaki´
(濃州住光暁). Fuchi are gold-plated to the edge and show deep
carvings with autumnal motifs. Mitsumasa (光政) and Mitsunobu
(光伸) worked in the same style. The origins regarding the names
´Mino-bori´ or ´Mino-Gotō´ are unknown but it is possible that over
time, the fact that Yūjō – the founder of the Gotō family – was born in
this province erroneously entered the latter name. The term ´Mino-bori´
as it is used today was probably defined by dealers [of sword fittings].“

*14
Also called „kazari-shi“ (錺師 or 飾師) or „kazari-ya“ (錺屋 or 飾屋).
*15
Today integrated in the urban area of Ōgaki.

– 47 –
 It is also unclear how many of the early Mino-bori works were
actually made in Mino province because only pieces from the Edo
period onwards bear explicitly the inscriptions „Mino-jū“ (美濃住) or
„Nōshū-jū“ (濃州住), i.e. „resident of Mino province“. Amongst them
are also works which are signed with the family name „Gotō“, for
example „Gotō Yoshimasa“ (後藤吉政) or „Gotō Yoshihisa“
(後藤吉久). A time frame for the activity of this group of metalworkers
can be defined from the middle to late Muromachi period to about the
Genroku era (1688-1704). Incidentally, the Edo-period geographer and
Confucian scholar Matsudaira Shū´un Kunzan (松平秀雲君山, 1697-
1783) writes in his „Gifu-shiryaku“ (岐阜志略) written in the fourth
year of Enkyō (1747) that, in the town of Gifu ruins of a residence of
the Gotō family are extant.
Today we differentiate largely between 1. „Ko-Mino“ (古美濃), i.e.
the „old/early Mino works“ made until the Momoyama period, 2.
„Mino-Gotō“ (美濃後藤), works from artists which signed with the
family name „Gotō“ but worked either completely in the Mino-bori
style or showed a slight influence of Gotō workmanship, and 3. „Mino-
bori“, a term which included all works in Mino style and which is not
restricted to a specific production time. In addition, there are the
categories of „Ko-Gotō“ (古後藤), „old/early Gotō works“ which can’t
be attributed to a specific individual Gotō master but which date back to
an early artist of this family, and „Ko-Kinkō“ (古金工), lit. „old/early
metalworks/metalworker“, which is basically a „big bag“ into which all
pre-Edo soft metal fittings can be put and which can’t be attributed to a
certain artist or school. By the way, some apply the term „Ko-Kinkō“ to
works made before the Momoyama period.

– 48 –
1.7 The sphere of activity of the Shōami-school and the emergence
of the ji-sukashi-tsuba

Let us return to the Shōami school. As mentioned earlier, the oldest

extant written mention of a Shōami artist is from the year 1540. That
means we have a gap of about hundred years with the assumed
transition of high-ranking warriors who started wearing more regularly
the uchigatana during the Ōnin era (1467-1469). Therefore it is unclear
if some Shōami artists already worked as shirogane-shi during the early
and middle Muromachi period because the entry in question just states
„continuous in the service of the shōgun“. From the fact that the Shōami
were still working as silver or gold smiths at the end of the Muromachi
period we can assume that this was their initial field of activity.
I want to describe this initial field of activity of the Shōami with the
example of Nōami and other ami artists. As mentioned in chapter 2, he
belonged to the group of dōbō-shū and he successively served as an
artistic adviser Ashikaga Yoshinori and Yoshimasa. He was a painter, a
master of the tea ceremony, a poet and an appraiser and was responsible
for the composition of Chinese paintings and tea and writing utensils in
the collection of Yoshimasa (the so-called „Higashi-yama-gyomotsu“,
東山御物). He wrote several expertises and guidelines for the selection
of art objects like, for example, the „Kundaikan-sōchō-ki“
(君台観左右帳記). Zen´ami (善阿弥, 1386 ~ 1482), on the other hand,
was a garden designer for the Muromachi-bakufu and was, according to
transmission, entrusted by Yoshimasa with the design of the garden of
the Ginkaku-ji. Tosa Shirōzaemon Michinaga (土岐四郎左衛門道長,
1410-1478), who also served Yoshimasa, was the official makie (蒔絵)
lacquer artist of the shōgun. After entering priesthood under the name
„Kōami“ (幸阿弥) he laid the foundation stone of the Kōami school of
makie of the same name, which worked continuously for the bakufu for
19 generations until the end of the Edo period.

– 49 –
 Applied to the Shōami school, this would mean that the first
generation – if this name really goes back to an individual person – was
an artist in the field of metal work and was, like the other ami artists of
the dōbō-shū, entrusted with the artistic direction of all the metal
workers (kazari-shoku, shigorane-shi and the like) who made the
fittings and ornamentations for the new buildings and furniture of the
upcoming Higashiyama culture. We can also speculate that they served
as competent contacts for high-ranking bushi who were wearing more
often the uchigatana and who relied an ami artists in terms of
confidence in taste. It is also possible that they made some works by
themselves and outsourced some to sub-contracted craftsmen. This was
for example often the case with the aforementioned Kōami school.
This particularly concerned the artistic composition of the first ji-
sukashi-tsuba which emerged during the heydays of the Higashiyama
culture. Today we call them „Heianjō-sukashi“ (平安城透), named
after the pseudonym of Kyōto, the production site of such tsuba. Their
designs are highly elegant and are inspired by motifs of screens (byōbu,
屏風) and sliding screens (fusuma-e, 襖絵), and we can’t rule out that
the Shōami artists in turn sought advice from Kyōto-based painters like
the san-ami for such interpretations. Heianjō-sukashi-tsuba were
produced until about the Momoyama period. Their successors are called
„Kyō-sukashi“ (京透). They resemble the elegant Heianjō-sukashi but
followed the later fashion, that means the inner sukashi elements
became thicker and the design itself more stylized and geometrical. But
the transition between these two categories was a smooth one. At about
the same time as the Heianjō-sukashi-tsuba, ji-sukashi-tsuba were also
produced outside of Kyōto. The groups of craftsmen emerging are
nowadays classified as for, example, „Owari-sukashi“ (尾張透) or
„Kanayama“ (金山). Because of the exceptional forged iron of the first
ji-sukashi-tsuba it is assumed that they were made my armourers, the
so-called „katchūshi“ (甲冑師), who had previously made simple iron
tsuba for tachi and early uchigatana. Some see the ji-sukashi as a logic
development of the smaller ko-sukashi (小透) of katchūshi-tsuba.

– 50 –
 Owari province being the origin of Owari-sukashi and Kanayama-
tsuba is still under investigation because early works were not signed
and no contemporary documents are extant. Shiba Yoshishige
(斯波義重, 1371-1418) became military governor (shugo, 守護) of
Owari province in the seventh year of Ōei (応永, 1400) and transferred
so his administrative headquarter (shugo-jo, 守護所) to Orizu Castle
(下津城). After the turmoil’s of the Ōnin War and succession disputes
between the Shiba and their retainers the Oda, the latter conquered parts
of Owari province in the eighth year of Bunmei (文明, 1476), destroyed
Orizu Castle, and made Kiyosu Castle (清洲城) the new base of their
post of deputy military governor (shugo-dai, 守護代) of Owari. Kiyosu
was a strategically important place. It was located centrally in Owari
and situated perfectly between the arterial roads from Kyōto to the east,
namely the Tōkaidō (東海道), to Kamakura, the Tōzandō (東山道) to
the northern provinces, and the Nakasendō (中山道) which connects the
latter two roads (see picture 2). Before the transfer of the political centre
of this region to Nagoya in the 15th year of Keichō (慶長, 1610),
besides Kiyosu, Ōno (大野) was the most important centre for the
production of swords in Owari. Documents show us for example that
around the beginning of the Bunmei era (文明, 1469-1487) about three
hundred smiths were active in the villages around Ōno. The favourable
position is an indication that Owari province was not unaffected by the
Kyōto chic of the Higashiyama culture. Because it was, as mentioned,
an important strategic place and the centre of sword forging, we can
safely assume that iron tsuba were made there at the beginning of the
mentioned trend of the sophistication of such pieces.

– 51 –
 Tōzandō/Nakasendō

Kiyosu

Tōzandō

Nakasendō

Kyōto Edo

Kamakura

Ōno Tōkaidō

Picture 2: Map of the area around Owari province (grey) including the main roads.

In the first year of Kōji (弘治, 1555), Oda Nobunaga (織田信長,

1534-1582) conquered Kiyosu Castle, expanded it and made it his
headquarter for about ten years.*16 In this course, Kiyosu grew to a so-
called „jōka-machi“ (城下町), a castle town where all production sites
and markets of the area concentrated. Accordingly, many samurai,
merchants and craftsmen settled there. An important factor for the focus
on these castle towns was Nobunaga´s policy of economic liberalization
(rakuichi-rakuza, 楽市楽座). He de-monopolized the merchant guild
(za, 座) which had existed since the Kamakura period and ensured an
economic upturn in the Sengoku period by tax exemptions and free
trade in the markets of the jōka-machi.

*16
In Eiroku six (永禄, 1563) he erected at about 10 km to the northeast on Mt. Komaki (小牧) a
castle of the same name to attack the Saitō clan (斎藤) of the northern Mino province.

– 52 –
 In conclusion we can say that the Kyōto-based Shōami artists
grasped the upcoming fashion trend of ji-sukashi-tsuba and enriched
their „standard repertoire“ as silver and goldsmiths by such works of
iron with openwork designs. This might also be the reason why early
Shōami-ji-sukashi-tsuba look like hybrids between the elegant, urban
Kyō and the more rural and provincial Owari style. Sooner or later,
some of the better sub-contractors were also allowed to use the name
„Shōami“ in their pseudonym’s and also in their signatures.

1.8 Individual Shōami artists

From the end of the Momoyama to the early Edo period countless
Shōami artists were active in different provinces. Here, only some
representative artists shall be mentioned because most of them were no
longer active as kinkō but as tsuba craftsmen, working in iron. One of
the few artists who can be attributed to the Kyō-Shōami group and
whose signatures are extant is Masanori (政徳). Relatively many and
differently interpreted works are extant. There exist also some iron
fuchigashira by Masanori. His signatures are sometimes long, such as
„Jōshū Nishijin-jū Shōami Ichirōbei Masanori“ (城州西陣住正阿
弥市郎兵衛政徳), and some works bear dates from the Genroku era
(元禄, 1688-1704). This means that from the beginning of the Edo
period until the Genroku period there were two, or probably three,
generations Masanori who were active. The „Tōsō-kodōgu-kōza“ lists
the 1st gen. Masanori with the civilian name „Ichirōbei“ and the 2nd gen.
as „Kizaemon“ (喜左衛門). A theory says that the 1st gen. Masanori
was a Umetada Myōju but this can’t be proven because of the lack of
extant documents and signed reference pieces. However, there is the
following signature known which is probably the origin of this theory:
„Shōami Masanori Nyūdō – Shōhō ni tori kugatsu kokonoka –
Yamashiro no Kuni Nishijin-jū Umetada Shigeyoshi no deshi“
(正阿弥政徳入道 正保二酉九月九日 山城国西陣住埋忠重義弟子,

– 53 –
„Shōami Masanori Nyūdō, ninth day of the ninth month of Shōhō two
[1645], year of the rooster, student of Umetada Shigeyoshi from
Nishijin in Yamashiro province“).

Chinkyū (珍久): Chinkyū´s civilian name was Satō Yagobei

(佐藤弥五兵衛) and he belonged to the Shōnai-Shōami group. His
father was, according to transmission, a certain Shōami Shirō´emon
(正阿弥四郎右衛門) and he was the master of the famous Tsuchiya
Yasuchika. He studied in Edo under Nara Toshiharu (奈良利治) and
was active around Genroku (1688-1704).

Denbei (伝兵衛):*17 (see chapter „Dewa´s Akita-Shōami group“)

Dennai (伝内): (see chapter „Dewa´s Akita-Shōami group“)

Jirōhachi Takatsune (次郎八高常): He was born in the third year of

Tenshō (1575) in Chikugo province, the son of Sasaki Jirōbei (佐々木
次郎兵衛). He went to Kyōto to study under an unspecified Shōami
artist. Afterwards he went to the island of Shikoku and joined the
craftsmen of the Iyo-Shōami branch. Later he also visited the Aizu
region and worked there with the local Aizu-Shōami craftsmen. In the
20th year of Kan´ei (1643) he went to Edo and subsequently to Shōnai
(庄内) in Dewa province. There he became a retainer of the Sakai
daimyō (酒井). Due to his numerous journeys this artist is often listed
more than once.

Kiyonari (清成): Kiyonari – his civilian name was „Suzuki Denbei“

(鈴木伝兵衛), he is also listed with the first names „Den´emon“
(伝右衛門) and „Sagenta“ (左源太) – was born in the third year of
Shōhō (1646). He was a student of Chinkyū and died on the 27th day of
the second month of Kyōhō eleven (1726). He belonged to the Shōnai-
Shōami group.

*17
The character „Den“ (伝) is mostly signed in the old form (傅).

– 54 –
Masakazu (正員, some sources also list him with the characters 政員):
Shōami Masakazu was active in the late Edo period in Akō (赤穂), in
Harima province. He signed, for example, with „Banshū Akō -jū
Shōami Masakazu“ (播州赤穂住正阿弥正員).

Morikuni (盛国): He belonged to the Iyo-Shōami group and we know

signatures „Yoshū Matsuyama-jūnin Shōami tenka chūkō kaizan
Morikuni“ (豫*18州松山住人正阿弥天下中興開山盛国) and of dated
works from the Kyōhō (1716-1736) and Kanpō (1741-1744) era’s (see
also chapter 44.2).

Moritomi (盛富): He worked in Matsuyama in Iyo province but also in

Sanuki, in Kagawa (香川). He was active around Bunka (1804-1818).

Tsuneyoshi (常吉): A gilded shitogi-tsuba by Tsuneyoshi with a

nanako ground and carvings in the form of kiri and chrysanthemum
crests is mounted on an efu no tachi-koshirae with a blade by Kunihiro
(国広) which was once offered by Toyotomi Hideyori to the Kongōbu-
ji (金剛峯寺, Wakayama Prefecture). This tsuba bears the signature
„Shōami Saebei no Jō Tsuneyoshi + kaō“ (正阿弥左兵衛丞常吉) and
the date „Keichō yon-nen shigatsu ichinichi“ (慶長四年四月一日,
„first day of the fourth month of Keichō four [1599]“). This is one of
the oldest extant signed and dated Shōami-tsuba.

Ujinao (氏直): Shōami Ujinao´s civilian name was „Hirata

Ichizaemon“ (平田市左衛門). He went to Kyōto to study under an
unspecified Kyō-Shōami artist and later returned to Tokushima (徳島)
in Awa province, Shikoku. He is regarded as the founder of the so-
called „Awa-zōgan“ (阿波象嵌). His father, Hirata Tansai (平田丹斎),
was active in Tokushima around Genroku (see also chapter 44.1).

*18
„Yoshū“ (豫州) is the old form (与州) for Iyo province (伊予).

– 55 –
Yoshisada (良定): This Shōami artist, with the family name „Ono“
(小野), belonged to the Iyo-Shōami group. We know the date signature
„Kanbun jūni-nen hachigatsu jūgo-nichi“ (寛文十二年 八月十五日,
„15th day of the eighth month of Kanbun [1672]“).

– 56 –
2. The Gotō-school (後藤)

2.1 Gotō Yūjō (後藤祐乗), 1st gen.

Yūjō was, as mentioned in the first chapter, the ancestor of the kinkō
lineage of the Gotō family. The outlines of his career are described in
chapter 1.4. At this point I would like to quote a passage from Shinkichi
Hara´s „Die Meister der japanischen Schwertzieraten“ („The Masters of
Japanese Sword Fittings“). It deals with the circumstances of how Yūjō
came to be a metal worker:

„Yūjō was a court servant under [Ashikaga] Yoshimasa and distinguished himself
as a talented and smart youth. […] When he was eighteen years old he was taken from
his position and sent to jail out of sheer jealousy of his companions. Out of pity the jail
officers gave him a peach to quench his thirst. Secretly Yūjō asked for a small knife and
carved from the stone of the peach fourteen small ships (for a Shinto procession) and
sixty three monkeys. Out of gratitude he presented this small miracle to the jail officer
who gave it in turn to Yoshimasa. The latter was so delighted about the work that he
pardoned the prisoner and ordered him to carve sword fittings. He followed this order,
had his hair shaved, and called himself Yūjō [...].“

2.2 Gotō Sōjō (後藤宗乗), 2nd gen.

Sōjō, born in the second year of Kanshō (1461), was the second son
of Yūjō when the latter was 23 years old. According to transmission, he
entered priesthood at the age of 40, under the gō „Sōjō“. Before he also
used the name „Sōyū“ (宗祐). His civilian name was „Mitsutake“
(光武) or, according to other sources, „Takemitsu“ (武光). Like his
father, he also worked for the Ashikaga family and died on the sixth day
of the eighth month of Tenbun seven (1538), at the age of 78.

– 57 –
2.3 Gotō Jōshin (後藤乗真), 3rd gen.

Jōshin was born in the ninth year of Eishō (1512) as the eldest son of
Sōjō. His civilian name was „Shirōbei Yoshihisa“ (四郎兵衛吉久).
Jōshin worked successively for the 12th and 13th Ashikaga-shōgun
Yoshiharu (足利義晴, 1511-1550, r. 1521-1546) and Yoshiteru (義輝,
1536-1565, r. 1546-1565). In his later years he was promoted to the
priest rank of „hōgen“ (法眼) and died in the third month of Eiroku five
(1562) at the age of 51. The first three Gotō generations are also
summarized as „kami-sandai“ (上三代, lit. „the old/early/legendary
three generations).

2.4 Gotō Kōjō (後藤光乗), 4th gen.

Kōjō, born in the second year of Kyōroku (1529), was the son of
Jōshin. His youth name was „Koichirō“ (小一郎), followed by „Kiichi“
(亀市), and „Shirōbei“. His civilian first name was later „Mitsuie“
(光家). He was entrusted by Oda Nobunaga, and later by Toyotomi
Hideyoshi, with the management of the mint. Kōjō too held the rank of
hōgen in his later years and died on the 14th day of the third month of
Genna six (1620), at the age of 92.

2.5 Gotō Tokujō (後藤徳乗), 5th gen.

Tokujō was the oldest son of Kōjō. He was born in the 19th year of
Tenbun (1550) and before he took over the first name „Shirōbei“ he
was called „Genjirō“ (源次郎). He worked for the mint like his father
and bore the names „Mitsumoto“ (光基), „Masafusa“ (正房) and
„Masaie“ (正家). A transmission says that it was him who designed the
kiri crest of Hideyoshi and the latter is accordingly called „Tokujō-kiri“.

– 58 –
 From the 5th generation onwards, the Gotō family also issued
appraisals for sword fittings, the so-called „origami“ (折紙),*19 but the
oldest extant origami for a kinkō work dates to the Genna era (元和,
1615-1624). It is also accepted that the Gotō started, also around the
time of Tokujō, with the production of tsuba. Tokujō died on the 13th
day of the tenth month of Kan´ei eight (1631), at the age of 82.

2.6 Gotō Eijō (後藤栄乗), 6th gen.

Eijō, born in the fifth year of Tenshō (1555), was the eldest son of
Tokujō. Before taking over the hereditary name „Shirōbei“ he was
called „Genshirō“ (源四郎) and, as civilian name, he used the names
„Masamitsu“ (正光), „Masafusa“ (正房) and „Mitsumune“ (光宗).
When the Toyotomi faction lost at Sekigahara the Gotō-Shirōbei line
faced some difficulties because they were under their patronage. But by
Gotō Chōjō’s (長乗) mediation the change to Ieyasu worked out.
Chōjō, born in the fourth year of Eiroku (1561) and died on the 26th day
of the third month of Genna two (1616), was the second son of Kōjō
and thus the uncle of Eijō. He was a close friend of Ieyasu and Hon´ami
Kōetsu and a prominent figure of the then art scene. Although it is
transmitted that Chōjō was a very skilful kinkō artists, there are no
signed works extant or such which could be attributed to him. Eijō was
promoted in his later years to the priest rank of hōgen and died on the
fourth day of the fourth month of Genna three (1617), at the young age
of 41.

*19
Because Yūjō died on a seventh day, all origami were always issued out of reverence to the
great ancestor on the seventh day of the month.

– 59 –
2.7 Gotō Kenjō (後藤顕乗), 7th gen.

Kenjō´s civilian names were Masatsugu“ (正継), „Mitsuha“ (光派)

and „Mitsutsune“ (光経) and his first names were „Gen´ichirō“
(源一郎) and „Ribei“ (理兵衛). He was born in the 14th year of Tenshō
(1586), the second son of Tokujō. After the relatively early death of his
older brother Eijō he succeeded as head of the family and as the 7th gen.
mainline. Together with his cousin Kakujō (覚乗) he worked on a
biennial basis alternating between Kyōto, for the bakufu, and Kanazawa
(金沢) for the Maeda family (前田) who were the daimyō of Kaga
province. Kenjō died on the 22nd day of the first month of Kanbun three
(1663), at the age of 78.

2.8 Gotō Sokujō (後藤即乗), 8th gen.

Sokujō was the second son of the sixth generation Eijō and was born
in the fifth year of Keichō (1600). His first name was first „Genshirō“
and later „Shirōbei“, and his civilian name was „Mitsushige“ (光重).
Sokujō was 18 years old when his father died so his uncle Kenjō took
care of him until he was ready to succeed as head of the Gotō as the 8th
generation. On orders of the third Tokugawa-shōgun Iemitsu
(徳川家光, 1604-1651, r. 1623-1651) Sokujō moved to Edo in the
second year of Kan´ei (1625). He died on the 13th day of the eleventh
month of Kan´ei eight (1631), at the young age of 32, and therefore
only very few works are extant by him.

– 60 –
2.9 Gotō Teijō (後藤程乗), 9th gen.

Teijō was the eldest son of Kenjō and was born in the eighth year of
Keichō (1603). His youth name was „Toraichi“ (寅市), followed by
„Gen´ichirō“ (源一郎), and his later first name was „Ribei“. As civilian
names he used Mitsumasa“ (光昌) and „Mitsutada“ (光伊). He too
worked for the Kaga-Maeda family on the invitation of his uncle
Kakujō. He was able to gain the trust of Maeda Toshitsune (前田利常,
1594-1658), the then lord of Kaga, and received from him a mansion on
the outskirts of Kanazawa. After the death of Sokujō he took care of his
son, his four year old nephew Mitsutomo (光侶, the later 10th gen.
Renjō). Teijō died on the 17th day of the ninth month of Kanbun 13
(1673), at the age of 71.

2.10 Gotō Renjō (後藤廉乗), 10th gen.

Renjō, born in the fourth year of Kan´ei (1627), the fourth son of
Sokujō, was raised by his uncle Teijō after the early death of the latter
until he was able to succeed as head of the family in Shōhō three
(1646). Before he took over the name „Shirōbei“ he was called
„Genshirō“ (源四郎), and his civilian name was „Mitsutomo“ (光侶).
With Gotō Renjō, the headquarters of the Shirōbei line was officially
transferred from Kyōto to Edo. Renjō´s oldest son Mitsuyoshi (光嘉)
died young and so he had to adopt Senjō´s (仙乗)*20 third son
Mitsunobu (光寿) who later succeeded as the 11th gen. Gotō mainline,
under the name „Tsūjō“. Renjō returned to Kyōto after retiring and died
there on the 23rd day of the twelfth month of Hōei five (1708), at the age
of 82.

*20
Senjō was the fourth son of Gotō Kenjō. He was born in the ninth year of Genna (1623) and
died on the 29th day of the eighth month of Genroku five (1692).

– 61 –
2.11 Gotō Tsūjō (後藤通乗), 11th gen.

Tsūjō´s first name was – before he adopted the hereditary name

„Shirōbei“ – „Gennojō“ (源之丞) and his civilian names were „Mitsuo“
(光尾) and „Mitsunobu“ (光寿).*21 At the time of Tsūjō, the Gotō
family was confronted with the rise of the so-called „machibori“ artists
(町彫) like, for example, the Yokoya (横谷) and Yanagawa schools
(柳川), that means they had for the first time „real“ competitors in the
kinkō sector. Transmissions say that Tsūjō was an autodidact, i.e. he
was not initiated to the old family secrets of the Gotō. But the loss of
the Gotō traditions might also be explained by the fact that most of their
records were destroyed in a major fire in Edo in the second year of
Kanbun (1662). However, during the time of Tsūjō the Gotō family had
lost its supremacy in the kinkō world and would never be able to gain it
back. Tsūjō was born in the third year of Kanbun (1663) and died on the
27th day of the twelfth month of Kyōhō six (1721), at the age of 59.

2.12 Gotō Jujō (後藤寿乗), 12th gen.

Jujō was born in the eighth year of Genroku (1695), the third son of
Tsūjō. His early first names before „Shirōbei“ were „Kameichi“ (亀市)
and „Gennojō“ (源之丞) and his civilian name was „Mitsuyuki“ (光幸).
But he changed the latter to „Mitsumasa“ (光理) when succeeding as
head of the family. He died on the ninth day of the second month of
Kanpō two (寛保, 1742), at the age of 48. He received the gō „Jujō“
posthumously.

*21
Some sources read this name as „Mitsutoshi“.

– 62 –
2.13 Gotō Enjō (後藤延乗), 13th gen.

Enjō, born in the sixth year of Kyōhō (1721), was the second son of
Jujō but succeeded as the 13th head of the Gotō family because his older
brother Kanjō (閑乗) – called „Mitsusuke“ (光佐), who died on the
seventh day of the second month of Kansei ten (1798) – had to retire for
health reasons. Before adopting the name „Shirōbei“ he was called
„Gennojō“ (源之丞) and his civilian name was „Mitsunari“ (光成).
Later, as head of the family, he changed this name to „Mitsutaka“
(光孝). Enjō died on the 18th day of the ninth month of Tenmei four
(1784), at the age of 68. Around Enjō´s time, the Gotō artists „broke
with tradition“ and also made fuchigashira, other sword fittings, and an
increasing number of tsuba, for example the shakudō-tsuba with
nanako ground which had to be worn by bushi on certain occasions.*22

2.14 Gotō Keijō (後藤桂乗), 14th gen.

Enjō´s sons all died young and so he adopted one of his brothers as
successor. Keijō´s first name before „Shirōbei“ was „Kichigorō“
(吉五郎) and his civilian name was „Mitsunori“ (光典). But he also
used the name „Mitsunori“ (光儔) which is said to be a reverence to the
11th generation´s civilian name „Mitsunobu“ (光寿), and also
„Mitsumori“ (光守) after succeeding as head of the family. Keijō was
born in the first year of Hōreki (宝暦, 1751) and died in the fourth year
of Kyōwa (享和, 1804), at the age of 54.

*22
When visiting Edo Castle, the so-called „banzashi-daishō“ (番差大小, lit. „daishō worn during
sankin-kōtai“) had to be worn. This had to be fitted with a black-lacquered saya, a white same on
the hilt, a flat sayajiri on the katana and a round one on the wakizashi, the kashira had to be made
of horn and the end of the hilt wrapping had to be knotted over the kashira (a so-called „kake-
maki“, 掛巻). At the very beginning of this law the tsuba was undecorated, except for the nanako
ground and the family crests. Later it was also allowed to be decorated with shishi lions, dragons or
floral motifs.

– 63 –
2.15 Gotō Shinjō (後藤真乗), 15th gen.

Shinjō, born in the eighth year of Tenmei (1788) and was the eldest
son of Keijō. His first names were „Gennojō“ (源之丞) and „Kameichi“
(亀市, also read „Kiichi“) and his civilian name was „Mitsuyoshi“ (光美).
Shinjō died on the seventh day of the sixth month of Tenpō five (1834).
He received his gō „Shinjō“ posthumously. There are different entries
regarding Shinjō´s year of birth and death going round. Some say he
was born in the ninth year of An´ei (1780) or the third year of Tenmei
(1783) and that he died in the 14th year of Tenpō (1843). Well, the
transmission Tenmei three and Tenpō 14 correspond with other handed-
down information (according to the Japanese way of counting years),
namely that he died at the age of 52.

2.16 Gotō Hōjō (後藤方乗), 16th gen.

Hōjō, the fourth son of Shinjō, was born in the 13th year of Bunka
(1816). He succeeded as head of the Gotō family at the very young age
of 19. His earlier first names were „Shinjirō“ (新次郎) and „Gennojō“
(源之丞) and his civilian name was first „Mitsutoshi“ (光年) and later
„Mitsuaki“ (光晃). He died on the 22nd day of the sixth month of Ansei
three (1856), at the age of 41. He received his gō „Hōjō“ posthumously.

– 64 –
2.17 Gotō Tenjō (後藤典乗), 17th gen.

Tenjō was the second son of Gotō Kyūjō (後藤久乗, died in the
first year of Meiji [1868] whose civilian name was „Mitsutada“ (光覧)
and who was the third son of the twelfth generation Jujō). Tenjō was
born in the sixth year of Tenpō (1835) and succeeded at the age of 18 as
the 17th and last head of the Gotō mainline. His first name before
adopting „Shirōbei“ was „Tsunetarō“ (常太郎) and his civilian name
was „Mitsuhira“ (光平). But he changed the latter to „Mitsunori“
(光則) after taking over the family. Tenjō died on the fifth day of the
sixth month of Meiji twelve (1879).

2.18 Genealogies of the Gotō family

The following pages show the genealogies of the various Gotō

branches, starting with those of the mainline.

– 65 –
Genealogy of the Shirōbei, i.e. the Gotō mainline:

Yūjō (祐乗), 1st gen.

Masaoku (正奥)
1440-1512

Sōjō (宗乗), 2nd gen. Jujō (寿乗), 12th gen.

Mitsutake (光武) Mitsumasa (光理)
1461-1538 1695-1742

Jōshin (真乗), 3rd gen. Enjō (延乗), 13th gen.

Yoshihisa (吉久) Mitsutaka (光孝)
1512-1562 1721-1784

Kōjō (光乗), 4th gen. Keijō (桂乗), 14th gen.

Mitsuie (光家) Mitsumori (光守)
1529-1620 1751-1804

Tokujō (徳乗), 5th gen. Shinjō (真乗), 15th gen.

Mitsumoto (光基) Mitsuyoshi (光美)
1550-1631 1783-1843

Eijō (栄乗), 6th gen. Hōjō (方乗), 16th gen.

Masamitsu (正光) Mitsuaki (光晃)
1555-1617 1816-1856

Sokujō (即乗). 8th gen. Kenjō (顕乗), 7th gen. Tenjō (典乗), 17th gen.
Mitsushige (光重) Masatsugu (正継) Mitsunori (光則)
1600-1631 1586-1663 1835-1879

Renjō (廉乗), 10th gen. Teijō (程乗), 9th gen.

Mitsutomo (光侶) Mitsumasa (光昌)
1627-1708 1603-1673

Tsūjō (通乗), 11th gen.

Mitsunobu (光寿)
1663-1721

– 66 –
Genealogy of the Ribei, Hachirōbei and Shichirō´emon line: The name
of the former line goes back to „Ribei“ (理兵衛), the hereditary name
of Kenjō; „Hachirōbei“ (八郎兵衛) to that of Kanjō; and
„Shichirō´emon“ (七郎右衛門) to that of Injō. Many artists of the Ribei
line worked primarily in Kaga, although they commuted between there,
Kyōto and Edo. Some sources also list Etsujō the as first generation of
the Gotō-Ribei line.

Kenjō (顕乗), 1st gen. Ribei

Masatsugu (正継)
7th gen. mainline

Teijō (程乗), 2nd gen. Kanjō (寛乗), 1st gen. Injō (殷乗), 1st gen.
Mitsumasa (光昌) Mitsutoshi (光利) Hachirōbei Mitsutomi (光富) Shichirō´emon
9th gen. mainline 1612-1653, also Mitsunaga (光永) 1621-1689

Etsujō (悦乗), 3rd gen. Shunjō (俊乗), 2nd gen. Setsujō (説乗), 2nd gen.
Mitsukuni (光邦) Mitsunaga (光永) Mitsuki (光黄)
1642-1708 1634-1712 1684-1755

Ranjō (闌乗), 4th gen. Kaijō (快乗), 3. Gen Shunjō (春乗), 3rd gen.
Mitsumasu (光倍) Mitsukatsu (光勝) Mitsukazu (光品)
1676-1755 1674-1733 1740-1822

Zenjō (全乗), 5th gen. Shinjō (慎乗), 4th gen. Jūjō (重乗), 4th gen.
Mitsutomo (光倫) Mitsuyo (光與), listed in the Mitsunari (光業)
1720-1797 Haynes-Index as „Mitsuoki“ (光興) 1767-1809
1725-1776

Kakujō (寉乗), 6th gen. Kenjō (謙乗), 5th gen. Kyūjō (久乗), 5th gen.
Mitsuyasu (光保) Mitsuhiro (光弘) Mitsutada (光覧)
around Bunka (1804-1818) 1760-1805 ?-1868

Genjō (厳乗), 7th gen. Ichijō (一乗), 6th gen. Mitsunaka (光仲), 6th gen.
Mitsuhiro (光博) Mitsuyo (光代) around Meiji (1868-1912)
died in Kōka two (1845) 1791-1876, son of Jūjō
see separate chapter

Kenjō (顕乗), 7th gen.

Mitsunobu (光伸)
1828-1904

– 67 –
Genealogy of the Kanbei (勘兵衛) and Jinbei (甚兵衛) line:

Kōjō (光乗)
4th gen. mainline

Tokujō (徳乗) Chōjō (長乗)

5th gen. mainline first name „Kanbei“
1561-1616

Kakujō (覚乗), 1st gen. Shōjō (昌乗), 1st gen. Jinbei

Mitsunobu (光信) Kanbei Mitsumasa (光政)
1589-1656 Jinbei (甚兵衛)
?-1657

Enjō (演乗), 2nd gen. Jōhon (乗本), 2nd gen. Jinbei

Mitsuaki (光明) Mitsutada (光質)
1641-1693 ?-1675

Tatsujō (達乗), 3 Gen.

Mitsufusa (光房)
1665-1708

Shinjō (真乗), 4th gen.

Mitsutsura (光連)
1688-1719

Jitsujō (実乗), 5th gen.

Mitsumasa (光雅)
1693-1742

Genjō (玄乗), 6th gen. Tōjō (東乗), 8th gen.

Mitsuyoshi (光令) Mitsuyuki (光雪)
1723-1777 1790-1862

Kajō (可乗), 7th gen. Genjitsu (源実), 9th gen.

Mitsuharu (光晴) Mitsubumi (光文)
1765-1805 1821-1887

– 68 –
Genealogy of the Jizaemon (次左衛門) and Kibei (喜兵衛) line:

Sokujō (即乗) Jōshin (乗真)

8th gen. mainline 3rd gen. mainline

Taijō (泰乗), 1st gen. Jizaemon Genjō (元乗), 1st gen.

Mitsunao (光尚), Jizaemon Mitsutsugu (光嗣) Kibei
1631-1701 ?-1602

Jōyo (乗與), 2nd gen. Takujō (琢乗), 2nd gen.

Mitsuchika (光近) Mitsumune (光宗)
?-1721 ?-1637

Taijō (躰乗), 3rd gen. Sekijō (石乗), 3rd gen.

Mitsuyori (光寄) Mitsutsune (光経)
1701-1777 1609-1660

Jōken (乗顕), 4th gen. Denjō (伝乗), 4th gen.

Mitsuaki (光顕) Mitsuhiro (光広)
1770-1797 ?-1712

Zejō (是乗), 5th gen. Jōha (乗巴), 5th gen.

Mitsuhiro (光煕) Mitsunobu (光信)
1788-1856 ?-1724

Mitsuhisa (光久), 6th gen. Zenjō (全乗), 6th gen.

1828-1890 Mitsunari (光生)
1719-1759

Chūjō (籌乗), 7th gen.

Mitsukazu (光籌)
1731-1788

– 69 –
Genealogy of the Hanzaemon (半左衛門), Saburō´emon (三郎右衛門)
and Genbei (源兵衛) line:

Tokujō (徳乗)
5th gen. mainline

Kyūjō (休乗), 1st gen.

Mitsutada (光忠) Genbei
1594-1646

Rinjō (林乗), 1st gen.

Mitsuzane (光実) Hanzaemon
?-1676

Hōjō (法乗), 2nd gen. Unjō (運乗), 1 .Gen. Keijō (慶乗), 2nd gen.
Mitsukata (光方) Mitsuyuki (光如) Saburō´emon Mitsunori (光詮) Genbei
?-1730 1651-1692

Bunjō (文乗), 3rd gen. Jujō (就乗), 2nd gen. Jōbō (乗夢), 3rd gen.
Mitsunobu (光敷) Mitsutaka (光隆) Mitsukage (光景)
?-1779 ?-1744 ?-1710

Kijō (亀乗), 4th gen. Kyūjō (球乗), 3rd gen.

Mitsunaga (光長) Mitsumoto (光舊)
1755-1829 ?-1760

Benjō (辨乗), 5th gen. Enjō (円乗), 4th gen.

Mitsuyasu (光保) Mitsumine (光峯)
1795-1851 ?-1776

Mitsumasa (光正), 6th gen.

1836-1904

– 70 –
Genealogy of the Shichirōbei (七郎兵衛), Gonbei (権兵衛) and Seibei
(瀬兵衛) line:

Chōjō (長乗)
1561-1616

Ryūjō (立乗), 1st gen. Jōen (乗円), 1st gen.

Mitsuyori (光頼) Shichirōbei 1592-1623 Seibei
1585-1629

Ekijō (益乗), 2nd gen. Seijō (清乗), 1st gen. Jōsen (乗仙), 2nd gen.
Mitsutsugu (光次) Mitsunaga (光長) Gonbei ?-1641
1601-1665 1606-1688

Reijō (嶺乗), 3rd gen. Junjō (順乗), 2nd gen. Jōren (乗蓮), 3rd gen.
Mitsuchika (光親) Mitsuaki (光明) Mitsunari (光成)
1635-1679 1635-1699 1627-1656

Kaijō (海乗), 4th gen. Jōyō (乗有), 3rd gen. Zenjō (膳乗), 4th gen.
Mitsutsuna (光綱) Mitsuari (光有) Mitsunori (光則)
1627-1686 ?-1722 1645-1712

Ryūjō (隆乗), 5th gen. Shūjō (秀乗), 4th gen. Jōshū (乗秋), 5th gen.
Mitsusada (光定) Mitsunori (光教) ?-1685
?-1723 um Kan´en (1748-51)

Jōshin (乗信), 6th gen.

Mitsutoshi (光甫)
?-1745

Renjō (蓮乗), 7th gen.

Mitsutatsu (光辰)
1732-1780

– 71 –
Genealogy of the Edo-Seijō (江戸清乗) line:

Ryūjō (立乗)
Mitsuyori (光頼)
1585-1629

Seijō (清乗), 1st gen.

Mitsunaga (光長) Gonbei
1606-1688

Seijō (清乗), 2nd gen.

Mitsutoyo (光豊), 1663-1734
he is regarded as actual founder
of the Seijō line

Seijō (清乗), 3rd gen.

Mitsuzane (光実)
1699-1750

Seijō (清乗), 4th gen.

Masaoki (正興)
1747-1814

Seijō (清乗), 5th gen.

Masayoshi (正福)

Seijō (清乗), 6th gen.

Norikata (徳方)
1801-1836

Seijō (清乗), 7th gen.

Harumitsu (春光)
around Ansei (1854-60)

– 72 –
3. The Gotō-Ichijō school (後藤一乗)

3.1 Gotō Ichijō

Ichijō was born on the third day of the third month of Kansei three
(1791) as the second son of Gotō Jūjō (重乗), the 4th gen. of the
Shichirō´emon line in Kyōto. His first name in his younger years was
„Eijirō“ (栄次郎) and, at the age of nine, he was adopted by Kenjō
(謙乗), the 5th gen. of the Hachirōbei line. But two years later he started
an apprenticeship with Hanzaemon Kijō (亀乗) because of Kenjō´s
poor health. When the latter died in the fourth month of the second year
of Bunka (1805), Ichijō was nominated the official successor of the
Hachirōbei line. At that time he used the name „Mitsutaka“ (光貨). Six
years later, in Bunka eight (1811), he changed his name to „Mitsuyuki“
(光行) and worked from that time onwards for Edo´s Shirōbei line
dealing with the design of ōban coins as well as mediator between the
Edo and the Kyōto branch of the Gotō family. It is unknown when he
started to use the name „Mitsuyo“ (光代) but on the basis of extant
signed works we can limit it to the early Bunsei era (1818~1820). On
the 19th day of the twelfth month of Bunsei seven (1824) he received the
rank of hokkyō and called himself „Ichijō“. He was only 34 years old at
that time.
In the twelfth month of Kaei four (1851), on orders of the bakufu, he
went to Edo and was accompanied by Hashimoto Isshi (橋本一至),
who had been his student for one year. Funada Ikkin (船田一琴) –
another student of Ichijō – had already started his own business in Edo
at that time. Extant letters of the Gotō family show that Ichijō´s work
was highly appreciated and, in the eleventh month of Ansei two (1855),
he had his son Mitsunobu (光信), who had remained in Kyōto, move to
Edo. Somewhat later, in the second year of Bunkyū (1862), he returned
to Kyōto after spending eleven years in Edo.

– 73 –
 He was again joined by Isshin and the reason for his return was that
he had received an order from emperor Kōmei (孝明天皇, 1831-1866)
for a tachi-koshirae. As a reward for this job he was promoted to the
rank of hōgen in the sixth month of Bunkyū three (1863). He was 73
years old at that time. In the second year of Keiō (1866) Mitsunobu was
appointed as successor and Ichijō died on the 17th day of the tenth
month of Meiji nine (1876), at the age of 86.

Picture 3: Portrait of Gotō Ichijō.

Regarding Ichijō´s style, it is interesting to note that he often worked

in shibuichi, with a noticeable higher silver content which makes the
material look whitish.*23 This alloy was not used for sword fittings
before the time of Ichijō. He too was subject to the fashion of those
days and therefore hardly produced any works in iebori (家彫) style –
lit. „house carvings“, the general term for traditional Gotō works in
shakudō with nanako ground and gold accentuations – from the Kaei
(1848-1854) and Ansei (1854-1860) eras onwards.

*23
Accordingly called „shiro-shibuchi“ (白四分一, lit. „white shibuichi“) or „gin-shibuichi“
(銀四分一, lit. „silver shibuichi“).

– 74 –
 In general, we can say that he started working in shakudō, switched
to shibuchi during his prime creative period and also used iron in his
later years. Ichijō succeeded in making Gotō works again „acceptable“
to high-ranking customers like the Imperial Court, the family of the
Tokugawa-shōgun, and several daimyō, even though he also worked to
the same extent in the then prevailing machibori style. His pupils
included the most famous kinkō artists of his time like, for example, the
already mentioned Funada Ikkin, Hashimoto Isshi, Nakagawa Isshō
(中川一匠), Imai Nagatake (今井永武), or Araki Tōmei (荒木東明),
who are described in the following chapters.

3.2 Funada Ikkin (船田一琴)

Ikkin was born in the ninth year of Bunka (1812) in Shōnai (庄内),
Dewa province, as the eldest son of Funada Kanjō (寛常), who was in
turn a student of Iwamoto Konkan. His youth names were Yūtarō“
(勇太郎) and later „Shōji“ (庄治). His father died when Ikkin was
about eight years old. His mother later married the kinkō artist
Yoshinobu (義信, 1790-1867), who was a student of Edo´s Kumagai
Shōjirō Yoshinobu (熊谷庄次郎義信). At the age of 15, Ikkin became
an apprentice of his stepfather but there are several theories about his
initial training. One says that his stepfather Yoshinobu was not the
Kumagai Yoshinobu but a different kinkō artist with the same craftsman
name but with the first name, „Sashichirō“ (佐七郎). According to the
„Nihontō-kōza“, Ikkin had studied under Kumagai Yoshiyuki
(熊谷義之), the master of Kumagai Yoshinobu. Another transmission
says that Ikkin left Shōnai at 17 and entered apprenticeship with the
famous master Tanaka Kiyotoshi (田中清寿, 1804-1876) in Edo.

– 75 –
 However, in the elventh year of Bunka (1814) he became, at the age
of 17, the student of Gotō Ichijō. Before that time he used the name
„Yoshinaga“ (義長) but changed it to „Ikkin“ after receiving the
character „Ichi“ from his master.*24 After completing his training under
Ichijō he was hired by the Sakai family (酒井), the daimyō of Dewa´s
Shōnai fief. From that time onwards he commuted on a regular basis
between Shōnai and Edo and was soon able to earn an excellent
reputation. Ikkin died relatively young at the age of 52 on the 18th day
of the tenth month of Bunkyū three (1863). Some attribute this to his
excessive alcohol consumption because even Ichijō tried to distract him
from drinking too much sake.
Ikkin´s oldest son Yūtarō (勇太郎), later called „Shōsuke“ (庄助),
succeeded as second generation previously using the names
„Yoshiyasu“ (義安) and „Yoshimori“ (義守). At the age of 14 (i.e.
during the Kaei era, 1848-1854) his father apprenticed him to
Hashimoto Isshi and at 18 he finally studied under Gotō Ichijō. It is said
that he returned to Shōnai after his father’s death. He enjoyed a long life
and so it is assumed that many of the works signed „Ikkin“ are from the
hand of the 2nd gen., also because father and son worked in almost the
same style. The 1st gen. Ikkin was famous for his peculiar katakiribori
carvings and the so-called technique of „kōsuki-bori“ (甲鋤彫) for his
interpretations of plum trees. For this technique, a chisel with a
crescent-shaped tip is applied to create broad linear elements.

*24
Some tramsissions say this took place in the fifth (1834) or ninth (1838) year of Tenpō.

– 76 –
3.3 Hashimoto Isshi (橋本一至)

Isshi was born in Kyōto on the first day of the sixth month of Bunsei
three (1820). His father was Mansuke (万助), a self-made man from
Ōmi who was able to gain a firm foothold in Kyōto as a draper and
general dealer. Isshi´s youth name was „Genji“ (玄治). He was of sickly
nature but showed a remarkable dexterity since his childhood days. So
he decided not to continue his father’s business but to become a kinkō
artist. At the young age of 16 he entered apprenticeship with Gotō
Ichijō, and when he was 30 his master granted him with the character
for „Ichi“ whereupon he took the name „Isshi“.

Picture 4: Portrait of Hashimoto Isshi.

He accompanied Ichijō when the latter was ordered to Edo by the

bakufu in the fourth year of Kaei (1851) and also on his way back to
Kyōto after spending eleven years in Edo. Together, with Funada Ikkin,
Hashimoto Isshi was one of the best students of Ichijō. Back in Kyōto
he became a retainer of the Hirohata family (広幡) and he received the
permission to wear a sword. Isshi´s real purpose of becoming a retainer
was that he tried to get in contact directly with his customers, i.e.
daimyō and higher ranking warriors, and on certain courtesy visits and
occasions, wearing a sword was obligatory.

– 77 –
 During those days it was not common for even the best craftsmen to
get into direct contact with their customers. All orders were processed
by middlemen of the individual fiefs and the bakufu. So we can assume
that Isshimoto tried, as a kinkō artist, to revert to the original so-called
„koshimoto-bori“ status (腰元彫)*25 of the Gotō family.
After the first restrictions for the wearing of swords in the fourth
year of Meiji (1871) – the first precursors of the later haitō-rei (廃刀令)
of 1876 – the makers of sword fittings also realized that the times ahead
would be difficult. That year Isshi officially ceded his craftsman name
to his son and heir Yoshitarō (芳太郎) and retired under the gō „Jōen“
(淨延). But shortly later he decided to return to his profession of kinkō
craftman and presented works at the first National Industrial Fair
(Naikoku-kangyō-hakurankai, 内国勧業博覧会) and sat later in the
jury of the fourth fair. As a sideline, father and son Isshin traded in tabi
socks in order to support themselves.
Isshin won many prizes for his kinkō works. He practised Shintoism,
loved performing arts like Nō, ikebana, the tea ceremony, and playing
the koto and shamisen. He died on the 15th day of the sixth month of
Meiji 29 (1896), at the age of 77. His son continued to work as a kinkō
artist until the 36th year of Meiji (1903) and used the gō „Jōeki“ (淨益)
after retiring. Similar to Funada Ikkin, it is also difficult to distinguish
works from father and son Isshin.
Incidentally, the 2nd gen. Ikkin also studied under the 1st gen. Isshi.
The latter often granted his students with the character for „shi“ (至),
for example Yoshida Shiei (吉田至永, 1843-1903) from Ōsaka or
Gyokutosha Shimei (玉兎舎至明) from Mie (三重).

*25
Because Yūjō worked for the shōgun Yoshimasa and made among others koshigatana fittings
for high-ranking customers, the term „koshimoto-bori“ was applied from that time onwards to the
Gotō family. The word „koshimoto“ (lit. „at the waist“) is used for an object which is worn at the
waist but applies in the narrower sense to the sword. So the term „koshimoto-bori“ can be roughly
translated as „sword carvers“ or „manufacturer of carvings on sword fittings“.

– 78 –
3.4 Nakagawa Isshō (中川一匠)

Isshō was born on the eighth day of the third month of Bunsei
twelve (1829) in Tsuyama (津山) in Mimasaka province, and was the
second son of the kinkō artist Nakagawa Katsutsugu (中川勝継, ?-
1866).*26 His youth name was „Naojirō“ (直次郎) and he signed in
early years with „Katsuzane“ (勝実). At the age of 21 he entered an
apprenticeship with Gotō Ichijō and received the character „Ichi“ from
the latter in the fourth year of Ansei (1857), when he was 29 years old.
Thereupon he changed his name „Katsuzane“ to „Isshō“ (一勝). At 34
he returned to Tsuyama but the head of the family was transferred to his
younger brother Itteki (一的, 1835-1885) – who was also a student of
Ichijō – after the death of his father. After this he returned to Edo in the
first year of Bunkyū (1861).
There is the theory that, the reason he did not succeed, was because
he was the son of a concubine of Katsutsugu and so Itteki – whose
craftsman name was Katsuyuki“ (勝敬) – had to become the official
head of the family. However, in the second year of Bunkyū Isshō
changed the characters for his name from (一勝) to (一匠). He died on
the ninth day of the fourth month of Meiji nine (1876) at the young age
of 48.
Isshō´s successor was Sōsaburō Yoshisane (宗三郎義実, 1859-
1915), the second son of his older brother Shōami Katsuyoshi
(正阿弥勝義, 1832-1908).*27 He had adopted and trained him as a kinkō
artist during his lifetime. Yoshisane also studied later under Kanō
Natsuo.

*26
The Nakagawa were for several generations kinkō artists of the Matsudaira family (松平), the
daimyō of the Tsuyama fief (see also chapter 41.2).
*27
If these dates are correct, that he must had been the younger brother of Isshō (see also chapter
42.1).

– 79 –
3.5 Wada Isshin (和田一真)

Isshin was born on the eleventh day of the eleventh month ofBunka
eleven (1814) in Kyōto. His father Baba Hidemasa (馬場秀政) was a
retainer of the Hata fief (八太) of Tajima province, which was ruled by
the Okada family (岡田). Hidemasa was also married to an Okada wife.
Isshin studied first in Kyōto – together with Imai Nagatake – under
Fujiki Kyūbei (藤木久兵衛), one of Gotō Ichijō assistants. But the
sword dealer Sawada Chūbei (沢田忠兵衛) recognized his great talent
and managed to get him to train directly under the great master. After
receiving the character for „Ichi“ he took the name „Isshin“, but it has
to be mentioned that he mostly signed the character for „shin“ (真) in
the old variant (眞). Before that time he used the name „Masatatsu“
(政龍 or 政竜), and at the beginning of his career „Masataka“ (政隆).
By the way, Sawada´s son „Mahiko“ (真彦, 1842-1902, also read
„Shinhiko“) later became a student of Isshin. Isshin used the gō
„Gekkindō“ (月琴堂), „Bisan“ (眉山) and „Yūsai“ (幽斎). The latter
was continued by his student Adachi Mahaya (安達真早, 1822-1899).
Besides „Wada“ Isshin also signed with „Fujiwara“ because his family
could trace its lineage back to this clan. We also find several honorary
titles and Chinese office names in his signatures like, for example,
„Yasuu“ (琊蒭), or their Japanese counterparts „shōshin“ (小進) or
„daishin“ (大進). Isshin died on the fourth day of the twelfth month of
Meiji 15 (1882), at the age of 68.

– 80 –
3.6 Imai Nagatake (今井永武)

Imai Nagatake was the fourth son of the Kyōto paper dealer Sasaya
Chūbei (笹屋忠兵衛) and was born in the first year of Bunsei (1818).
Extant family registers list him as the asopted son of Imai Kosaburō
(今井小三郎, ?-1848), a retainer of the Ichijō family (一条).
Kosaburō´s grandfather Iseya Kazaemon (伊勢屋嘉左衛門, ?-1780)
was also a paper dealer so we can assume that this adoption was linked
to the businesses of the two families. After succeeding as head of the
Imai family, Nagatake was given the samurai status but he had a very
low salary and so he decided to become a kinkō artist after his adoptive
father died. He renounced his salary and studied first under Fujiki
Kyūbei and later under Master Gotō Ichijō. Transmissions say that
Ichijō refused to grant him the character for „Ichi“ because Nagatake
was so stubborn. In later years he also used the pseudonym „Butetsu“
(武鉄). He died on the fourth day of the eleventh month of Meiji 15
(1882), at the age of 85.

3.7 Araki Tōmei (荒木東明)

Tōmei was born in Kyōto in the 14th year of Bunka (1817), the eldest
son of the rice trader and haulier Yohei (与平, ?- 1837). His youth name
was „Yoshinoshin“ (芳之進). At the age of 13 he entered
apprenticeship with Gotō Tōjō (東乗), the 8th gen. of the Kanbei line.
At the beginning of his career he signed with „Hidenobu“ (秀信) but
changed this name to Tōmei when he received the character „Tō“ (東)
from his master Tōjō. Later he also studied under Gotō Ichijō from
whom he received the character „Ichi“. Thereupon he also used the
name „Issai“ (一斎). He never signed the latter singly but always
together with „Tōmei“, i.e. as „Issai Tōmei“ (一斎東明).

– 81 –
 Regarding Tōmei´s career as a kinkō artist, the case is as follows: He
was born in the year of the oxen and back then it was the custom to give
sons born in such a year to other families. So Tōmei was the firstborn
but had to concede the succession of the family business to his younger
brother Yatarō (弥太郎). In his later years he also used the gō „Kichū“
(其仲). He died on the 19th day of the fourth month of Meiji three
(1870), at the age of 54. He enjoyed great reputation during his lifetime
for his three-dimensional and highly realistic interpretation of his
millets (awabo, 粟穂). It is said that the models he used go back to joint
studies with his famous painter friend Hayashi Ranga (林蘭雅).

– 82 –
4. Tachi-shi or tachi-kanagu-shi

In this chapter I would like to deal with the tachi-shi who were
briefly introduced in the first chapter. As mentioned, this group of
metalworkers made fittings and tsuba for tachi mountings from the
Heian, through the Kamakura and Nanbokuchō up to the Muromachi
periods. The origins of their craft probably lie in the manufacturing of
Buddhist implements and the like. There is also the theory that later
tachi-shi of the Muromachi and Momoyama period were working as
sub-contractors and preparatory craftsmen for the Shōami or the Gotō
school and were later outsourced to individual fiefs where they
produced tachi fittings and tsuba for middle-ranking bushi and habaki
and seppa in general for all swords. This would explain why all early
tachi-tsuba are unsigned*28 and why they are very similar in shape and
simplicity in their ornamentation. This means that for the social status
for whom they worked, the individuality and representation of the
wearer was neither that important nor desired. In the following, the
more famous tachi-shi families are introduced, whose names we know.
Unfortunately, the old meikan lists and records on sword fittings contain
many confusions and errors which go back to mistakes in transcription,
the lack of references, or forged genealogic information.

4.1 Muneta family (宗田)

There are no signed works extant by the Muneta family. The

following genealogy is an extract from „Sōken-kishō“ from the first
year of Tenmei (1781) and must be treated with caution

*28
The earliest extant signed works which could be attributed to a group of tachi-shi are a
fuchigashira and a tsuba which date to the mid-Edo period.

– 83 –
 Matazaemon (又左衛門)
shirogane-shi, made tachi fittings,
kozuka and kōgai, contemporary of Gōtō Sōjō
(宗乗, 1461-1538), according to Haynes around 1575

Nizaemon (仁左衛門) Matabei (又兵衛)

around 1600, son of Matazaemon around 1575, son of Matazaemon

Matabei (又兵衛) Jinbei (仁兵衛) Matashichi (又七) Matazaemon (又左衛門)

nanako craftsman nanako craftsman around 1575, second around 1625-1650, maybe the same
around 1600-1625 around 1575-1600 son of Matabei craftsman as Matazaemon Dōsei

Nizaemon (仁左衛門)
Nanako craftsman
son of Matabei, around 1650-1675

Matazaemon (又左衛門)
nanako craftsman, nyūdō-gō „Dōsei“ (道清)
around 1600-1650

Matabei (又兵衛)
nyūdō-gō „Dōi“ (道意)
around 1650-1675

Norinao (徳直)
first name „Matabei“ (又兵衛)
nyūdō-gō „Dōki“ (道帰), nanako craftsman
around 1750

Shirōbei (四郎兵衛) Denpachi (伝八) Naomichi (直道)

student of Norinao student of Norinao*29 first name „Matabei“ (又兵衛)
worked also in Gifu nanako craftsman son of Norinao, worked also
in Mino province worked also in Ōsaka in Ōsaka, nyūdō-gō „Dōchoku“
(道直), worked in his early years
as nanako craftsman, around 1775-1800

Naomine (直峯) Naoshige (直重)

first name Jisuke (治助) first name Matashichi
student of Naomichi (又七) around 1775,
around 1800-1825, worked in Ōsaka
worked in Ōsaka

*29
The Haynes-Index lists Denpachi as a student of Matabei Dōi.

– 84 –
4.2 Isono family (磯野)

The Isono family was active from around the Genroku (1688-1704)
to the Bunsei (1818-1830) eras. The name of their shop was „Masu´ya“
(升屋) and most of the members of the family bore the first names
„Kozaemon“ (小左衛門) or „Kohei“ (小兵衛). Regarding individual
craftsman names, we know signatures like „Isono Masahiro“
(磯野正博) and „Isono Masakatsu “ (磯野正勝). The actual
correlations between them and the other Isono craftsmen is unknown
like, for example, with Masairu (正入), Masafusa (正房), Masamoto
(正元) or Masahiro (正伯, also read „Seihaku“). There is the theory
that Masakatsu (正勝) was the former name of Masahiro (正博) but
because their kaō are totally different it is rather likely that they were
two different artists.
It has to be noted that the shop of the Genroku-era Kyōto kinkō Abe
Mitsukuni (阿部光国) – first name „Gihei“ (義兵衛) – was also run
under the name „Masu´ya“. Craftsmen of the Uemury family, described
in the next chapter, also used „Masu´ya“ as the name of their shop. The
connection between all these shops and artists is obscure.
With the uprising of individual kinkō schools many tachi-shi
switched their métier and became either preparatory craftsmen, kinkō
artists themselves, or general kazari-shoku (see chapter 1.6). From the
mid-Edo period onwards it is therefore very difficult to distinguish who
belonged to which school or which family.

– 85 –
4.3 Uemura line (植村)

The creative period of this family dates to the period between the
Kyōhō (1716-1736) and Hōreki (1751-1764) era. Uemura Kuninaga
(国長) is considered to be the founder of the family. His first name was
„Kyūbei“ (九兵衛) and he had studied under Noda Yasunobu
(野田安宣). Other tachi-shi of the Uemura family were Kuninaga´s
grandson*30 Munetaka (宗峯 or 宗峰) and Takafusa (高房), the oldest
son of the latter, alhough Takafusa is sometimes also listed as the
adopted son of Munetaka. However, Munetaka´s first name was
„Kyū´emon“ (九右衛門) and he and his sons and students used
„Masu´ya“ (升屋) as the name for their shop. Munetaka’s students
were, for example, Uemura „Masu´ya“ Kichibei (吉兵衛), Risuke
(利助), Yohei (与兵衛) and Genbei (源兵衛). For Takafusa’s students
we know Ihei Hidetsugu (伊兵衛秀次) and Sabei Tomisuke
(佐兵衛富祐). The latter also studied under Okamoto Harukuni (see
chapter 8.1).

4.4 Inoue line (井上)

A certain Saburōzaemon (三郎左衛門) is considered the founder of

the Inoue family, or rather of the family business under the name
„Sanmoji´ya“ (三文字屋). Some Saburōzaemon are listed as
preparatory craftsmen for other kinkō artists and they supposedly
worked in Kyōto´s Oike (御池) because the name „Oike-bori“ (御池彫)
is also known for their works. The artist Inoue Shigeyasu (茂保), active
around the Kyōhō (1716-1736) period was, according to transmission,
the grandson of the 5th gen. Saburōzaemon. Besides the latter name he
also used the first name „Bunjirō“ (文次郎). His students were, among
others, Kibei (喜兵衛), Gorōbei (五郎兵衛), Kyūbei (九兵衛), Ibei
(伊兵衛) and Hanbei (半兵衛) who worked in Awa province.

*30
The Haynes-Index lists Munetaka as the uncle of Kuninaga.

– 86 –
 Publications, like the „Sōken-kishō“, list the following craftsmen as
belonging to the Inoue line: Sakamoto Kibei Mitsuharu (坂本喜兵衛
光春), Isono Jōchiku (磯野乗竹), Tsuda Ichizaemon (津田市左衛門),
Izutsuya Yoshiyasu (井筒屋義休), Namura Kō´emon (苗村幸右衛門)
and Kumaki Ichirōbei Nobuhide (熊木市郎兵衛延秀). Nobuhide´s
shop name was „Hachimonji´ya“ (八文字屋).

4.5 Furukawa (古川) and Yasui family (保井)

The most famous representative of the Furukawa line was

Yoshinaga (善長). His first name was „Sabei“ (佐兵衛) and, like
Uemura Kuninaga, he studied first under Noda Yasunobu but later he
also entered apprenticeship with Gotō Ryūjō (隆乗), the 5th gen. of the
Shichirōbei line. Students of Yoshinaga were, among others, Yasui
Takanaga (保井高長) and his younger brother Yasui Hei´emon
Toshihide (保井平右衛門寿秀). Takanaga also used the name
„Takayama“ (高山), whereas some say that he signed with that name
only during the early years of his career. His first names were „Torahei“
(虎平) and „Hei´emon“ (平右衛門) and his shop was called
„Kashiwa´ya“ (柏屋). He was the master of the famous kinkō artist
Ichinomiya Nagatsune (see chapter 6.1). The sources are in disagree-
ment about Yasui Hei´emon Takahiro (保井平右衛門高広). He is
once listed as the son of Takanaga, then as the son of Toshihide, but
also „just“ as the student of Toshihide. However, Takahiro´s gō was
„Chiryūken“ (池柳軒). Among the students of Furukawa Yoshinaga,
Katō Jibei Yoshiyasu (加藤治兵衛義休) has to be mentioned. He in
turn trained Katō Jisuke Tokihide (加藤治助時秀). Famous students
of Yasui Toshihide were Tokioka Okimichi (時岡興道), first name
„Tōsuke“ (藤助), and Kubo Yoshimichi (久保敬道). Yoshimichi´s
first name was „Gonpachirō“ (権八郎) and he used the name
„Da´nanshi“ (兌南子) as his gō.

– 87 –
5. The Umetada school (埋忠)

The Umetada family worked for many generations for the family of
the Ashikaga-shōgun and made, besides swords and sword carvings
(horimono), habaki, seppa, tsuba and fuchigashira. They were also
responsible for the shortening of blades and the of inlaying of the so-
called „kinzōgan-mei“ (金象嵌銘, a gold-inlaid appraisal on a sword)
on behalf of the Hon´ami family. Further, some Umetada artists were
also entrusted with the arrangement of entire mountings (koshirae, 拵).
It is not known if the early members of the Umetada family made sword
fittings such as menuki, kozuka and kōgai. But this might be explained
by the then separation of tasks, because the manufacture of sword
fittings, like menuki, kōgai and kozuka for tantō and koshigatana, was
the business of the Gotō family. Myōju, the most famous representative
of the Umetada family, worked at the beginning of his career for the
15th Ashikaga-shōgun Yoshiaki (足利義昭, 1537-1597, r. 1568-1573).
This is already mentioned in the „Sōken-kishō“ (装剣奇賞) from the
Tenmei era (1781-1789) in the following way:

1. Shigeyoshi (重吉), Umetada family, master from Kyōto, first

called „Shigeyoshi“ (重義), worked for lord [Ashikaga]
Yoshimitsu (義満, 1358-1408), also made among others tsuba
and fuchigashira, skilful artist
2. Shigeyoshi (重吉), Umetada family, master from Kyōto, called
„Hikojirō“ (彦二郎, also 彦次郎), his gō was „Myōju“ (明寿),
he worked for shōgun [Ashikaga] Yoshiaki (義昭, 1537-1597), for
lord Toyotomi Hideyoshi, and also for the kanpaku Hidetsugu
(秀次, 1568-1595, the nephew of Hideyoshi), he was an exceptional
carver, made tsuba and swords, and is held in high esteem
3. Shigeyoshi (重義), Umetada family, called „Hikojirō“ (彦二郎,
also 彦次郎), held the rank of „Hokkyō“ (法橋), his gō was
„Myōshin“ (明真), as a swordsmith he signed „Ietaka“ (家降),
all other artists with the family name „Umetada“ go back to a
master-student relationship to this family

– 88 –
5.1 Umetada Myōju (埋忠明寿)

As seen in the above mentioned entry, his first name was „Hikojirō“.
His craftsman name was first „Shigeyoshi“ (重吉) and later
„Muneyoshi“ (宗吉). From extant signed works with information about
his age we can calculate his year of birth as the first year of Eiroku
(永禄, 1558). His father was Shigetaka (重降) who used the gō
„Myōkin“ (明欽). Myōju counted himself as the 25th generation from
the famous swordsmith Sanjō Munechika (三条宗近). The connection
with Munechika is also mentioned in „Tōken-kantei-kaden furoku“
(刀剣鑑定歌伝附録) from the Bunsei era (1818-1830): „The lands of
Munechika to the northeast of the imperial palace are called ´Umetada´
(梅多田), therefore also the name ´Umetada´. [...] The chūnagon
(中納言) Karasuma Toyomitsu (烏丸豊光) called Umetada artists to
his Karasuma residence for certain works. Upon this they changed the
characters of their family name to (埋忠) and were granted with the
crest of a wave in the round (nami no maru, 波之丸). This took place in
the 23rd year of Ōei (応永, 1416), at the time of the 19th gen.
Munechika, called Hikonoshin Tachibana Shigemune (彦之進橘重宗).
When the Kyōto-shoshidai (京都所司代) Itakura Suō no Kami
(板倉周防守, i.e. Itakura Shigemune [板倉重宗, 1586-1657], Kyōto-shoshidai from 1619 to
1654) set off towards the Kantō region, he received from the Umetada
family a farewell present in the form of a sukashi-tsuba. From the time
of Tachibana Muneyuki (橘宗之), the 28th gen. Munechika, the
characters for ´Umetada´ appear to have been taboo whereopon they
returned to their former characters (梅忠). On the 15th day of the second
month of Genki one (元亀, 1570), the Umetada family moved from
Sanjō to Nishihin. This took place at the time of the 24th gen.
Munechika who was Hikozaemon Tachibana Munetaka
(彦左衛門橘宗隆).“

– 89 –
 The change to the gō „Myōju“ can be limited to the time between his
40 and 41st year of his life. There is namely a tantō extant which is
th

dated with the eighth month Keichō two (1597) in combination with the
craftsman name „Muneyoshi“. A jūyō-bunkazai tachi from the eighth
month Keichō three is already signed with „Myōju“. He died on the 18th
day of the fifth month of Kan´ei eight (1634), at the age of 74.
In terms of style, Myōju´s origins appear to have been in the Shōami
school. The reason for this assumption is found in early extant iron
Umetada-tsuba which are accentuated in nunome-zōgan, entirely in the
style of the Shōami school. We also know works of a certain
„Mitsutada“ (光忠) who is listed as the uncle of Myōju and attributed
to the Umetada school. But he always signed with a niji-mei, that means
without any additional information about his family name or place of
residence so, from the point of view of similarities in workmanship, he
could also be easily attributed to the Ko-Shōami school. Seeking the
opportunity, Myōju jumped on the wave of the flamboyant and gaudy
bandwagon of the Momoyama period. He was a versatile master,
equipped with a peculiar aesthetical sense that he gained from the
assimilation of old Shōami works, artists such as Hon´ami Kōtoku
(本阿弥光徳, 1553-1619) and Kōetsu (光悦, 1558-1637), Gotō Kōjō
(後藤光乗) and Tokujō (徳乗), Tawaraya Sōtatsu (俵屋宗達), and the
weavers of Kyōto´s Nishijin (西陣) district where he lived. It is
commonly known that there was a lively artistic exchange of the
cultural entities of that time and that this exchange served as the basis
for many of his famous tsuba motifs.
Regarding his signatures, there is no tsuba extant which is signed
with a place name like „Jōshū-jū“ (城州住) or „Nishijin-jū“ (西陣住),
as it is in the case of swords. So far, no pieces have been discovered
which show his early craftsman names like „Shigeyoshi“ or
„Muneyoshi“. Extant tsuba are mostly signed in yojimei, spread out as
„Umetada“ and „Myōju“ to the left and right side of the seppa-dai.

– 90 –
5.2 Umetada Myōshin (埋忠明真)

Myōshin´s first name was „Hikoichi“ (彦一 or 彦市). The sword

publication „Shintō-bengi“ (新刀弁疑) lists Myōshin as the son of
Myōju with the first name „Hikojirō“ (彦次郎), which was the
hereditary first name of the Umetada family. He bore the priest rank of
hokkyō (法橋) and signed in swordsmith style with the name „Ietaka“
(家隆). As mentioned in the introductory chapter, „Sōken-kishō“ lists
Myōshin as „Shigeyoshi“ (重義), which gave rise to speculations in
respect of other Umetada artists with that name. Like Myōju, Myōshin
also carried out suriage shortenings of blades and kinzōgan inlays on
tangs. He was active from about Genna (1615-1624) to the end of the
Kan´ei (~1644) era and was at that time – or at the latest after the death
of Myōju – the head of the Umetada family. „Tōsō-kodōgu-kōza“
(刀装小道具 講座) says that Myōshin was officially hired by the
Tokugawa-bakufu and that they provided him with a mansion in Edo.
He signed with a simple nijimei „Myōshin“ or a yojimei of the kind
„Umetada Myōshin“. His works are generally rated somewhat lower
than those of Myōju. Most of his tsuba are small dimensioned and, like
his predecessor, he used shakudō, iron and brass as raw material and
decorated them with iroe, but not with hira-zōgan, kin- or gin-zōgan.
Many of his tsuba also show ko-sukashi. There exists a two-fold habaki
of pure gold which shows sukashibori in the form of the kiri crest. It
belongs to a tachi of Aoe Tsugunao (青江次直) which was a heirloom
of the Mōri family (毛利). This habaki bears the signature „Umetada
Myōshin“ (うめただ明真).

– 91 –
5.3 Umetada Jusai (埋忠寿斎)

Shigenaga (重長), Myōshin´s son, also used the gō „Jusai“ as well

as „Myōei“ (明栄). Like the latter he was entrusted with the shortening
of blades and the inlay of kinzōgan-mei. Jusai is also listed as the
younger brother of Myōju and a transmission says that Myōju delegated
the management of the Umetada workshop to Jusai around the mid
Keichō era (~ 1605) so that he had more time to cultivate his contacts
within the then art world. Thus Jusai would have been a contemporary
of Myōshin and active from around the Keichō (~ 1605) to Kan´ei
(1624-1644) eras. The two-fold gold habaki of the meibutsu-tantō
„Kuki-Masamune“ (九鬼正宗) bears the signature „Umetada Jusai
Hikoichi Nyū“ (うめただ寿斎彦一入), and an entry regarding the
meibutsu wakizashi „Namazuo-Tōshirō“ (鯰尾藤四郎) by Yoshimitsu
(吉光) says that the blade was worn by Hideyoshi and that the koshirae
was arranged by Jusai. This proves that Jusai was also, like his
predecessor Myōju, entrusted with such jobs.
We know tsuba by Jusai with the yojimei „Umetada Jusai“ and in the
case of the name „Shigenaga“ we also know of nagamei like
„Yamashiro no Kuni Nishijin-jū Umetada Shigenaga saku“
(山城国西陣住埋忠重長作), „Yamashiro no Kuni Nishijun-jūnin
Umetada Shigenaga + kaō“ (山城国西陣住人埋忠重長) or „Nishijin-
jū Umetada Shigenaga“ (西陣住埋忠重長). But it has to be mentioned
that the former works with the yojimei are interpreted in the colourful
Myōju style of the Momoyama period and are made of brass, shakudō
and other soft metals, whereas the latter works with the mei
„Shigenaga“ are of iron and show, among others, raimon or sayagata
inlays which remind us of the Shōami-orientated Umetada-tsuba. As
there are no works extant which bear both names it is also possible that
we are facing here two different artists.

– 92 –
5.4 Umetada Myōho (埋忠明甫)

Umetada Myōho´s first name was „Hikozaemon“ (彦左衛門) and

his civilian name was „Muneyuki (宗之), but some sources also list him
with the first name „Yosōzaemon“ (与三左衛門). He is regarded as the
son of Shigenaga, but it is also believed that he was related to the
Hon´ami family. It is transmitted that he did not carry out suriage
shortenings but focused on the inlay of kinzōgan and the production of
sword fittings and habaki. In an extant protocol, for example, we find
the entry „the habaki and the zōgan inlay were done on the sixth day of
the eighth month of Kan´ei 18 (寛永, 1641) in Edo by Myōho“.
Another substantiated entry in the „Tōsō-kodōgu-kōza“ says that he was
65 years old in the third year of Manji (1660). From roughly the
Kanbun era (1661-1673) onwards he worked officially for the family of
the Tokugawa-shōgun and he moved to Edo for this title. The „Tōsō-
kodōgu-kōza“ also lists Muneyuki as the 4th or 5th gen. Umetada
mainline but not in the connection with the name „Myōho“. The former
assumption corresponds to the genealogy by Fukushi Shigeo
(福士繁雄) in which he lists Umetada Myōho Hikozaemon Muneyuki
as the 4th gen. Umetada. We know signatures by Muneyuki in the form
„Yamashiro no Kuni-jūnin – Umetada Hikozaemon Muneyuki“,
„Jōshū-jū – Umetada Muneyuki“, „Umetada Hikozaemon“, or
„Yamashiro no Kuni Nishijin-jū Umetada Hikozaemon“.

5.5 Umetada Shigeyoshi (埋忠重義)

There are quite a few known tsuba from the Umetada school which
are signed with the name „Shigeyoshi“, creating as many theories about
these artists and their position in the genealogy of the family. Fukushi
Shigeo presumes there are four artists, namely first Myōshin Shigeyoshi
(明真重義), one called „Umetada Shichizaemon Tachibana
Shigeyoshi“ (埋忠七左衛門橘重義), the 2nd gen. of the latter with the
same name but a different signature, and a Shigeyoshi who signed with

– 93 –
the supplement „Akashi-jū“ (明石住), i.e. „resident of Akashi“ in
Harima province. „Tōsō-kodōgu-kōza“ on the other hand says that there
were three Shigenaga: Hikojirō Shigeyoshi (彦次郎重義) who was
active around Kan´ei in Kyōto, a Kanbun-era Shichizaemon Shigeyoshi
also from Kyōto, and a Shichizaemon Shigeyoshi who worked around
Genroku (1688-1704) in Edo. The signatures with „Akashi-jū“ are
attributed by the latter publication to Kyōto´s Shichizaemon Shigeyoshi
but are dated somewhat later, which could imply that this artist moved
to Harima later in his career. Incidentally, the later also mentions that
Umetada Muneyoshi worked in Akashi, which was the castle town of
the Matsudaira family.
There are two tantō extant which bear the signature „Shigeyoshi“.
One is signed „Yamashiro no Kuni Nishijin-jū Umetada Shigeyoshi“
(山城国西陣住埋忠重義) and dated „Kan´ei shichi-nen hachigatsu-hi“
(寛永七年八月日, „a day in the eighth month of the seventh year of
Kan´ei [1630]“), and the other one mentions the first name in the form
„Umetada Hikojirō Shigeyoshi“ (梅*31忠彦次郎重義). The latter piece
is used as a reference for the theory that Shigeyoshi belonged to the
Umetada mainline, because „Hikojirō“ was the hereditary first name of
the latter.
As mentioned in the chapter on Myōshin, the multiple use of the
names „Hikojirō“ and „Shigeyoshi“ resulted in several listings of
Umetada artists and with different positions in their genealogy.
Anyway, if the second tantō was a work of Umetada Myōshin, for
example, than he would have signed it with his smith name „Ietaka“.
Regarding tsuba by Shigeyoshi, there are dated signatures from the
eighth year of Kan´ei (1631) to the second year of Kanbun (1662)
extant, which means an artistic period of more than 30 years.

*31
Please note the different character for „Ume“.

– 94 –
 Ony one tsuba by Shigeyoshi bears the supplement „Shichizaemon“,
namely in the combination with the place name „Yamashiro“. The
entire signature reads: „Yamashiro no Kuni Nishijin-jū Umetada
Shichizaemon Shigeyoshi“. It can be dated to the mid Edo period and
coincides with the assumption of the „Tōsō-kodōgu-kōza“ that
Shichizaemon Shigeyoshi was somewhat active later than Kyōto´s
Hikojirō Shigeyoshi. Well, there is a certain „unofficial“ rule that
Hikojirō Shigeyoshi signed with the characters (埋忠) for „Umetada“
and Shichizaemon Shigeyoshi with the characters (梅忠).

5.6 Umetada Jukan (埋忠寿閑)

„Jukan“ is the gō of an Umetada artists whose affiliation is

somewhat unclear. Some sources say that Umetada Motoshige (元重)
used this gō but there are no works extant which show both names – i.e.
„Motoshige“ and „Jukan“ – in the signature. There are signatures extant
which mention ages until 81, that means whichever Umetada artist used
this gō he enjoyed a long life. The „Tōsō-kodōgu-kōza“ quotes a date
for Jukan of the first year of Shōtoku (1711) and the Haynes-Index says
that „Jukan“ was maybe the gō of Umetada Myōshin.

5.7 Umetada Muneyoshi (埋忠宗義)

There is a wakizashi by Muneyoshi which is signed „Umetada

Myōju no mago Kazumasuke Tachibana Muneyoshi saku“ (埋忠明寿
孫数馬助橘宗義作), that means it mentions that he was the grandson
(mago, 孫) of Umetada Myōju. On the basis of this blade the „Tōsō-
kodōgu-kōza“ says that Muneyoshi could be either the 3rd or 4th gen. of
the Umetada mainline, but the „Nihontō-kōza“ does not list Muneyoshi
as a mainline Umetada artist at all.

– 95 –
 If we change slightly Fukushi Shigeo´s genealogy of the Umetada
mainline and count Myōju as the 1st gen. and not Myōkin Shigetaka,
then Muneyoshi could be theoretically the 3rd, and Myōho Muneyuki
still the 4th gen.. But Fukushi does not list Muneyoshi at all as head of
the family. However, like Shigeyoshi, Muneyoshi worked in Harima´s
Akashi and so we know extant signatures with the supplement „Banshū
Akashi“ (播州明石). There is also a tsuba extant which is dated
„Kanbun ninen mizunoe-toradoshi gyōnen rokujūni“ (寛文二年
壬寅歳行年六十二, „ second year of Kanbun [1662], year of the tiger,
at the age of 62“). This calculates Muneyoshi´s year of birth as Keichō
six (1601). There is another dated tsuba extant, namely with the mei
„Enpō kunen kanoto-tori rokugatsu-hi“ (延宝九年辛酉六月日, „a day
in the sixth month of Enpō nine [1681], year of the rooster“). This
means that he was 81 years old when he made the tsuba. This seems
rather old but was by no means uncommon, as we have seen that Jukan
also signed with the information „made at the age of 81“.
Before I continue with the introduction of the other Umetada artists,
I would like to present two genealogies of the family. The first goes
back to the „Nihontō-kōza“ and the second was published by Fukushi
Shigeo in „Tōken-Bijutsu“ number 634 (November 2009).

– 96 –
Genealogy of the „Nihontō-kōza“:

Umetada Myōju (埋忠明寿), 1st gen.

Hikojirō (彦次郎), Muneyoshi (宗吉),
Shigeyoshi (重吉), Kan´ei (1624-44)

Myōshin (明真), 2nd gen.

younger brother of Myōju, Ietaka (家隆),
Shigeyoshi (重義), Hikojirō (彦次郎),
also Hikozaemon (彦左衛門), Hokkyō,
Manji (1658-61)

Shigenaga (重長), 3rd gen.

son of Myōshin, Jusai (寿斎),
Hiko´emon (彦右衛門), Kanbun (1661-73)

Muneyuki (宗之), 4th gen.

Hikozaemon (彦左衛門), Tenna (1681-84)

Muneshige (宗茂), 5th gen.

Shichizaemon (七左衛門), Genroku (1688-1704)

Shigeyuki (重幸), 6th gen.

Gizaemon (儀左衛門), Kyōhō (1716-36)

Shigehide (重栄), 7th gen.

Hōreki (1751-1764)

Yoshihisa (良久), 8th gen.

Gonzaemon (権左衛門), Umetada (梅忠),
An´ei (1772-1781)

Yoshiharu (義珍), 9th gen.

Hikojirō (彦次郎), Kansei (1789-1801)

Muneaki (宗明), 11th gen.

Shichizaemon (七左衛門), Bunsei (1818-30)

Munenaga (宗長), 11th gen.

Eizaburō (永三郎), Kaei (1848-54)

– 97 –
Genealogy by Fukushi Shigeo:

Myōkin Shigetaka (明欽重隆), 1st gen.

Hikojirō (彦次郎), end of the Muromachi period

Jusai Shigenaga (寿斎重長) Umetada Myōju (埋忠明寿), 2nd gen.

Hiko´emon (彦右衛門), Myōei (明栄) Muneyoshi (宗吉), 1558-1631
eventually the yonger brother of Myōju

Tachibana Shigeyoshi (橘重義) Myōshin Ietaka (明真家隆), 3rd gen.

Shichizaemon (七左衛門) Hikojirō (彦次郎 or 彦二郎)
lived in Yamashiro Shigeyoshi (重義), Hokkyō,
Genna (1615-24) to Shōhō (1644-48)

Shigeyoshi (重義) Shigeyoshi 2. Muneyoshi (宗義) Muneyuki (宗之), 4.Gen

lived in Akashi (橘重義), Umetada (梅忠) Kazumasuke (数馬助), Myōho (明甫), Hikozaemon no
Shichizaemon (七左衛門), lived in Yamashiro, Jō (彦左衛門尉), moved to Edo
lived in Edo grandson of Myōju, Shōhō Kan´ei to Manji
to Enpō (1673-81)

Muneshige (宗茂), 5th gen.

Shichizaemon no Jō (七左衛門尉)
Meireki (1655-58) to Jōkyō (1684-88)

Shigeyuki (重幸), 6th gen.

Gizaemon (儀左衛門)
Genroku (1688-1704) to Kyōhō (1716-36)

Shigehide (重栄), 7th gen.

Kyōhō (1716-36) to Kanpō (1741-44)

Yoshihisa (良久), 8th gen.

Umetada Gonzaemon (梅忠権左衛門)
Kanpō to An´ei (1772-81)

further generations abbreviated

– 98 –
5.8 Umetada Muneshige (埋忠宗茂)

Muneshige was the son of Muneyuki. We know signatures like

„Umetada Shichizaemon Muneshige“ (埋忠七左衛門宗茂) or simply
„Umetada Shichiza Muneshige“ (埋忠七左宗茂). „Shichizaemon“ was,
like „Hikojirō“, a hereditary first name of the Umetada family so it is
possible that Muneshige was in the line of the eldest son, i.e. that he
was the first born son of Muneyuki. He was active around Genroku
(1688-1704).

5.9 Umetada Shigehide (埋忠重栄)

Shigehide was the son of Shigeyuki. His family name was

„Shinano“ (信濃) and later „Tanomo“ (頼母), whereas the Haynes-
Index quotes „Tanomo“ with the characters (頼姆). Shigehide was
active around Hōreki(1751-1764).

5.10 Umetada Yoshihisa (埋忠良久)

Yoshihisa, first name „Gonzaemon“ (権左衛門), was the son of

Shigehide. He was active around An´ei (1772-1781). Some records list
him also as the 32nd gen. Sanjō Munechika.

5.11 Umetada Muneaki (埋忠宗明)

Muneaki´s first name was „Shichizaemon“ (七左衛門). The

Haynes-Index lists him as the son of Yoshihisa (良久). He was active
around Bunsei (1818-1830).

– 99 –
5.12 Umetada Munetake (埋忠宗武)

From Munetake we know the signatures „Yamashiro no Kuni

Umetada Munetake“ and „Umetada Hikojirō Munetake saku“, and a
tsuba bears the mei Umetada Munetake saku gyōnen nanajū-ō“
(埋忠宗武作行年七十翁, „work of Umetada Munetake, at the old age
of 71“) and the date „Genroku jūroku-nen hitsuji nigatsu-kichijitsu“
(元禄十六年未二月吉日, „a lucky day of the second month of
Genroku 16 [1703], year of the sheep“). Therefore we can calculate
Munetake´s year of birth as Kan´ei eleven (1634). It is said that
Munetake also worked temporarily in Shimabara (島原), in Hizen
province.

5.13 Edo-Umetada Narishige (埋忠就受)

The first name of the 1st gen. Edo-Umetada was „Kaji´emon“

(加治右衛門). He was born in Kyōto in the 18th year of Kan´ei (1641)
and signed as a kinkō artist with „Umetada Narishige“ or just with
„Narishige“.*32 The exact date when he moved to Edo is unknown but
he carried out his business in Yushima (湯島), in Edo´s Hongō district
(本郷). He died there in the sixth month of the seventh year of Kyōhō
(1722), at the age of 89.
It is also unclear from which Umetada line the Edo group branched
out, but because the 2nd gen. Narishige is listed as the 5th gen. Myōshin
(明真) and the 3rd gen. Narishige as the 6th gen. Myōshin it is likely that
they belonged once to the mainline of the family.

*32
In the Haynes-Index, this artist is listed with the characters (成受) for „Narishige“ and with the
characters (就受) as „Naritsugu“.

– 100 –
 The 2nd gen. Narishige also bore the first name „Kaji´emon“. He was
born in the fifth year of Enpō (1677), signed with „Umetada Narishige“
+ kaō, was counted as the 5th gen. Myōshin, and died in the fifth year of
Hōreki (1755), at the age of 79. He continued the workmanship of his
father and the independent and established „Edo-Umetada style“ is
attributed to him and not to the 1st gen. In Inaba Michitatsu´s „Sōken-
kishō“ we find the following entry: „[…] individual, peculiar style,
mostly gold or shibuichi is used as the raw material, the gilding is thick
and worked in suri-hagashi to create a tasteful, antique appearance
(sabi, 寂び), this style has to be attributed to the artist with the name
´Kaji´emon´.“
In his early years the 3rd gen. was called „Katōji“ (加藤次) and
signed with „Yasusada“ (泰貞). Upon the succession as head of the
Edo-Umetada line he also adopted the first name „Kaji´emon“ and was
counted as the 6th gen. Myōshin. He died in the fourth year of Kan´en
(1751). The 4th gen. was called „Kaji´emon Nariyuki“ (加次右衛門
就門).
The name of the 5th gen. was „Kaji´emon Narimasa“ (加次右衛門
就方). He was born in the second year of Kanpō (1742) and we know
extant signatures like „Gyōnen rokujū-sai Kyōwa kanoto-tori kugatsu“
(行年六十歳享和元年辛酉九月, „at the age of 60, first year of Kyōwa
[1801], year of the rooster, ninth month“), „Gyōnen rokujūnana-sai
Narimasa“ + kaō (行年六十七歳就方, „Narimasa, at the age of 67“), or
„Umetada Kaji´emon Narimasa nanajūsan-sai saku“ (埋忠加次右
衛門就方七十三歳作, „made by Umetada Kaji´emon Narimasa at the
age of 73“). However, sometimes he did not sign with the character (右)
in „emon“ (右衛門). His year of death is unknown but he lived at least
until the eleventh year of Bunka (1814) because the last mentioned
signature is dated to that year.

– 101 –
 Not much is known about the 6th gen., only that he signed with
„Nari“ (就) as the first character. The 7th gen. was called „Kaji´emon
Narikazu“ (加次右衛門就一). From him we know a piece which is
signed „Gyōnen nanjūissai Umetada jūdaime Chūshinsai Narikazu“ +
kaō (行年七十一歳 埋忠十代目忠信斎就一, „at the age of 71, 10th
gen. Umetada, Chūshinsai Norikazu“). This signature is very important
because it shows us that there was certainly a generation between him
and the 5th Edo-Umetada Kaji´emon Narimasa. The latter was namely
counted as the 8th gen. Myōshin.

5.14 Edo-Umetada Naritoshi (埋忠就寿)

Naritoshi was a unique, outstanding kinkō artist of the Edo-Umetada

line. He originally came from nothern Morioka (盛岡) and was the son
of Sekigawa Yoshitada (関川良忠), who was in turn also a kinkō. His
first name was „Kajūrō“ (嘉十郎). Initially, he studied under his father
but went later to Edo to enter an apprenticeship with Inagawa
Yoshikatsu (稲川良克) – the master of his father. Besides that he also
studied under the Hamano family (浜野) and the Edo-Umetada line for
which he worked under the name „Naritoshi“. In his later years he
returned to Morioka. The records say that Narishige was his master in
the Edo-Umetada line, but as there were three generations with that
name, it is unclear under whom he had studied. It is said that there
exists a work with the dated signature „Tenpō go kanoe-uma haru“
(天保五甲午春, „ fifth year of Tenpō [1834], year of the horse,
spring“) by Naritoshi. But if he was active from about the Bunka (1804-
1818), Bunsei (1818-1830) and Tenpō (1830-1844)eras , then he
couldn´t be the student of either of the three Narishige. Fukushi Shigeo
assumes that this discrepancy is a mistake by the writer of the meikan
entry but Haynes lists Naritoshi with the dates 1676-1755, which would
very well allow him to be a student of a Narishige.

– 102 –
5.15 Mitsutada (光忠)

There exists excellent tsuba with the nijimei „Mitsutada“ signature

which resemble works of Umetada Myōju in terms of production time
and interpretation. Some transmissions list him as the uncle of Myōju
but, as mentioned in the Haynes-Index, „as this artist only signs with a
two kanji signature it is only because of the style and age that he is
placed in the Umetada school. He could just as easily be of the Kyō-
Shōami school and since almost all his decorations are in nunome, and
not in flush inlay, that seems the better choice. In fact we do not know
his family name, his workshop, and his date can only be judged by the
age of his tsuba. Almost all we know about him is pure conjecture.“

– 103 –
6. The Ichinomiya school (一宮)

6.1 Ichinomiya Nagatsune (一宮長常)

The Ichinomiya school was founded by Nagatsune who was the son
of the sake dealer Kibei (喜兵衛) from Echizen´s Tsuruga (敦賀). He
was born on the fifth day of the fourth month of Kyōhō six (1721), as
mentioned, in Tsuruga but was adopted at an early age by a certain
gilder called „Nagayoshi“ (長芳). Some transmissions say that he was
even the son of Nagayoshi. His first name was „Chūhachi“ (忠八) and
he was initially trained by his adoptive father. But he felt a call to be a
kinkō artist and so went to Kyōto where he started an apprenticeship
with the tachi-kanagu-shi Yasui Takanaga (保井高長). Tanaka was a
student of Furukawa Yoshinaga (古川善長) who in turn had studied
under Gotō Ryūjō (隆乗), the 5th gen. of the Shichirōbei line. Nagatsune
was exceptionally talented but decided to be independent and did not
belong to a certain school or family of kinkō artists. He took the family
name „Kashiwa´ya“ (柏屋), which was actually the name of the shop of
his master, Takanaga. At the beginning of his career he also signed with
„Setsusan“ (雪山) and later he used the gō „Ganshōshi“ (含章子).
Besides his work as a kinkō he also studied painting under Ishida Yūtei
(石田幽亭, 1721-1786).

Picture 5: Ichinomiya Nagatsune

– 104 –
 On the 21st day of the ninth month of Meiwa seven (1770), at the age
of 50, he received the honorary title „Echizen no Daijō“ (越前大掾)
which was shortly later upgraded to „Echizen no Kami“ (越前守).
Interestingly, there are much more pieces extant which are signed with
the „no Daijō“ title. Such titles were quite common among swordsmiths
but only a few kinkō artists had this honour.
During the heydays of his career he worked in a varied katakiribori
or shishiaibori on a ground plate of polished shibuchi, accentuated by
hira-zōgan in gold, silver or shakudō. This distinguishes him from his
great Edo counterpart Yokoya Sōmin who worked only in katakiribori,
refraining from additional ornamentations like iroe or zōgan. But there
are also works extant by Nagatsune which are worked in katakiribori
only. Due to this „opposition“ with Sōmin the following saying was
born „What Sōmin is in the East (Edo), Nagatsune is in the West
(Kyōto)“. He had huge influence on later Kyō-kinkō like Ōtsuki
Mitsuoki or Tetsugendō Shōraku. These three are also summarized as
„The Three Great Kyōto kinkō Masters“ (Kyōto-kinkō no sanketsu,
京都金工の三傑).
Regarding the mutual influence, it was, above all, contemporary
painters who inspired the kinkō artists. In the case of Nagatsune, it was
Maruyama Ōkyō (円山応拳, 1733-1795), the master of Ishida Yūtei.
The beginning of this trend was connected to the economic and social
developments of the Genroku era (1688-1704). This era also marked the
turning point when, for the first time in Japan´s history, some merchants
were wealthier than part of the upper bushi class. Towards the end of
the 17th and the beginning of the 18th century, this new social class of
chōnin (町人, lit. „townsmen“), i.e. those who did not belong to the
class of samurai or farmers, gained more and more importance. Also, a
lot was made up in the cultural sector. The formal arts, like paintings by
the Kanō school (狩野) or the classical interpretations of sword fittings
by the Gotō family were left to the warrior class. The educated urban
class discovered the fresh and unconventional Chinese „literati
paintings“ (bunjinga, 文人画) of the „Southern Schools“ (nanshūga
[南宗画] or short nanga [南画]) which had already been in the China a

– 105 –
counter trend to the „professional painters“ of the „Northern Schools“
(hokushūga, 北宗画). This also brought in the rise of the machibori
artists (町彫, „carvings of the townsmen“), a counter trend to the iebori
(家彫, lit. „hourse carvings“) of the Gotō school.
Due to this fresh artistic breeze, Nagatsune´s works show mostly
floral motifs in combination with birds that have a highly realistic
interpretation. That means the classic subjects of the Gotō were widely
enriched at that time. An important reference are the extant sketchbooks
of Nagatsune called „Horimono-echō“ (彫物絵帖). Some of them were
later in the possession of Kanō Natsuo. Ichinomiya Nagatsune died on
the 18th day of the twelfth month of Tenmei six (1787) at the age of 66.

6.2 Ichinomiya Nagayoshi (一宮長義)

Some sources list him as the son, others as the adopted son, of
Nagatsune. Followers of the latter approach also say that the adoption
was later dissolved, substantiated by the fact that Nagayoshi is not
buried at the Kaikō´in (回行院) family temple of the Ichinomiya.
However, Nagayoshi went later in his career to Ōsaka, probably after
the great fire in Kyōto in the eighth year of Tenmei (1789), i.e. two
years after Nagatsunes death. During this fire part of Nagatsune’s
records were also destroyed. Nagayoshi used the gō Kenryūshi“
(見龍子), „Gikōshi“ (蟻行子), „Ennensai“ (延年斎) and „Renshikan“
(連枝館).*33
Nagayoshi’s exact biography is unknown but from extant dated
works with details of his age we can say that he lived at least until 61
years old. Incidentally, he sometimes also signed the family name
„Ichinomiya“ with the particle „no“ in the form (一ノ宮) or (一之宮).

*33
The Haynes-Index quotes this gō with the reading „Renkikan“.

– 106 –
6.3 Ichinomiya Nagayoshi (一宮長美)

Nagayoshi originally came from the Masuda family (増田) and was
born on the 21st day of the fifth month of Hōreki six (1756). He became
a student of Nagatsune and the established transmission says that he
was adopted by the latter and succeeded as the 2nd gen. of the
Ichinomiya school, also adopting the first name „Chūhachi“. But there
is a document from the first month of Tenmei seven (1787) extant
which is signed with Ichinomiya Gikōshi Nagayoshi“
(一宮蟻行子長美) where he addresses Nagatsune as his grandfather.
So it is rather likely that Nagayoshi (長美) was the 3rd gen. Ichinomiya
and Nagayoshi (長義) was the 2nd generation. This would also explain
the continuation of Nagayoshi´s gō „Gikōshi“ (蟻行子). Another gō of
this Nagayoshi was „Setsuhō“ (雪峰). He died on the 28th day of the
tenth month of Bunsei eight (1825), at the age of 78. His grave is by the
way at the Kaikō´in.

6.4 Tsunenao (常直)

Tsunenao, first name „Kyūbei“ (久兵衛), was a student of

Nagatsune. He originally came from Takatsuki (高槻), in Settsu
province. Haynes lists this kinkō artist as the same person as Sadanaka
(貞中) but the „Tōsō-kodōgu-kōza“ lists the latter as an individual
craftsman without any reference to Tsunenao. In a document which is
based on the records of Nagatsune we find the entry „Tsunenao, student
of Nagatsune“, followed by two similar but differently sized kaō.
Incidentally, it has to be mentioned that in contrast to the Edo kinkō
schools like the Hamano, Nara or Yokoya, the Kyōto-based schools did
not in general allow their students to use the original family name
which was handed-down in the lineage of the eldest son.

– 107 –
 Sadanaka came from the Iwamoto family (岩本). He signed with
„Sadanaka + kaō“ or with „Iwamoto Sadanaka + kaō“, often also with
his gō „Banryūken“ (蟠龍軒). His kaō is similar to that of Nagatsune,
and that of Tsunenao resembles rather the kaō on pieces signed with
„Setsusan“.

Genealogy of the Ichinomiya school:

Nagayoshi (長芳)
Ichinomiya (一宮)

Nagatsune (長常), 1st gen.

Chūhachi (忠八), Ganshōshi (含章子)
Echizen no Daijō, Echizen no Kami
1721-1787

Nagayoshi (長義), 2nd gen. Tsunenao (常直) Tsuneyuki (常之)

son or adopted son of Nagatsune Kyūbei (久兵衛) Yabu family (薮), student
Kenryūshi (見龍子), Gikōshi (蟻行子), student of Nagatsune of Nagatsune, first name
Ennensai (延年斎), Renshikan (連枝館) „Jingorō“ (甚五郎), 1769-1827

Nagayoshi (長美), 3rd gen. Tsunehide (常栄) Tsuneyo (常代)

origin. Masuda family (増田) son or adopted son son of Tsuneyuki, studied under
son of Nagayoshi 2., Gikōshi (蟻行子) of Tsunenao Nagatsune and also under Nagayoshi 2.,
Setsuhō (雪峰) Yabu family, first name „Jin´emon“
(甚右衛門), Fūryūsai (風柳斎), Fūsai
(風斎), Shōfūken (松風軒)

Nagatomo (長友), 4th gen. Nagamitsu (長光)

son of Nagayoshi 3., 1792-1849 student of Nagayoshi, he
Chūhachi (忠八), succeeded as is also listed as student of
head of the Ichinomiya family in Nagatsune, Ichinomiya fam.
the fifth year of Kaei (1852)

Yoshioki (佳興) Nagatoshi (長年) Sadanaka (貞中) Tsuneyasu (常易)

also „Masaoki“ (正興), Ichinomiya, adopted son Iwamoto family (岩本) first name „Kiroku“ (喜六)
Saitō family (斎藤), of Nagatsune, 1752-1774 Banryūken (蟠龍軒) student of Nagatsune
Hōmeidō (鳳鳴堂), student of Nagatsune and of Sadanaka
student of Nagatsune
or of Tsunenaos
Tsuneyoshi (常義) Tsunesada (常貞)
student of Sadanaka student of Nagatsune,
according to transmission
the younger brother
of Sadanaka

– 108 –
7. The Ōtsuki school (大月)

7.1 Ōtsuki Kōrin (大月光林)

Kōrin´s name is also read „Mitsushige“ and first name was

„Gozaemon“ (五左衛門). He is regarded as the founder of the Ōtsuki
school. We know signatures of the kind „Nihon horimono-ganso
Ichikawa Hikosuke jūhachi-seson“ (日本彫物元祖市川彦助十八
世孫) with which he refers to his origins as being the 18th gen. of the
semi-legendary ancestor of all kinkō artists, Ichikawa Hikosuke
(市川彦助). Later in his career he changed the character for „rin“ to
(琳). From the point of view of workmanship he follows the classical
style of the Gotō school, that means he often worked in shakudō with
nanako groud and takabori-iroe ornamentations. In terms of quantity
we know – in descending order – fuchigashira, menuki and kozuka. It
seems that he did not make tsuba. The name of his shop was „Sen´ya“
(扇屋, also read „Ōgi´ya“). Kōrin died in the third month of the second
year of Kanpō (1742).

7.2 Ōtsuki Mitsutsune (大月光恒)

Mitsutsune was the son of Kōrin. His first name was Kihachi“
(喜八) and the name of his shop was „Yamashiro´ya“ (山城屋). From
him we also know of works on which he refers to Ichikawa Hikosuke as
his ancestor, namely counting himself as the 19th gen. of the latter. This,
on the other hand, concurs with the signatures of Kōrin. Mitsutsune died
on the 15th day of the first month of Tenmei five (1785)

– 109 –
7.3 Ōtsuki Mitsuyoshi (大月光芳)

Mitsuyoshi was born in the fourth year of Enkyō (1747), the son of
Mitsutsune, although some sources list him as the adopted son of the
latter. In his early years, he bore the same first name „Kihachi“, like
Mitsutsune, but changed it later to „Gozaemon“ (五左衛門). He is
counted as the 3rd gen. of the Ōtsuki school and he also signed his
craftsman name „Mitsuyoshi“ with the characters (光良). There are also
pieces extant which bear the inscriptions „third generation after Kōrin“
or „21st gen. after Ichikawa Hikosuke“ in combination with the name
„Yoshikuni“ (良邦). That means he also used the latter name.
Mitsuyoshi died on the 25th day of the eighth month of Bunka 13
(1816).

7.4 Ōtsuki Mitsuoki (大月光興)

Mitsuoki was born in Kyōto in the third year of Meiwa (1766) as son
of Mitsuyoshi. His youth name was „Kihachirō“ (喜八郎) and he
continued the shop of his family under the name „Yamashiro´ya“. In his
twenties he went to Edo but there is no mention under which master he
studied. By the end of his twenties he started to study painting under
Ganku (岸駒, 1749/1756-1838) and Nagazawa Rosetsu (長沢蘆雪,
1754-1799) from the Maruyama school, an influence which can also be
seen on his masterly kinkō works, as it was the case with Ichinomiya
Nagatsune. It was anyway Mitsuoki who made the Ōtsuki school
famous. This took place after he returned to Kyōto at the age of about
50, to succeed as head of the family under the hereditary first name
„Gozaemon“ (五左衛門). Extant documents tell us that Mitsuoki was a
gentleman of integrity, righteous, and was much disciplined. He trained
many students, starting with his sons Mitsuhiro (光弘) and Hideoki
(秀興). It is also mentioned that he loved sake. He died on the 15th day
of the eighth month of Tenpō five (1834), at the age of 69.

– 110 –
 Regarding his signature, he often refrained from signing the
character „Ō“ (大) in „Ōtsuki“, i.e. he signed just with „Tsuki Mitsuoki
+ kaō“. The character for „oki“ (興) was subject to various changes
throughout his career. Another peculiarity of Mitsuoki was the adding
of a three-legged kettle (kanae, 鼎) as a so-called „seal signature“ (in-
mei, 印銘) following the kaō. But this in-mei was sometimes also used
by Hideoki. He bore the gō „Tairyūsai“ (大龍斎), „Ryūgyokusai“
(竜玉斎), „Ryūkudō“ (龍駒堂) or „Shiryūdō“ (紫龍堂). He signed
with the supplements „Yōshū“ (雍州, an ancient name for Yamashiro
province), „Koki“ (古稀, lit. „at the age of 70“),*34 „Kyoku-dōjin“
(髷道人),*35 or „Zekū-nyūdō“ (是空入道).
In his early years he worked in shakudō with nanako ground and
takabori-iroe ornamentation, but also in iron with a polished surface
and three-dimensional suemon. Later, he worked more and more in
polished shibuichi, shakudō and brass increasingly novel motifs were
worked in usunikubori or katakiribori. Like Nagatsune, Mitsuoki also
accentuated his katakiribori motifs with hira-zōgan, an interpretation
which is not found among the Edo katakiribori masters Yokoya Sōmin
and Sōyo.

7.5 Ōtsuki Mitsuhiro (大月光弘)

Mitsuhiro was the son of Mitsuoki. He was born in the seventh year
of Kansei (1795) and his first name was „Kihachi“ followed by the
hereditary name „Gozaemon“. He too ran the family business under the
name „Yamashiro´ya“.

*34
Mitsoku was „only“ 69 years old when he died but such an „anticipation“ of an auspicious
anniversary as part of a signature was also applied by other kinkō artists.
*35
Translates as „enlightenment (dōjin, 道人) reached outside of priesthood“, that means without
shaving the topknot (kyoku or mage, 髷).

– 111 –
 He entered priesthood at the age of 45 and used the name „Sōju“
(宗寿) as gō. Further pseudonyms were „Dairyūjō“ (大竜城),
„Seiryūken“ (青竜軒), „Shūkōten“ (秀好天) and „Kishōtei“ (其昇亭),
whereas he signed „shō“ (昇) with different characters, for example in
the abbreviated form (升). He too signed with the supplement „Yōshū“
(雍州) and, in his early years, he also sometimes interpreted the
character for „tsuki“ (月) in the manner (円). Mitsuhiro died on the 14th
day of the second month of Tenpō twelve (1841), at the age of 47, that
means only two years after entering priesthood and six years after his
fathers death. That means Mitsuhiro did not have the chance to follow a
long career on his own. His successor was his son Mitsuharu (光春).
Ōtsuki Mitsuharu, who’s first name was „Tōtarō“ (藤太郎), died in the
24th year of Meiji (1891) at the age of 62.

7.6 Kawarabayashi Hideoki (川原林秀興) and students

Hideoki – born in the eighth year of Tenmei (1788) – belonged to

the Kawarabayashi family. His first name was „Genshichi“ (源七) and
the name of his family business „Tango´ya“ (丹後屋). Hideoki studied
under Ōtsuki Mitsuoki whereas he signed with „Okihide“ (興秀, also
read as „Okiteru“) at the beginning of his career. He also used the gō
„Bunryūsha“ (文龍舎), „Kawahōsai“ (川宝斎), or the latter in the short
form „Hōsai“ (宝斎), whereas „Kawa“ has to be seen as an abbreviation
of his family name „Kawarabayashi“. He died in the twelfth month of
the fourth year of Kaei (1851), at the age of 64.
A student of Hideoki was Hidekuni (秀国). Hidekuni was born on
the tenth day of the third month of Bunsei eight (1825) in Yonago
(米子), Hōki province. His first name was „Daizō“ (代蔵) and it is said
that Hidekuni´s father was a kinkō artist too but of whom only the
family name “Nakagawa” is known. At the age of 18 Hidekuni went to
Kyōto and entered, as mentioned, an apprenticeship with Hideoki. He
married the second daughter of his master and was adopted into the
Kawarabayashi family to succeed as the 2nd gen.

– 112 –
 He used the gō „Tenkōdō“ (天光堂) and „Kinryūsai“ (金龍斎) and
he died on the 27th day of the ninth month of Meiji 24 (1891), at the age
of 67. His successor was his son Hideyoshi (秀睦).
Another student of Hideoki was Sasayama Tokuoki (篠山篤興).*36
Tokuoki, whose first name was „Seiichirō“ (政一郎, also read
„Masaichirō“), was born on the 17th day of the eleventh month of Bunka
ten (1813), the eldest son of the haiku poet Yahan Teigogai
(夜半亭呉崖). At the age of 15 he became a student of Hideoki and
married the oldest daughter of his master in Tenpō nine (1838). In the
second year of Bunkyū (1862) he received an order from the
Tokugawa-shōgun Iemochi (徳川家茂, 1846-1866, r. 1858-1866) to
make the fittings for one of his swords. Iemochi is said to have been
very pleased with the work and granted him thereupon the honorary title
„Ōsumi no Daijō“ (大隅大掾). One year later he made sword fittings
for a tantō for emperor Kōmei (孝明天皇, 1831-1866) and received
from the latter the gō „Ikkōsai“ (一行斎). Further gō of Tokuoki were
„Sensai“ (仙斎), „Bunsendō“ (文仙堂 or 文遷堂) and „Shōkatei“
(松花亭). After the Meiji Restoration he made, besides sword fittings,
picture frames, ornaments and the like. He died on the tenth day of the
twelfth month of Meiji 24 (1891), at the age of 79.
He was succeeded by Tokuaki (篤明). Tokuaki was born in the
eleventh year of Tenpō (1840) in Nishitsugaru (西津軽), Wakasa
province, the son of a certain Tanaka Denpeiji (田中伝平次). His first
name was „Shinzō“ (信造). In Kaei five (1852), at the age of 13, he
went to Kyōto to meet his relative Tokuoki and entered an
apprenticeship with the latter. Twelve years later, i.e. in the first year of
Genji (1864), he received from his master the chacter for „Toku“ (篤)
and took the name „Tokuaki“ (which is sometimes also quoted with the
characters 篤昭). But one year later he returned to his home province
and was hired by the Wakasa fief. After the Meiji Restoration he
worked at the Ōsaka mint and died in the 22nd year of Meiji (1889) at
the age of 50. Tokuaki used the gō „Ichijusai“ (一寿斎).

*36
He also signed his family name „Sasayama“ with the characters (笹山).

– 113 –
 Sasayama Tokuhiro (篤弘) was the younger brother of Tokuoki.
His first name was „Tominosuke“ (富之助) and he was born on the
second day of the seventh month of Tenpō two (1831), the third son of
Kawarabayashi Hideoki. He also studied under Tokuoki and died on the
25th day of the fifth month of Meiji four (1871), at the young age of 41.
He used the gō„Bunsendō“ (文仙堂) and „Bunmeidō“ (文明堂).
Matsuo Gassan (松尾月山), his first name was „Kiroku“ (喜六),
was born in Kyōto in the ninth month of the twelfth year of Bunka
(1815), the son of the general dealer I´emon (伊右衛門). I´emon
originally came from Ōsaka. As a child he was adopted into the family
of an Ōsaka-based charcoal wholesaler but already at the age of twelve
entered his apprenticeship as a kinkō with Kawarabayashi Hideoki.
During the early years of his career he signed with “Toshioki“ (寿興)
and „Toshioki“ (利興). As gō he used the names Gassan“ (月山),
„Tōsōtei“ (東窓亭) and „Kongōsai“ (金剛斎), and he also added a
typical Ōtsuki in-mei (sometimes even in the shape of a kanae kettle).
Gassan became independent at 25 and named his school after his gō
„Kongōsai“. Transmissions say that he lived an extravagant lifestyle
and that he drank alot of sake. He died on the 18th day of the third
month of Meiji eight (1875) at the age of 61.

7.7 Other artists of the Ōtsuki school

One of the most famous students of Mitsuoki was Minayama

Naoichi (皆山直市), more widely known under his gō „Ōki“ (応起).
The name of his shop was „Hishi´ya“ (菱屋) and when he started his
apprenticeship with Mitsoki he signed his pseudonym with the
characters (応興), whereas he also used the old variant (應) for the
character „Ō“ (応). Further names of Ōki were „Chikuhō“ (竹鳳),
„Reibokudō“ (麗墨堂) and „Mitsuhisa“ (光久). Unfortunately, his date
of birth and death are unknown.

– 114 –
 A student of Mitsuoki who had also been taught by the 3rd Ōtsuki
generation Mitsuyoshi (光芳) was Motohiro (元広). His civilian name
was „Nakagami Shinpei“ (仲上新平) and his family business had the
name „Harima´ya“ (播磨屋). We do not know his date of birth or death
but there are dated pieces from the Tenmei (1781-1789) and Kansei
(1789-1801) eras extant. It is said that he entered priesthood in his later
years and used the Sino-Japanese reading of his name „Motohiro“ – i.e.
„Genkō“ – as gō with the characters (元光). Another of Motohiro’s
pseudonyms was „Shōkatei“ (松下亭). It has to be mentioned that he
always signed with the old character for „hiro“ (廣). In terms of
workmanship he followed the Gotō and the Ōtsuki style, that means
shakudō with nanako ground and takabori-iroe ornamentations.
Kawasaki Kagaharu (川崎加賀春), first name „Yabei“ (弥兵衛),
was a student of Mitsutsune, the 2nd gen. of the Ōtsuki school. He was
born in the fifth year of An´ei (1776) and died at the age of 42 in the
fourth year of Bunka (1817). Kageharu´s gō was „Bairinsai“ (梅林斎).
A student of Ōtsuki Mitsuoki was Ikeda Kyūbei (池田久兵衛) who
signed first with „Okitaka“ (興孝) and later in the reversed manner
„Takaoki“ (孝興). His gō were „Akihōsai“ (穐峰斎) and „Kirakusai“
(亀楽斎), whereas he also signed with the character for „Aki“ in the old
variant (龝). Takaoki´s successor was his son Ikeda Takatoshi
(池田孝寿) who bore the first name „Kyūjirō“ (久次郎). Later,
Takatoki adopted his father´s first name „Kyūbei“. It is said that
Takatoshi also studied directly under Mitsuoki. One of his students was
the famous Kanō Natsuo. He used the gō „Ryūshōsai“ (龍照斎),
„Ryūshōtei“ (龍照亭) and „Sankyū“ (三鳩). We don´t know the date of
birth and death of Takatoshi. His nephew Ikeda Takao (池田隆雄)
studied later under Kanō Natsuo (see also chapter 31.2).

– 115 –
Genealogy of the Ōtsuki school:

Kōrin (光林・光琳), 1st gen.

Gozaemon (五左衛門), ?-1742

Mitsutsune (光恒), 2nd gen.

Kihachi (喜八), ?- 1785

Mitsuyoshi (光芳・光良), 3rd gen. Kagaharu (加賀春)

Kihachi, later Gozaemon Kawasaki fam. (川崎)
also Yoshikuni (良邦), 1747-1816 1776-1817

Takaoki (孝興) Motohiro (元広) Mitsuoki (光興), 4th gen.

Ikeda Kyūbei (池田久兵衛) Nakagami Shinpei (仲上新平) Kihachirō (喜八郎), later Gozaemon
also Okitaka (興孝) 1766-1834

Takatoshi (孝寿) Ōki (応起) Hideoki (秀興) Mitsuhiro (光弘), 5th gen.
Kyūjirō (久次郎), later Minayama Naoichi Kawarabayashi (川原林) Kihachi (喜八), later Gozaemon
Kyūbei, Ikeda family (皆山直市) Genshichi (源七) 1795-1841
1788-1851
Mitsuharu (光春), 6th gen.
1830-1891

Takao (隆雄) Kanō Natsuo Gassan (月山) Hidekuni (秀国) Tokuoki (篤興)
Ikeda family see separate Matsuo fam. (松尾) 1825-1891 Sasayama fam. (篠山)
chapter 1815-1875 1813-1891

Hideyoshi (秀睦) Tokuaki (篤明) Tokuhiro (篤弘)

1840-1889 1831-1871

– 116 –
8. The Tetsugendō school (鉄元堂)

8.1 Okamoto Harukuni (岡本治国)

Unfortunately there are no signed pieces extant by Harukuni so

many entries about his activity are no more than pure speculation. We
do know that his first name was Denbei“ (伝兵衛) and that the name of
his shop was „Tetsu´ya“ (鉄屋). A short form of the latter pseudonym
„Tetsuden“ (鉄伝) has also been transmitted. He lived in Kyōto and
signed in early years with „Kuniharu“ (国治) but this information can
also be a transcription error of a meikan entry. Anyway, his artistic
period is dated between Kyōhō (1716-1736) and Hōreki (1751-1764).

8.2 Tetsugendō Shōraku (鉄元堂正楽)

Tetsugendō Shōraku, whose first name was „Genbei“ (源兵衛) and

his civilian name „Toshiyuki“ (敏行), also belonged to the Okamoto
family. He was the student of Harukuni, adopted the shop name
„Tetsu´ya“, and combined it with his first name to make the pseudonym
„Tetsugendō“ (鉄元堂). First he wrote it with the characters (鉄源堂),
using the character „Gen“ (源) in his first name. Later he also signed
with the name „Naoshige“ (尚茂) and after entering priesthood his
nyūdō-gō was „Shōraku“ (正楽). Tetsugendō Shōraku died in the ninth
year of An´ei (1780).
There exist several theories about his artistic origins. One says he
was a preparatory craftsman for Ichinomiya Nagatsune, and another
sees the famous tsuba artist Kaneie (金家) as the ancestor of
Tetsugendō Shōraku. But is is likely that he was largely a self-trained
artist, besides his studies under Tetsuden Harukuni. Because there are
no signed works extant by Harukuni it is also possible that it was
actually him who worked as a preparatory craftsman for Nagatsune.

– 117 –
 Tetsugendō Shōraku worked primarily in iron, with suemon inlay
and takabori-iroe ornamentations. He also applied gold, silver and
shakudō-zōgan and some tsuba show a sukashi openwork design or a
motif which is underlined or emphasized by decent sukashi openings.

8.3 Tetsugendō Shōraku Naofusa (鉄元堂正楽尚房)

Naofusa – his first name was „Bunjirō“ (文次郎) – was the son of
Harukuni and was later adopted as successor by Naoshige, i.e. the 1st
gen. Tetsugendō Shōraku. It is unclear if Naofusa and Naokata (尚方)
were the same person because some sources also list Naokata as the
adopted son of Naoshige. Incidentally, Naokata´s first name was
„Chōbei“ (長兵衛). It is also possible that Naokata succeeded as the 2nd
gen. Shōraku because there are tranmissions extant which say that the
first name of the 2nd gen. Shōraku was „Chōbei“.
Other transmissions mention that Naofusa inherited the craftsman
name „Toshiyuki“ (敏行) but broke up with the Okamoto family to
work under the name „Seiryūken Eiju“ (成竜軒栄寿). This name, on
the other hand, is attributed to the Umetada school in many meikan lists.
A reason for this might be that Naofusa´s son Naotomo (尚友) – his
first name was „Ihei“ (伊兵衛) – also signed, besides his gō
„Tōryūken“ (登竜軒), with the family name „Tachibana“ (橘) which
was also used by the Umetada family. However, several students of the
1st and 2nd gen. Shōraku were allowed to use the pseudonym
„Tetsugendō“.

– 118 –
8.4 Other artists of the Tetsugendō-school

Shigemoto (重基) was a student of Harukuni and Naoshige. His

civilian name was „Kubo Kinbei“ (久保金兵衛) and he signed in his
early years with „Takenori“ (武教). He carried on the shop name
„Tetsu´ya“. It is said that there were three generations Tetsugendō
Shigemoto. The supposed 1st gen. went for a certain time to Edo from
where the 2nd gen later worked. The 3rd gen. worked according to some
meikan entries again in Kyōto. Naomichi (尚道) studied under
Harukuni. His first name was „Shōsuke“ (庄助) and he was active
around Hōreki (1751-1764) and Meiwa (1764-1772). Extant signatures
show us that the Tetsugendō artist Naoyoshi (尚義) belonged to the
Okamoto family. He is listed as a student of Harukuni and of Naoshige
and was active around Hōreki.

Genealogy of the Tetsugendō school:

Harukuni (治国)
Tetsu´ya (鉄屋), pseudonym „Tetsuden“ (鉄伝)
also Kuniharu (国治), around Kyōhō and Hōreki

Naomichi (尚道) Shōraku Naoshige (正楽尚茂) 1st gen. Shigenobu (重信)

Shōsuke (庄助) Tetsugendō (鉄元堂), Tetsu´ya (鉄屋) Kitarō (喜太郎)
student of Harukuni also Toshiyuki (敏行), died in 1780 student of Harukuni

Shigemoto (重基)
Kubo family (久保)
Tetsu´ya (鉄屋)

Naofusa (尚房) Shōraku (正楽), 2nd gen. Naokata (尚方)

„Bunjirō“ (文次郎), son of it is unclear if Naofusa or Chōbei (長兵衛), adopted son
Harukuni, adopted son of Naokata succeeded as 2nd gen. of Shōraku Naoshige
Shōraku Naoshige, later Shōraku
Seiryūken Eiju (成竜軒栄寿),
he also bore the name
„Toshiyuki“ Naoka (尚香) Mitsufusa (光房) Naoyoshi (尚義)
around 1800-1825 Okamoto family Okamoto family
Naotomo (尚友) around 1800 student of Naoshige
Tachibana family
Ihei (伊兵衛), gō
Tōryūken (登竜軒)

– 119 –
9. The Hirata school (平田)

The Hirata school was founded by Hirata Hikoshirō (平田彦四郎)

who was born in the 19th year of Tenshō (1591). Some sources say he
was a Kyōto-based artist but others mention that his home province was
Mino. It is said that Tokugawa Ieyasu sent him to Korea during the
Keichō era (1596-1615)*37 to learn from local craftsmen the art of
cloisonné (shippō, 七宝).*38 After his return he was hired by the
Tokugawa-bakufu, supposedly in the 16th year of Keichō (1611). At that
time he was working in Fuchū (府中), in Suruga province. Five years
later, i.e. in the second year of Genna (1616), he received a mansion in
Edo´s Gofuku-chō (呉服町) from the second Tokugawa-shōgun
Hidetada (秀忠, 1579-1632, r. 1605-1623) and finally moved with his
eldest son and heir Narikazu (就一) to the new capital. From there his
successors continued to work with cloisonné until the bakumatsu era,
namely largely for the Tokugawa-bakufu. But they did not only make
sword fittings but also other ornamentations.
Others assume that Hirata learned the cloisonné craft from the Dutch
at Nagasaki or that he belonged to one of the Korean invasion armies of
Toyotomi Hideyoshi between the years 1592 to 1598. Hirata
Hikoshirō´s nyūdō-gō was „Dōnin“ (道仁). He died in the third year of
Shōhō (1646) at the age of 56. Regarding his craftsmanship origins it is
nowadays assumed that Hirata Dōnin was a trained kinkō artist and in
addition learned the techniques of working with cloisonné, not the other
way round. From the quite classical style in shakudō, yamagane and
suaka which he also ornamented, other than cloisonné, with zōgan and
yasurime, he is stylistically placed somehwhere in the sphere of his
contemporary Umetada Myōju.

*37
Some sources specify this transmission with the tenth year of Keichō (1605).
*38
The term „shippō“ referred originally to the „Seven Treaures“ consisting of gold, silver, lapis
lazuli, crystal, pearls, corals and agate. The term was later applied to cloisonné because of the
different materials used and their varied colour spectrum.

– 120 –
 Dōnin´s successor as 2nd gen. Hirata was Narikazu (就一,
sometimes also quoted by its Sino-Japanese reading „Shūichi“). He had
accompanied his father from Kyōto to Edo, with a stopover in Suruga.
He died either in the first year of Keian (1648) or in the first year of Jōō
(1652), supposedly at the age of 52. That means he was only the head of
the Hirata family for a short time after his father´s death in 1646. He
was succeeded by Narihisa (就久), who was born in the second year of
Genna (1616) and died in the eleventh year of Kanbun (1671). The 4th
gen. Hirata was Narihisa´s son Shigekata (重賢) who also signed
besides the hereditary first name „Hikoshirō“ with the pseudonym
„Honjō“ (本常). Shigetaka died in the fourth year of Shōtoku (1714) at
the age of 52. The pseudonym „Honjō“ was also used by the 5th gen.
Narikado (就門).*39 Narikado was born in the tenth year of Kanbun
(1670) and died on the 23rd day of the twelfth month of Hōreki eight
(1757) at the age of 88. A theory says that the move from Suruga´s
Fuchū to Edo did not happen until Narikado.
There are hardly any signed works extant by the 2nd, 3rd and 4th gen.
Hirata. In rare cases we find pieces where a later generation added an
attribution to a previous Hirata artist directly in the signature. Such a
signature is called „kiwame-mei“ (極め銘) or „kiwame-horitsuke-mei“
(極め彫付銘).
Subsequent generations and their students are mentioned in the
following genealogy.

*39
His name is sometimes also quoted with the reading „Nariyuki“.

– 121 –
 Hirata Dōnin (平田道仁), 1st gen.
Hikoshirō (彦四郎), 1591-1646

Narikazu (就一), 2nd gen.

Hikoshirō, son of Dōnin, ?-1648/52

Narihisa (就久), 3rd gen.

Hikoshirō, 1616-1671

Shigekata (重賢), 4th gen.

Hikoshirō, Honjō (本常), 1663-1714

Narikado (就門), 5th gen.

Hikoshirō, Honjō, 1670-1757

Nagaatsu (長厚) Nariyuki (就行), 6th gen.

Suga family (菅) Hikoshirō, formerly Ichizō (市蔵)
student of Narikado 1718-1769

Narisuke (就亮), 7th gen.

Hikoshirō, formerly Ichizō (市蔵)
he died in 1816

Harunari (春就), 8th gen.

Hikoshirō, formerly Tomokichi (友吉)
died 1840, he was quite productive and
trained many students

Haruhiro (春寛) Harumasa (春将) Harutsugu (春次) Harutoshi (春寿)

origin. Nakamura fam. Ōtsuka fam. (大塚) Ōtsuka fam. (大塚) Uchino fam. (内野)
(中村), student of Harunari, student of Harunari student of Harunari Tōjirō (藤次郎)
he was allowed to use Shichibei (七兵衛) Shichibei (七兵衛) gō Ichigenshi (一元子)
the name „Hirata“ gō Ryūtōken (柳島軒) student of Harunari

Narimasa (就将), 9th gen.

Hikoshirō, Ryōzō (良蔵),
gō Genjō (彦乗), died 1858

Haruyuki (春行), 11th gen.

Hikoshirō, 1839-1895
adopted son of Narimasa

Nariyuki (就之), 11th gen.

adopted son of Haruyuki

– 122 –
10. Other kinkō artists from Kyōto

10.1 Yamazaki Ichiga (山崎一賀)

Yamazaki Ichiga´s first name was „Nizaemon“ (仁左衛門). He

studied under Gotō Jujō (就乗), the 2nd gen. of the Saburō´emon line.
There are several theories about the number of Ichiga generations, most
of them are based on the differences in the kaō, but the latter can also
go back to the changes in the creative period of a single artist. In most
of the cases he signed with „Yamazaki Ichiga + kaō“ or just with
„Ichiga + kaō“. Though rarely, he also signed his gō „Kosui“ (湖水). In
terms of workmanship he follows the style of the Gotō school, that
means shakudō with nanako ground and takabori-iroe or also zōgan
ornamentations. But his execution and the level of detail are much
better than most of his contemporary Gotō sidelines. He was active
around the second half of the 18th century and one of his students was
Yamazaki Myōga (山崎明賀) who worked in Kyōto too.

10.2 Hosono Masamori (細野政守)

Masamori´s first name was Sōzaemon“ (惣左衛門) and in his early

years he also signed his craftsman name „Masamori“with the characters
(正守). The „Sōken-kishō“ (装剣奇賞) from the first year of Tenmei
(1781) says that Masamori also worked in Odawara (小田原), in
Sagami province. He signed mostly with his full name, i.e. with
„Hosono Sōzaemon Masamori + kaō“, and in some cases also in shorter
forms like „Hosono Sōzaemon“ or „Masamori + kaō“. On the basis of
extant dated works we can confirm that he was at least active from the
Genroku (1688-1707) to the Kyōhō (1716-1736) era.

– 123 –
 Masanori demonstrated quite a varied style of workmanship, using
mostly shibuichi and shakudō as raw material, whereas he accentuated
it with hira-zōgan of gold, silver, suaka or other precious metals. As in
the case of Ichinomiya Nagatsune, this distinguished him from Edo´s
Yokoya artists Sōmin and Sōyo,. Interpretations in takabori and iroe are
rather rare.

Picture 6: Hosono Masamori

10.3 Ayanokōji Nagamine (綾小路永峯)

He adopted the family name „Ayanokōji“ from the central Kyōto

district of the same name. His first name was Jirōsan“ (次郎三). The
records have always listed two generation Nagamine, that means father
and son, but this can´t be confirmed by the extant dated signatures and
signatures with an age. Regarding the mei, he always signed with the
character (峯) for „mine“ and never the variant (峰) which is used in
some publications. There are also some works extant which mention
Kyōto´s Karaku as the production site, namely in the form „Karaku-jū“
(花洛住). Basically there are five different kaō known by Nagamine
which doesn’t help on the question of different possible generations. He
worked mostly in shakudō with nanako ground and takabori-iroe
ornamentations, and follows Ichiga in the so-called original Kyōto
carving style „kamigata-bori“ (上方彫).*40 But some works also show a
certain Mino-bori influence.

*40
„Kamigata“ is a circumscription for Kyōto and vicinity.

– 124 –
10.4 Aoki Harutsura (青木春貫)

Harutsura, first name „Jinkichi“ (甚吉), was born in Kyōto in the

second year of Bunka (1805), the son of a preparatory craftsman of the
Ōtsuki school called „Jinsuke“ (甚助). First he learned the kinkō
techniques from his father but later entered apprenticeship with
Kawasaki Kagaharu, a student of Ōtsuki Mitsutsune. Harutsura worked
independently, this means that he later did not belong to a school.
However, the master-student relationship with Kagaharu or Gotō Ichijō,
like some say, can not be confirmed. He signed mostly by
„summarizing“ the characters of his name like, for example, „Aotsura“
(青貫) or „Ao Harutsura“ (青春貫). Rarely, he also signed with his gō
„Seiryūsai“ (青柳斎). From the point of view of style there is a certain
similarity with Ichijō and Harutsura´s takabori is minutely detailed.
There are continually pieces found which are interpreted very
classically for his time. He died on the 14th day of the second month of
Ansei five (1858) at the age of 54.

10.5 Kazutsura (加寿貫)

Kazutsura originally belonged to the Ozaki family (尾崎). His first

name was „Yasubei“ (安兵衛) and he was born in the fourth year of
An´ei (1775). He first studied under Uesugi Mitsunori (上杉光則) in
Kyōto who was, according to transmission, a sword and kodōgu dealer
under the name „Jibei“ (治兵衛). The name of his shop was „Sawaya“
(沢屋) and it seems that „Mitsunori“ was the kinkō name of Jibei.
Anyway, after his coming of age Kazutsura went to Edo for further
studies. At the beginning of his career he signed his name „Kazutsura“
with the characters (一貫). When he returned to Kyōto he was married
to the daughter of Mitsunori and was adopted into the Uesugi family.
He also adopted the name „Sawaya“ for his kinkō business which he
carried out on an independent basis in Kyōto.

– 125 –
 Occasionally he also signed with his gō „Teisai“ (鼎斎), although
we know this pseudonym only in the combination with his former way
of writing „Kazutsura“ (一貫). His strong point was the processing of
iron and he almost reached the quality of the contemporary Tetsugendō
Shōraku. But he also worked in shibuichi and sometimes in suaka or
gold. Nanako is rarely found and the ornamentation is done in suemon,
takabori or sukidashibori, accentuated by iroe. Kazutsura died in the
eighth month of the twelfth year of Bunka (1815) at the young age of
41.
Uesugi Aritsune (上杉有恒), the son of Mitsunori, studied first
under his father and also adopted his first name „Jibei“ (治兵衛).
Before, he was called „Rizaemon“ (利左衛門). Later he was also
trained by his brother-in-law Kazutsura and continued the Sawaya
business. There is also the theory that Aritsune had enjoyed an
apprenticeship with an Ōtsuki master. From extant dated pieces we can
determine his artistic period from around the Tenpō (1830-1844) to the
Man´en (1860-1861) period. He used the gō „Gyokushiken“ (玉枝軒)
and „Kakutei“ (鶴亭), whereas he often signed „Kaku“ with the
character (寉).
One of Ogawa Tomotsune’s (小川知恒) students was Aritsune.
Due to his gō „Shōkatei“ (松下軒) and the use of an in-mei, it is
assumed that he had a certain relationship with Nakagami Motohiro, a
student of Ōtsuki Mitsuyoshi and Mitsuoki. Another of Tomotsune’s gō
was „Shōō“ (松翁). He also signed with the supplement „Naniwa-jū“
(浪華住)*41 and therefore we know that he worked temporarily in Ōsaka
too.

*41
„Naniwa“ is an old name for Ōsaka and vicinity.

– 126 –
10.6 Ishiyama Mototada (石山基董)

Mototada was a nobleman. His father was Mibu Motooki

(壬生基起, 1646-1679), owner of the third court rank and successor of
Fujiwara no Yorimune (藤原頼宗, 992-1065). Accordingly, Mototada
enjoyed a very classical education and besides making sword fittings he
was also interested in calligraphy, waka poetry and painting. His actual
name was Moroka (師香) and he was the founder of the Ishiyama
branch of the Mibu family. „Mototada“ was his kinkō artist name
whereas he also signed in his early years with „Motonobu“ (基信). He
was born on the 13th day of the fifth month of Kanbun nine (1669) in
Kyōto. The „Sōken-kishō“ lists him as chūnagon (中納言) and that he
held the third court rank, but records on Japanese royalty list Moroka as
gon-chūnagon (権中納言) and with the second court rank.
Mototada also signed with the name „Urinrō“ (羽林郎).*42 The
family name „Urin“ (羽林) was equivalent to a certain court rank.
Regarding Mototada´s workmanship, he oriented himself towards the
Gotō style, i.e. shakudō with nanako ground with takabori-iroe
ornamentation. But he also worked in katakiribori. Mototada died on
the 13th day of the tenth month of Kyōhō 19 (1734) at the age of 66.

Picture 7: Ishiyama Mototada

*42
Haynes reads this name as „Harinrō“.

– 127 –
10.7 Yamashita Bokusen (山下牧川)

Bokusen, whose first name was „Bunnai“ (文内), was according to

transmission a samurai who indulged in the hobby of kinkō metalwork.
As gō he used the names „Karyūsai“ (花竜斎), „Karyūdō“ (花竜洞) or
„Ichihasai“ (一巴斎), although he signed in most of the cases just with
„Bokusen + kaō“. He worked primarily in shibuichi with takabori,
kebori or katakiribori, accentuated with iroe and/or zōgan, but his
strong point was mainly katakiribori. Bokusen was active around the
An´ei (1772-1781) era.

10.8 Suminoe Buzen (墨江武禅)

Buzen´s first name was „Shichibei“ (七兵衛) and later „Shōzō“

(荘蔵). He originally came from the Osada family (長田) and his main
profession was that of a painter. He was born in the 19th year of Kyōhō
(1734) and before his career as an artist he worked as a sailor. Later he
studied under the ukiyoe master Tsukioka Settei (月岡雪鼎, 1710-
1787), wrote poems, and was also active as a sculptor working mainly
in plaster. He learned the art of kinkō metalwork from Dainichi Fuchō
(大日釜調) and used several pseudonyms, for example „Shingetsu“
(心月), „Mōrōsai“ (朦朧斎), and „Bokukōsai“ (墨江斎). The latter
goes back to his later family name „Suminoe“ (墨江). Some
transmissions list him with the name „Michihiro“ (道寛) in
combination with „Suminoe“. „Buzen“ was his nyūdō-gō after entering
priesthood. He worked in the style of his master Fuchō, i.e. mostly in
kebori or katakiribori, whereas he never applied takabori or
accentuated his kebori or katakiribori motifs with hira-zōgan. He used
shakudō, shibuichi and suaka as raw material and died in the third year
of Bunka (1806) at the age of 73.

– 128 –
 Dainichi Fuchō (大日釜調) was actually a haiku poet who
practiced the kinkō craft as a hobby. He lived in Ōsaka´s Yariya-machi
(鎗屋町) and also signed with the supplementary connection to Ōsaka
„Naniwa-jū“ (see footnote 41). He was active around Hōreki (1751-
1764). Incidentally, Ichinomiya Nagatsune made a sketch of an
interpretation of Fuchō in one of his sketchbooks. According to
transmission, Fuchō learned the kinkō techniques from Ugai
Gorōzaemon (鵜飼五郎左衛門) who belonged to an Ōsaka-based
family of kettle casters who produced cast-iron tsuba as a sideline.
Maybe Fuchō refers with his craftsman name to this context: „Fu“ (釜,
in the Japanese reading „kama“) means „kettle“ and „chō“ (調) among
others „to make, to arrange“.

– 129 –
– 130 –
Edo

– 131 –
– 132 –
11. The Yokoya school (横谷)

11.1 Yokoya Sōyo (横谷宗與), 1st gen. Yokoya, 1st gen. Sōyo

The Yokoya school was the breeding ground of the majority of all
Edo-kinkō. It was founded by Yokoya Moritsugu (横谷盛次), whose
first name was „Jibei“ (治兵衛) and his gō was „Sōyo“ (宗與). At the
start of his career Sōyo lived in Kyōto´s Mushanokōji (武者小路) and
worked for Gotō Kenjō (後藤 顕乗, 1586-1663), the 7th gen. Gotō
mainline, but also studied under Kenjō´s third son Injō (殷乗, 1621-
1689). Sometime in the early Kan´ei era (1624-1644) he moved to Edo
and it is possible that he accompanied the 8th Gotō-gen. Sokujō (即乗,
1600-1631) who followed the orders of Tokugawa Iemitsu and
transferred the headquarter of the Gotō family to the new capital in
Kan´ei two (1625). But Sokujō died only six years later and so it is
assumed that Sōyo, as one of the most outstanding Gotō students of that
time, was entrusted with the administrative tasks and the
correspondence between the Gotō mainline and the bakufu and stayed
therefore in Edo. It was also during that time that Kenjō started to
commute between Kyōto, Kanazawa and Edo. Anyway, Sōyo was
employed by the bakufu during the Shōhō era (1644-1648) for the
relative high salary of 220 hyō (俵 ~ 88 koku) and a stipend for the
support of 18 persons. The Gotō family gave its permission and the
employment relationship was cancelled by mutual consent.
Regarding Sōyo´s workmanship, he was of course not subject to the
later upcoming machibori trend but was oriented to the classical style of
the Gotō faily, i.e. shakudō with nanako ground and a takabori-iroe
ornamentation. There are no signed works extant by the 1st gen. Sōyo
but a kozuka with the motif of a bamboo screen (sudare, 簾) and the mei
„Yokoya Sōyo + kaō“ whose kaō differs from those of the 2nd gen. Sōyo
and is therefore attributed to the 1st gen. by some experts. But it has to
be noted that the character for „yo“ (與) is chiselled in the simplified
version (与).

– 133 –
 Besides that there are some works extant on which the 2nd gen.
makes attributions to the 1st gen. Sōyo. Corresponding signatures read
for example „Sofu Yōyo saku – Sōyo + kaō“ (祖父宗與作 宗與,
„work of the grandfather Sōyo – [signed by:] Sōyo“) or „Sōyo saku –
Tomosada + kaō“ (宗與作 友貞, „work of Sōyo – [signey by:]
Tomosada“). „Tomosada“ was the fist name of the 2nd gen.
The 1st gen. Sōyo is said to have died on the 17th day of the twelfth
month of Genroku three (1690), at the age of 58, which is strongly
doubted because it is impossible that the bakufu had hired him as a
teenager (according to the given age, he would have been between 11
and 15 years old in the Shōhō era). The „Tōsō-kodōgu-kōza“ assumes
that he was around 70 when he died and the Haynes-Index states 78.
Sōyo is buried in the Tōkōji (等光寺) in Tōkyō´s Asakusa district,

11.2 Yokoya Sōmin (横谷宗珉), 2nd gen. Yokoya, 1st gen. Sōmin

Yokoya Sōmin was born in Edo as the son of the 1st gen. Sōyo in the
tenth year of Kanbun (1670). His first name was „Chōjirō“ (長二郎)
but he later adopted his fathers first name „Jibei“ (治兵衛). His civilian
name was „Tomotsune“ (友常) and at the beginning of his career he
signed with the name „Sōchi“ (宗知). He was also employed by the
bakufu and contemporary records say that he worked first as a
preparatory craftsman for his father and other, unspecified, Gotō
masters. At the age of 21, after the death of Sōyo in Genroku three
(1690), he started his own business. It is unknown when he started
using the name „Sōmin“ but on the basis of extant signed works we can
say that this was the case at the latest in the ninth year of Genroku
(1696) when he was 27. Later he voluntarily renounced his post at the
bakufu. There are several theories about the reasons for this but the
most accepted one is that his urge to work artistically independent was
so strong that he saw himself forced to take this step. He feared that if
he continued to work for the bakufu he would be doomed to make
pieces in Gotō style for the rest of his life.

– 134 –
 Yokoya Sōmin´s creative period was at the time of the boom of the
Edo culture, i.e. the Genroku and Kyōhō eras, when in the east an
antipole to the old-established culture of Kyōto started to emerge. As
mentioned in chapter 6.1, the machibori trend breathed new life into the
world of sword fittings, not only in terms of motifs but also in terms of
interpretation, combination of colours, and raw materials. Sōmin is
considered today as the pioneer of the machibori movement. He was the
first who worked in pure katakiribori without additional hira-zōgan
applications and who used a vertical-format composition on kozuka.
The otherwise undecorated katakiribori looks simple at a glance but
was strongly influenced by contemporary painters who in turn tried to
get rid of the classical subjects of, for example, the Kanō school.
Sōmin´s personal influence goes to a large extent back to the Edo
painter Hanabusa Itchō (英一蝶, 1652-1724). Their friendship began
when Sōmin was about 40. The relationship was quite close, Sōmin
used sketches by Itchō for his kinkō works and even accommodated
Itchō´s mother for eleven years when the latter was banished to the
island of Miyakejima (三宅島) for eleven years due to his „eccentric“
lifestyle. By the way, the banishment lasted from the eleventh year of
Genroku (1698) until the fifth year of Hōei (1709), when Itchō was
pardoned.
In his later years Sōmin entered priesthood under the name „Ton´an“
(遯庵). He had no children and so he adopted first a son from the Ueda
family (植田) but the adoption – which lasted from the second year of
Hōei (1705) to the fifth year of Shōtoku (1715) – was later dissolved.
Upon this he adopted Tomosada (友貞), the second son of his student
Yokoya Sōju (宗寿),*43 who succeeded as the 3rd gen. Yokoya and as
the 2nd gen. Sōyo. Sōmin died on the sixth day of the eighth month of
Kyōhō 18 (1733) at the age of 64. Like Sōyo, he is buried in Asakusa´s
Tōkōji.

*43
According to a theory, Sōju was the brother or brother-in-law of Sōmin and was also trained by
the 1st gen. Sōyo. The sources on Sōju´s death date also differ greatly. One says he died in Kyōhō
19 (1734) at the age of 64 and others in Kei´an three (1650) at the age of 84.

– 135 –
 Picture 8: Yokoya Sōmin Picture 9: Hanabusa Itchō

11.3 Yokoya Sōyo (横谷宗與), 3rd gen. Yokoya, 2nd gen. Sōyo

The 3rd gen. Yokoya or the 2nd gen. Sōyo respectively was the
second son of Sōju. His civilian name was Yokoya Densaburō
Tomosada“ (横谷伝三郎友貞) and he was born in Edo in the 13th year
of Genroku (1700). Adopted by Sōmin he succeeded as head of the
Yokoya family at the age of 34. His oldest son followed him as the 4th
gen. Yokoya and 2nd gen. Sōmin when he retired in the third year of
Meiwa (1766). This Yokoya Sōyo used the gō „Shōkei“ (照渓).
His second son was Densaburō Tomotake (伝三郎友武) whose
kinkō artist name is unknown or rather of whom we only know
signatures like „Tomotake + kaō“ or „Yokoya Tomotake + kaō“. One
such piece is dated the second year of Tenmei (1782) and is therefore an
important reference for the chronological attribution of this artist about
which several theories exist. Some say Tomotake was the 2nd gen. Sōyo,
but the latter died on the 28th day of the sixth month An´ei eight (1779)
at the age of 80, and this does not match with the aforementioned piece
with the date of Tenmei two. However, Sōyo´s third son was the poet
Yokoya Genpu (横谷玄甫).

– 136 –
 Picture 10: 2nd gen. Yokoya Sōyo.

11.4 Yokoya Sōmin (横谷宗珉), 4th gen. Yokoya, 2nd gen. Sōmin

The civilian name of the 2nd gen. Sōmin was „Yokoya Chōjirō
Tomotsugu“ (横谷長二郎友次). He was the oldest son of the 2nd gen.
Sōyo and used the gō „Ichian“ (一庵) and „Shōan“ (晴庵). He
succeeded as head of the Yokoya family when his father retired in
Meiwa three (1766) but died before the latter, namely on the 25th day of
the fifth month of Meiwa eight (1771). He was succeeded by Kiryūsai
Sōmin (起竜斎宗珉) – with the first name „Gonnosuke“ (権之助) –
who originally came from the Uchida family (内田) and who worked
first as a Gotō sub-contractor. When the 10th Gotō-gen. Renjō (廉乗,
1627-1708) went to Edo he was accompanied by his workers Aoki
Jō´un (青木常雲), Nakamura Jōki (中村常喜) and Jōsei (常清), and
Uchida Jōyū (内田常有, his craftsman name can also be read
„Tsuneari“). Jōyū and his son Uchida Jōsei (内田常生) in turn did
foundation work for the kozuka and kōgai of the 13th and 14th Gotō-
gen., i.e. Enjō (延乗, 1721-1784) and Keijō (桂乗, 1751-1804).
Kiryūsai Sōmin was the oldest son of Jōsei and worked, as mentioned,
as a preparatory craftsman for Gotō Keijō until the age of 29. Some say
that he bought the family name „Yokoya“ from a Yokoya family
member*44 and that he installed himself as the 5th gen. Yokoya because
there was no successor after the early death of the 2nd gen. Sōmin.

*44
It is said that he arranged a wedding with the much older daughter of the 2nd gen. Sōyo.

– 137 –
 Kiryūsai Sōmin’s date of birth and death can not be ascertained but
some records mention Kansei seven (1795) as his year of birth. If this is
correct then the Yokoya family was without an official head for more
then 40 years, which seems to be unlikely. Incidentally, there was
another kinkō artist of the Oda family (小田), active around the
bakumatsu era, who called himself „7th gen. Sōmin“ and used the gō
„Kiryūsai“. So it is likely that Oda Sōmin was a successor, maybe the
grandson of Uchida Sōmin.

11.5 The Terukiyo line (英精)

The 1st gen. Yokoya Terukiyo, whose first name was „I´emon“
(伊右衛門), was the eldest son of Yokoya Sōju. He was born in the
seventh year of Kyōhō (1722). He entered priesthood in his later years
and took the gō „Sōyū“ (宗祐). But his year of birth and the
information that he died at the age of 51 in An´ei one (1772) are
doubted because Sōju was already 72 years old in Kyōhō seven and
there is a piece extant which bears the signature „Gyōnen nanajūgo-hori
Sōyū + kaō“ (行年七十五彫宗祐, „carved/made by Sōyū at the age of
75“). Yokoya Terukiyo mastered the techniques of takabori-iroe and
katakiribori and his works are evaluated not much lower than those of
Sōmin or Sōyo. Because his works are barely distinguishable from the
2nd gen. Terukiyo it is assumed that the latter worked for a long time for
his master in the workshop.
The 2nd gen. Terukiyo originally came from the Ishikawa family
(石川). His first name was „Kyūzō“ (九蔵). He studied under Yokoya
Terukiyo and became later his son-in-law. In his early years he signed
with „Terutsugu“ (英次) and took the gō „Yūmin“ (邑珉) after entering
priesthood. There are some works extant which are signed „Ishikawa
Terukiyo + kaō“.

– 138 –
 The 3rd and last generation Yokoya Terukiyo was the son of the 2nd
gen. and thus also bore the family name „Ishikawa“ before succeeding
as head of this line. His first name was „Minosuke“ (巳之助), followed
by „Genpachirō“ (源八郎). From extant pieces we learn that he also
signed with the name „Terushige“ (英茂). He used the gō „Sōkyo“
(宗巨) and was active during the bakumatsu era.
Other artists of the Terukiyo line were Teruhiro (英寛) and
Terumune (英致), students of the 1st gen. Terukiyo, and Teruhisa
(英久), who had studied under the 2nd gen. Terukiyo. Terumune´s first
name was „Chōshichirō“ (長七郎) and he used the gō „Shitō“ (此東).

– 139 –
Genealogy of the Yokoya school:

Gotō Injō (殷乗)

1621-1689, 1st gen. Shichirō´emon line

Sōyo (宗與), 1st gen.

Yokoya Jibei Moritsugu (横谷治兵衛盛次)
1st gen. Sōyo

Sōju (宗寿) Sōmin (宗珉), 2nd gen. Masatsugu (政次) Sōotsu (宗乙)
1st gen. Sōmin Yanagawa fam. (柳川) Iwamoto fam. (岩本)
1670-1733, son of Sōyo student of Sōyo student of Sōyo
see chapter „Yanagawa“ see chapter „Iwamoto“

Terukiyo (英精), 1st gen.

I´emon (伊右衛門), 1722-1772?
gō „Sōyū“ (宗祐)
Sōyo (宗與), 3rd gen. Naomasa (直政) Ōmori Terumasa
Densaburō Tomosada student of Sōmin (大森英昌)
Terukiyo (英精), 2nd gen. (伝三郎友貞), 1700-1779 see chapter „Yanagawa“ student of Sōmin
Ishikawa Kyūzō (石川九蔵) adopted son of Sōmin see chapter „Ōmori“
gō „Yūmin“ (邑珉) 2nd gen. Sōyo

Terukiyo (英精), 3rd gen. Sōmin (宗珉), 4th gen. Tomotake (友武)
Ishikawa family Chōjirō Tomotsugu Densaburō (伝三郎)
gō „Sōkyo“ (宗巨) (長二郎友次), ?-1771 second son of Sōyo
son of Sōyo

Sōmin (宗珉), 5th gen.

Uchida Gonnosuke (内田権之助)
gō Kiryūsai (起竜斎)

Sōmin (宗珉), 7th gen.

Oda family (小田)
gō Kiryūsai (起竜斎)

– 140 –
12. The Nara school (奈良)

Together with the Gotō and the Yokoya, the Nara school was one of
the most influental kinkō lineages. The mainline worked officially for
the bakufu and gave rise to a large number of students. A few dozen of
them were also allowed to use the name „Nara“. In Shinkichi Hara´s
„Die Meister der japanischen Schwertzieraten“ we read: „These three
families – Gotō, Yokoya und Nara – represented the main schools of the
craft of sword fittings; but they did not work in a strictly separated style
but mixed their techniques. All the other kinkō lineages are just
variations of these main schools.“ Toshiteru (利輝) is considered the
founder of the Nara school but details about his origins are rather
unclear. Because of the family name it can be assumed that their origins
were in Nara. Today the common theory exists that the first Nara
craftsmen were kazari-shi (= kazari-shoku, see chapter 1.6) and nuri-shi
(塗師, lacquer artists) which were recruited at the beginning of the Edo
period for the construction of the Tōshōgū (東照宮) in Nikkō and the
Kan´ei-ji (寛永寺) in Edo, both burial places for the Tokugawa
shōguns. This is substantiated by exstant documents, for example we
find in bukan records (武鑑)*45 of the Meiwa era (1764-1772) the name
„Nara Bingo“ (奈良備後), and for the Keiō era (1865-1868) the names
„Nara Aki“ (奈良安芸), „Nara Echizen“ (奈良越前), „Nara Suō“
(奈良周防) and „Nara Jūbei“ (奈良重兵衛), all of them listed as
kazari-shi. This distinguishes the early Nara school from the Gotō
family in terms of function and rank, even if both worked for the
bakufu. In these bukan the Gotō are namely listed as horimono-shi“
(彫物師, „carvers“), and the Bushū-Itō school (武州伊藤), for example,
as „tsuba-shi“ (鐔師, „tsuba craftsmen“).

*45
Books on heraldry and a register of the warrior class published on a chronological basis.

– 141 –
 We also know from extant documents that the Nara family or school
basically split into two lines, namely those of the kazari-shi and those of
the nuri-shi, whereas the former used the hereditary first name
„Shichirōzaemon“ (七郎左衛門) and the latter „Hachirōzaemon“
(八郎左衛門). But both lineages worked for the bakufu and the former
ran the production of sword fittings as a sideline. This separation in the
field of functions, as well as the work on the mentioned temples, is also
mentioned in the „Sōken-kishō“. Volume seven which deals with the
makie artists writes:

„Nara Sadatoshi (奈良貞利), first name ´Hachirōzaemon´. Came in the second year
of Genroku (1689) with the erection of the Tōshōgū to Nikkō and worked there with
Kōami Nagamichi (幸阿弥長道) and Koma Anmei (古満安明, the craftsman name is also
read „Yasuaki“) as makie artist.“

„Nara Yukikatsu (奈良雪勝), first name ´Hachirōzaemon´. Came to the Tōeizan

area (東叡山)*46 in the eighth year of Enpō (1680), together with Kōami Nagayasu
(幸阿弥長安), Hishida Fusasada (菱田房貞) and others in the course of the erection of
the mausoleum for Tokugawa Ietsuna (家綱, 1641-1680) to apply makie ornamentation
to the gate of the mausoleum.“

The function of kazari-shi of one line of the Nara school is also

mentioned in the „Sōken-kishō“, namely in an entry regarding the 2nd
gen. Toshiharu (利治): „Was officially working as kazari-shi. Called
´Echizen´ (越前). Lived in Edo´s Kanda (神田). Was very skilful in the
carving of landscapes.“

*46
Another name of the Kan´ei-ji.

– 142 –
12.1 Nara Toshiteru (奈良利輝)

Toshiteru, as mentioned, is regarded as the founder of the Nara

school. His first name was „Kozaemon“ (小左衛門) and his gō „Suō“
(周防). He was born in the seventh year of Tenshō (1579) and was
hired by the bakufu in the first year of Kan´ei (1624). He died in the
sixth year of Kan´ei (1629), at the age of 50. It is unclear if Toshiteru
worked at all as a kinkō artist because, except for a kozuka and a kōgai
with the signature „Nara Suō“, no supposed works by Toshiteru are
extant. Further, the latter two pieces show an entirely atypical Nara
style in shakudō with nanako ground and gilded back. That means they
can hardly be attributed to an early Nara artist and date likely to the
bakumatsu era. The „Edo-kinkō-meifu“ (江都金工名譜)*47, published in
the seventh year of Bunka (1810) by Noda Takaaki (野田敬明, 1759-
1825), clarifies things a little when it writes that Kozaemon Toshiteru
was the ancestor of the Nara school but the kinkō founding father was
Kozaemon Toshimune (利宗). Subsequent publications now follow
either the traditional succession of generations with Toshiteru as 1st
head, or the „Edo-kinkō-meifu“ with his son Toshimune as 1st gen. of
the Nara school. Incidentally, the „Honchō-seji-danki“
th
(本朝世事談綺), published in the 18 year of Kyōhō (1733) by
Kikuoka Fusayuki (菊岡房行, ?-1747, see also 22.1), says: „Nara-bori
(奈良彫), started with Sōtei [see next chapter], originaly a branch of the
Nara school whose craftsmen were active as nuri-shi, he [Sōtei] was a
very talented carver by nature.“
This publication follows the data of the „Edo-kinkō-meifu“ and
„Honchō-seji-danki“ and counts Toshimune as the 1st gen. of the Nara
school.

*47
Sometimes this publication is also quoted as „Kōto-kinkō-meifu“.

– 143 –
12.2 Nara Toshimune (奈良利宗), 1st gen.

Toshimune was the son of Toshiteru. His first name was initially
„Saiichi“ (才市) but he took later the hereditary name of „Kozaemon“
(小左衛門). His nyūdō-gō of his later years was „Sōtei“ (宗貞). Well,
his date of birth and death are unknown and we also do not know if or
under what kinkō master he studied. There are also no signed works
extant. The above mentioned entry in the „Honchō-seji-danki“ lists him
in one row with „Nara-bori“ but does not explictely say that this
concerns sword fittings. So it is possible that he was just a kazari-shoku
and the style of his work was called Nara-bori, and that he made tsuba
– if any – just on the side.

12.3 Nara Toshiharu (奈良利治), 2nd gen.

Toshiharu´s first name was „Shirōbei“ (四郎兵衛) and later

„Kozaemon“. He was the son of Toshimune and worked, like his father,
for the bakufu. His year of death is unknown but due to an extant work
with the signature „gyōnen nanajūissai“ (行年 七十一歳, „at the age of
71“) and the date „Kanbun-san koyomi-rokugatsu“ (寛文三暦六月,
„sixth month of the third year of [1663]“), we can calculate his year of
birth to Bunroku two (文禄, 1593). There exists a further work which is
signed with the information „at the age of 85“, that means he was active
for a very long period. He is regarded as the best kinkō artist of the Nara
mainline and – together with his son Toshinaga (利永) – the actual
founder of the Nara style. The latter was, like the new style of the
Yokoya school, a driving force behind the machibori trend.
Regarding his workmanship, he departs completely from the Gotō
style, that means he never worked in shakudō with nanako ground but
primarily in iron, whereas he focused on tsuba. They are in maru-gata,
a somewhat elongated tatemaru-gata, or sometimes also in mokkō-gata.
Other interpretations are hardly seen. Besides iron kozuka he also made
kozuka in shakudō which are decorated in katakiribori or kebori. This

– 144 –
artistical approach was later perfectioned by Yokoya Sōmin and
Ichinomiya Nagatsune. It is interesting that Toshiharu, or the Nara
school in general, did not make mitokoromono sets, even though they
were officialy working for the bakufu like the Gotō or Yoshioka school.
However, a pseudonym of Toshiharu was „Echizen“ (越前) and as
nyūdō-gō he used the name „Sōyū“ (宗有).

Picture 11: Nara Toshiharu

12.4 Nara Toshinaga (奈良利永), 3rd gen.

Toshinaga was the son of Toshiharu. His first name was Shichirō-
zaemon“ (七郎左衛門) and in later years he used the gō „Chikan“
(知閑). The characteristic Nara style was established, at the latest, with
Toshinaga, that means round iron tsuba with takabori-iroe, whereas the
latter ornamentation occupies a rather small area on the ground plate
which is finished with ishime or tsuchime. Regarding Toshinaga´s
artistic periode, we know dated signatures from the eleventh year of
Kanbun (1671), the eighth year of Enpō (1670), and the 15th year of
Genroku (1702).

– 145 –
12.5 Subsequent generations of the Nara mainline

Toshinaga´s successor was his son Shichirōzaemon Toshimitsu

(七郎左衛門利光) who acted as 4th gen. of the kinkō line and 5th gen. of
the Nara family. The „Honchō-seji-danki“ quotes a genealogy which
lists a certain „Kozaemon Munetoshi“ (宗利) after Toshimitsu but the
exact succession of generations is somewhat unclear in this publication
because it lists Toshinaga not after but to the side of Toshiharu. Later
books like Wada Tsunashirō´s (和田維四郎, 1856-1920) „Honpō-
sōken-kinkō-ryakushi“ (本邦装剣金工略誌) from 1912 and the
„Nihontō-kōza“ list Munetoshi therefore as 5th gen. Nara mainline,
regardless of the vague genealogic information of the aforementioned
source. The assumption that Munetoshi was head of the mainline is also
doubtful because all subsequent generations used „Toshi“ as first
character of their craftsman name. So it is possible that this entry could
be a confusion and double-listing of the 1st gen. Toshimune.
Incidentally, there is also not a single Nara work extant which is signed
„Munetoshi“. However, Toshimitsu also studied under Toshinaga
(利寿). His gō was „Sōkan“ (宗閑) and it is transmitted that he lived to
the age of 72, although his year of death is unknown.
The 5th gen. was Toshikatsu (利勝) who worked between Meiwa
(1764-1772) and Tenmei (1781-1789). His first name was „Shichirō-
zaemon“ and his gō „Chikugo“ (筑後). Toshikatsu´s son Shichirō-
zaemon Toshinao (利尚) followed as 6th gen. of the Nara school.
Official records of the bakufu show us that he was hired as a kazari-shi,
and so it is assumed that this was the reason why he left his kinkō works
that he produced on the side unsigned. The Keiō-era (1865-1868)
Shichirō-zaemon Toshitsune (利恒) was the son of Toshinao and the
7th gen. Nara mainline. His gō was „Suō“ (周防).

– 146 –
12.6 Other artists of the Nara school

A student of Toshinaga (利永) war Seiroku Masanaga (清六正長).

Some sources list Masanaga as a student of Toshinaga (利長) who in
turn was a student of Toshinaga (利永). The latter approach is quite
reasonable because of the shared character for „naga“ (長). Masanaga
trained many students but his fame goes to a large extant back to his
portrait on the „Sankō-nijūhachi-kishō“ (鑽工廿八気象) of the ukiyoe
artist Kitao Kōsuisai Shigemasa (北尾紅翠斎重政, 1739-1820). This
color print shows portraits of 28 famous kinkō artists (see also cover
and page 3) and Nara Masanaga is depicted at the very bottom. These
portraits were also published in the „Sōken-kishō“ from the first year of
Tenmei (1781) and it is unclear if they are based on Shigemasa´s print
or vice versa.
Masanaga´s son was Masachika (正親). After the death of his father
he had signed for a while with the name „Masanaga“ (正長) and
therefore some sources list accordingly two generations Nara
Masanaga. His first name was „Gihachi“ (儀八) and it is said that he
and his father both used the gō „Jōwa“ (乗和).
An outstanding Nara-artist was Toshinaga (利寿) but the sources
are in disagreement about his master. Some say he was the student of
Toshinaga (利永), some of Toshiharu, and others assume he studied
successively under both of them. His first name was „Tabei“ (太兵衛).
He was born in the seventh year of Kanbun (1667) and died on the 14 th
day of the twelfth month of Genbun one (1736). There is also the theory
that there were two generations with this name, whereas the 2nd gen.
Toshinaga is listed with the date of death of the eighth day of the
eleventh month of Meiwa eight (1771). Anyway, together with
Tsuchiya Yasuchika and Sugiura Jōi, Nara Toshinaga is counted as the
so-called „Nara-sansaku“ (奈良三作), the „Three Nara Masters“.

– 147 –
 Picture 12: Nara Toshinaga (利寿) left and Sugiura Jōi right.

12.7 Sugiura Jōi (杉浦乗意)

Sugiura Jōi – first name was „Tashichi“ (太七) and later

„Sen´emon“ (仙右衛門) – was born in the 14th year of Genroku (1701)
as the son of a retainer of the Toda-Matsudaira family (戸田松平) in
their lands (i.e. the Kanō fief, 加納藩) in Mino province. The Toda – or
at least some branches of them – were transferred several times during
the early years of the Kyōhō era (1716-1736) and that is how Jōi came
to Edo to work at the Toda-Matsudaira depot in the Fukugawa district
(深川). As a Matsudaira branch and therefore related to the Tokugawa
family, the Toda took an active part in the bakufu government. The
transmission says that he studied under Nara Toshinaga (寿永) and on
the recommendation of Toshinaga (利永), the 4th gen. Nara mainline, he
was allowed to use the character „naga“ (永) and the family name
„Nara“.*48 Upon this he took the name „Nagaharu“ (永春) and „Jōi“
was his nyūdō-gō after entering priesthood. He also used the
pseudonyms „Issan“ (一蝅) and „Issandō“ (一蝅堂), whereas he also
signed the „san“ (蝅) character in the uncommon variant (蠺).

*48
He sometimes also signed the name „Nara“ with the characters (南良).

– 148 –
 Sugiura Jōi made many fuchigashira and kozuka, tsuba are rather
rare. He worked mainly in polished shibuchi and never in shakudō with
nanako ground. His strong points were the techniques of shishiaibori
(肉合彫) and sukisagebori (鋤下彫), that means a bas-relief where the
ground plate and the highest points of the motif are about level. This
interpretation was later adopted by the Hamano school and the Mito-
kinkō. Sugiura Jōi died on the 24th day of the seventh month of Hōreki
eleven (1761) at the age of 61.

Genealogy of the Nara school:

Toshiteru (利輝)
ancestor of the Nara school

Toshimune (利宗), 1st gen.

Saiichi (才市), later Kozaemon (小左衛門)
founder of the kinkō line, nyūdō-gō „Sōtei“ (宗貞)

Toshiharu (利治), 2nd gen.

Kozaemon (小左衛門), gō „Suō“ (周防)
1579-1629

Tatsumasa (辰政) Toshinaga (寿永) Toshinaga (利寿) Toshinaga (利永), 3rd gen.
Chūzaemon (忠左衛門) Zenzō (善三) Tabei (太兵衛), 1667-1736 Shichirōzaemon (七郎左衛門)
student of Toshiharu student of Toshiharu student of Toshiharu or Chikan (知閑)
of Toshinaga (利永)

Tsuchiya Yasuchika Sugiura Jōi Hamano Shōzui Toshimitsu (利光), 4th gen.
(土屋安親) (杉浦乗意) (浜野政随) Shichirōzaemon, Sōkan (宗閑)
student of Tatsumasa also „Nara Nagaharu“ student of Toshinaga
see separate chapter (奈良永春), 1701-1761 see separate chapter
Toshikatsu (利勝), 5th gen.

Toshinaga (利長)
student of Toshinaga (利永) Toshinao (利尚), 6th gen.

Masanaga (正長) Toshitsune (利恒), 7th gen.

student of Toshinaga (利長)

– 149 –
13. The Hamano school (浜野)

13.1 Hamano Shōzui (浜野政随), 1st gen.

The founder of the Hamano school was Shōzui, who was a student
of Nara Toshinaga (利寿) mentioned in the genealogy on the previous
page. His first name was „Tarōbei“ (太郎兵衛) and he was born in the
ninth year of Genroku (1696). After finishing his apprenticeship with
Toshinaga he parted with the Nara school and pursued very successful
his own career. His school was very capable of keeping up with the
Yokoya school in terms of number of students and influence on the
machibori movement. Simply spoken, he combined the styles of the
Yokoya and the Nara school with the interpretations of Sugiura Jōi, that
means he worked in takabori-iroe and in zōgan but with larger-sized
motifs than those use by the Nara school, enriched with usunikubori and
shishiaibori. And regarding his selection of motifs, he chose various
historical, epic, worldly and figurative subjects, as well as a broad
variety of plants and animals.
Besides the Nara-sansaku (Nara Toshinaga, Sugiura Jōi and
Tsuchiya Yasuchika), Shōzui is counted as the fourth great master that
the Nara school has brought forth, i.e. the so-called „Nara Shitennō“
(奈良四天王). But it has to be mentioned that Shōzui and Jōi formed a
rather somewhat separated pair in this group because there were about
thirty years between them and the contemporaries Toshinaga and
Yasuchika.
Regarding his signatures, he always used the old version (濱) for
„Hama“ (浜) and zui“ (随) is also signed with the non-simplified style
(隨). The „Tōsō-kodōgu-kōza“ assumes that the characters for „Shōzui“
were back then probably read by their Japanese reading „Masayuki“
and that the Sino-Japanese reading had became widely used only in
recent times. By the way, the „Tōsō-kodōgu-kōza“ was published in
1972. However, the names of all subsequent generations are usually
quoted in the Japanese reading.

– 150 –
 Shōzui used more than a dozen pseudonyms, for example
„Otsuryūken“ (乙柳軒),*49 „Miboku“ (味墨), “Shūhōsai“ (龝峰斎),
„Yūkotei“ (遊壷亭), „Keitō“ (圭竇) and „Keitōrin“ (圭竇林). The gō
„Otsuryūken“ and „Miboku“ in turn were also used by later Hamano
mainline artists and it is said that students were not allowed to sign with
these pseudonyms.
Hamano Shōzui died on the 26th day of the tenth month of Meiwa
six (1769) at the age of 74. He is buried in the Eikyū-ji (永久寺) in
Tōkyō´s Taitōku district. The gravestone of the Hamano family, which
was erected according to transmission by the 2nd gen. Kaneyuki, is still
extant.

Picture 13: Hamano Shōzui

13.2 Hamano Kaneyuki (浜野兼随), 2nd gen.

Kaneyuki was the second son of Shōzui but succeeded as head of the
family after his five years older brother Masazane (政実) died young.
Before his time as 2nd gen. Hamano signed with the name „Masachika“
(政慎).

*49
The „Tōsō-kodōgu-kōza“ notes that the contemporary reading of the gō „Otsuryūken“ was
actually „Ōryūken“ or „Itsuryūken“.

– 151 –
 Kaneyuki was born in the fifth year of Genbun (1740). Because his
father was active for quite long he was in charge of the management of
the family for only a short seven years, i.e. from the sixth year of
Meiwa (1769) to his death in the sixth month of An´ei five (1776).
Apart from the Hamano-gō „Otsuryūken“ and „Miboku“ he also used
the pseudonyms „Bokuryūken“ (卜流軒), „Kaigenshi“ (開眼子) and
„Ryukadō“ (竜花堂), whereas he also signed the latter in the variant
„Rōkadō“ (滝花堂).

13.3 Hamano Nobuyuki (浜野鋪随), 3rd gen.

Nobuyuki – first name „Kin´emon“ (金右衛門) – was born in Edo

in the sixth year of Hōreki (1756). Old records say that Nobuyuki
studied for a while under master Shōzui and this is quite possible
because he was 14 years old when the latter died in Meiwa (1769). But
it is unlikely that he was the son of Kaneyuki because the latter was
only 16 (or, according to the Japanese way of counting years, 17) in
Hōreki six. So it is assumed that Kaneyuki took over the not fully
trained Shōzui-student Nobuyuki and adopted him later as his
successor. Nobuyuki was also married to Kaneyuki´s daughter after the
death of the latter. He first signed with „Masanobu“ (誠信), then took
over the hereditary name Tarōbei“ and also used, apart from
Otsuryūken“ and „Miboku“, the gō „Kangenshi“ (関眼子) and
„Kankei“ (閑径). He died on the fourth day of the fifth month of Kansei
five (1793) at the young age of 38. At the time of Nobuyuki, the two
lineages of Noriyuki (矩随), composed of a student of Shōzui, and
Iwama Masayoshi (岩間政盧), and a student of Hamano Naoyuki
(直随), were already on a par with the Hamano mainline in terms of
quality and popularity.

– 152 –
 The successor of Nobuyuki and 4th gen. of the Hamano school was
Ōoka Masanobu (大岡政信). He was called „Kihachirō“ (喜八郎)
before he took the first name „Tarōbei“. He was born in Edo in the
second year of An´ei (1773) and studied under Nobuyuki by whom he
was later adopted and installed as successor.
His year of death is unknown but we know of dated works up to the
first year of Kōka (1844), that means he was at least 71 years old.
Information about his age (the so-called „gyōnen-mei“, 行年銘) are
found in signatures until his 67th year. Masanobu too used the
pseudonyms „Otsuryūken“ and „Miboku“ and also the gō „Rifūdō“
(驪風堂) and „Kankei“ (閑径). But no Hamano craftsman name with
„zui/yuki“ (随) as the second character is known.
The 5th and last generation of the Hamano mainline was Masanobu´s
oldest son Tsunekichi Masayoshi (常吉政芳). He signed first with
„Masashige“ (政重) and for him too no Hamano name with the ending
„zui/yuki“ is known.

Picture 14: Hamano Noriyuki

13.4 Hamano Noriyuki (浜野矩随)

Noriyuki´s civilian name was Someno Chūgorō“ (染野忠五郎). He

was born in the first year of Genbun (1736) and entered an apprentice-
ship with the 1st gen. Shōzui. Due to his great talent he was granted the
Hamano craftsman name „Noriyuki“ at about the age of 15 or 17. He
was further allowed to use the family name „Hamano“. Noriyuki´s gō
were among others „Seijuken“ (生寿軒), „Bōsōken“ (望窓軒 or
望窗軒) and „Gaiundō“ (蓋雲堂).

– 153 –
 It is said that Noriyuki´s first wife committed suicide on a 15 th day
of the eighth lunar month. This day marks in Japan the middle of fall
(chūshū, 仲秋) and is celebrated with moon-viewing events and the
like. After this incident Noriyuki forbade his students to work on that
very day in the year. He died on the 29th day of the eighth month of
Tenmei seven (1787) at the age of 52.
The successor of the Noriyuki line was Noriyuki´s oldest son *50
Matsujirō (松次郎) who took over the first name „Chūgorō“ and the
craftsman name „Noriyuki“ when he became the head of the family.
The 2nd gen. Noriyuki was born in the seventh year of Meiwa (1771). It
is said that he left his Someno family in Tenmei four (1784) to enter an
apprenticeship with Hamano Shōzui, but this is impossible because the
latter died in 1769. Three years later he received from his master the
character for „Masa“ (政) whereupon he took the name „Masakata“
(政方). After his father’s death he studied for a while under Azuma
Nagayuki (吾妻永随) who was in turn a student of his father. At that
time he used the craftsman name „Norinobu“ (矩施). He became
independent at the age of 23 and took, as mentioned, the name of his
father. The 2nd gen. Noriyuki used, among others, the gō „Shōju“
(松寿), „Shōjuken“ (松寿軒), „Tōryūsai“ (東竜斎), „Gaiundō“
(蓋雲堂) and „Seiryūken“ (青柳軒), and as in-mei the pseudonym
„Shiken“ (子涓). He died on the first day of the seventh month of Kaei
five (1852) at the age of 82.
Interestingly, the 1st gen. did not strictly follow the style of his
master Shōzui at the beginning of his career but was rather oriented
towards Shōzui´s master, Nara Toshinaga (利寿). With increasing
artistic maturity he also adopted Sugiura Jōi´s shishiaibori and
combined it with a minutely detailed usunikubori to form his own
peculiar style.

*50
Haynes says that the 2nd gen. Noriyuki was the adopted son of the 1st gen. Further it is
mentioned that he beame a student of the first Noriyuki at the age of 14 and that he signed with
„Noriyuki“ at the age of 25, which means ten years after the death of the first Noriyuki.

– 154 –
 The 2nd gen. did not continue this style. This may be related to the
fact that the Edo-kinkō lines had already reached a state of
„overripeness“ at this time, that means more and more artists freely
combined techniques from different schools. So the second Noriyuki
worked also in hira-zōgan and katakiribori which is usually not seen in
works of the Hamano school. Incidentally, he and other contemporary
Hamano artists like Naoyuki (直随) and Masayoshi (政盧) also acted in
a supporting role for the mainline besides of their own business.

13.5 Other artists of the Hamano school

Tōyama Denzō (遠山伝蔵) – born in the fourth year of Hōreki

(1754) – studied first under Nakamura Naonori (中村直矩), who was a
student of Yanagawa Naomasa (柳川直政). He eventually dissolved his
apprenticeship contract and studied under the 1st gen. Noriyuki, who is
said to have been a relative of Denzō. Denzō also received permission
from Shōzui to use the family name „Hamano“ whereupon he took the
Hamano-name „Naoyuki“ (直随). Some sources quote this name
wrongly with the reading „Chokuzui“. Naoyuki lived an itinerant life
and turned his back on Edo. Some assume that this might have had
something to do with his second wife, the daughter of a sake dealer
whose shop name was „Mikawa´ya“ (三河屋). His first stop was Kōfu
(甲府) in Kai province, followed by Echigo, Fukushima (福島) and
Matsumoto (松本) in Shinano province. He spent the last years of his
life in the village of Katagiri (片桐) which was also located in Shinano.
Naoyuki´s first wife remained in Edo and his son Norichika (矩局)
from this marriage also became an apprentice of Noriyuki. However, he
also divorced from his second wife because her family became
bankrupt. So he saw himself forced to sell his daughter to a brothel.
Hamano Naoyuki died in Katagiri in the tenth year of Bunsei (1827), at
the age of 74. He used the pseudonyms „Zui´undō“ (瑞雲堂),
„Gaiundō“ (蓋雲堂), „Katsuryūken“ (葛柳軒), „Bōsōken“ (望窓軒),
„Yōryūken“ (楊柳軒) and „Shūgōken“ (龝毫軒).

– 155 –
 Hamano Yasuyuki (保随) was first a student and later the son-in-
law of Hamano Naoyuki. His first name was „Enjūrō“ (円十郎) and he
had also studied some time under the 1st gen. Noriyuki. In this early
phase of his career he also used the names „Naonori“ (直矩) and
„Naoyuki“ (直行), and later he accompanied his father-in-law on his
journeys. Yasuyuki worked in Ōsaka and Akashi (明石) before he
settled in his place of birth in Tokushima (徳島), in Awa province.
There he was employed by the daimyō of the Tokushima fief, the
Hachisuka family (蜂須賀). He used among others the gō „Bōsōken“
(望窓軒), „Gaiundō“ (蓋雲堂), „Ichichōsai“ (一長斎), „Senryūsai“
(潜竜斎), and „Seiryūsai“ (青竜斎), and his nyūdō-gō in later years
was „Yūshin“ (又新). Hamano Yasuyuki died in Tokushima on the 16th
day of the twelfth month of Tenpō seven (1836).
Iwama Masayoshi (岩間政盧) – who was already mentioned in
chapter 13.3 – was born in Edo in the first year of Meiwa (1764). His
first name was „Kinzō“ (金蔵) and later „Kin´emon“ (金右衛門). He
entered an apprenticeship with Hamano Naoyuki (from the Tōyama
family) at the age of twelve and received the character „Nao“ (直) from
the latter whereupon he took the name „Naoyasu“ (直安). He also
studied under Nobuyuki, the 3rd gen. Hamano mainline. Regarding his
workmanship, he worked in the style of Nara Toshinaga, Hamano
Shōzui and Naoyuki and broadened it with the then popular
„openhearted“ and fresh interpretations. With this he brought new life
into the Hamano style. His gō were „Katsuryūken“ (葛柳軒),
„Sōhōken“ (巣蜂軒), „Ban´ryūken“ (万竜軒) and „Kankodō“
(諫鼓堂). Iwama Masayoshi died on the 14th day of the eighth month of
Tenpō eight (1837) at the age of 74.
His successor was his student Yonezawa Yonekichi (米沢米吉),
who he had adopted, and took thereupon the name Iwama Nobuyuki
(岩間信随). Nobuyuki´s pseudonyms were „Ichiryūken“ (一柳軒) and
„Jufūdō“ (寿風堂). He died on the fourth day of the first month of
Tenpō 13 (1842) at the age of 54.

– 156 –
 An outstanding student of Iwama Masayoshi was Nobuyoshi (信慮)
from Tōtōmi´s Hamamatsu (浜松). He originally came from the Hata
family (端) and his first name was „Hidematsu“ (秀松) and later
„Zenzō“ (全三). During the early years of his career he signed with
„Masahiro“ (政普). After an apprenticeship with Masayoshi he also
learned from Iwama Nobuyuki from whom he received the character
„Nobu“ (信). Thereupon he took the name „Nobuyoshi“. He bore the
priest rank of hokkyō and hōgen and signed with various gō like for
example „Yōkōdō“ (養浩子), „Yūkan“ (幽観), „Ikkeisha“ (一渓舎) or
„Shun´ō“ (峻翁). He died in the eleventh year of Meiji (1878) at the age
of 76.
The 3rd gen. Iwama after Masayoshi and Nobuyuki was Katsuyuki
(勝随). He originally came from the Kuroha family (黒羽) and was
called „Daijirō“ (大次郎). He studied under Nobuyuki and later became
his son-in-law. He also inherited the gō „Jufūdō“ (寿風堂) from the
latter which he also signed in the variant „Jufūsai“ (寿風斎).
Additionally, he also signed with „Bunsai“ (文斎).

– 157 –
Genealogy of the Hamano school:

Hamano Shōzui (浜野政随), 1st gen.

student of Nara Toshinaga (利寿), 1696-1769

Masanobu (政信) Kaneyuki (兼随), 2nd gen. Noriyuki (矩随), 1.

student of Shōzui 1740-1776 Someno fam. (染野)
founder of the Ōoka line student of Shōzui, 1736-87

Nobuyuki (鋪随), 3rd gen.

Masatoshi (政寿) 1756-1793
son of Masanobus
2nd gen. Ōoka
Masanobu (政信), 4th gen.
1773-?, according to some sources
Masatsugu (政次) the same person as the founder
3rd gen. Ōoka of the Ōoka line

Masataka (政孝) Masayoshi (政芳), 5th gen.

4th gen. Ōoka son of Masanobu
Kusakabe fam. (日下部)

Naoyuki (直随) Nagayuki (永随) Noriyuki (矩随), 2.

Tōyama fam. (遠山) Azuma-Fam. (吾妻) 1771-1852, also studied
studied first under Inagawa school under Shōzui and Nagayuki
Nakamura Naonori Yoshikatsus (稲川良克)
1754-1827

Yasuyuki (保随) Masayoshi (政慮) Norishige (矩蕃)

student and son-in-law Iwama fam. (岩間), 1764-1837 around Kaei (1848-1854)
of Naoyuki, 1763-1836 1st gen. Iwama son and heir of Noriyuki
student of Naoyuki

Naoyuki (尚随) Nobuyuki (信随) Nobuyoshi (信慮)

Kaneko fam. (金子) Yonezawa fam. (米沢), 1789-1842 Hata (端) + Iwama fam.
student of Masayoshi 2nd gen. Iwama 1803-1878

Katsuyuki (勝随)
Kuroha fam. (黒羽)
3rd gen. Iwama

– 158 –
14. The Tsuchiya school (土屋)

14.1 Tsuchiya Yasuchika (土屋安親), 1st gen.

The Tsuchiya school was founded by Yasuchika, the son of

Tsuchiya Chūzaemon (土屋忠左衛門) who was a retainer of Dewa´s
Shōnai fief (庄内). He was born in the tenth year of Kanbn (1670) and
his first name was „Yagohachi“ (弥五八). With his coming of age he
entered the service of the Matsudaira-Naizen family (松平内膳), who
were the elder (karō, 家老) of the Sakai family (酒井), and in turn the
daimyō of the Shōnai fief. But on the side, he entered an apprenticeship
as a kinkō artist with the local Shōnai-Shōami artist Satō Chinkyū
(佐藤珍久, see also chapter 1.8). Shortly later he resigned from his
bushi status, married the daughter of his master and became an
independent kinkō. In the 16th year of Genroku (1703) – he was 34 years
old at that time – he left his wife and children under the care of his
father-in-law and went to Edo to refine his craft under the guidance of
Nara Tatsumasa (奈良辰政). This step might be connected to the fact
that Chinkyū himself had studied under a Nara master, namely under
Toshiharu (利治), who was in turn the master of Tatsumasa.
According to transmission, Yasuchika lived at the house of a relative
at that time, namely Tsuchiya Hanbei (土屋半兵衛), in Edo´s Kanda
district. But the house fell victim of both fires in the 16th year of
Genroku (1703) and in the second year of Hōei (1705). So Yasuchika
went to Shinano province for some years to work for the Suwa shrine
(諏訪神社). But, by the latest with Hanbei´s death in Hōei four (1707),
he had returned to Edo to continue his profession as a kinkō artist. Some
time later – he hadn´t been in Shōnai for more than ten years – he
learned of the death of his wife.

– 159 –
 During the later years of the Shōtoku era (1711-1716) he was hired
by Matsudaira Daigaku no Kami Yorisada (松平大学頭頼貞).
Yorisada was the nephew of Tokugawa Mitsukuni (徳川光圀, 1628-
1701) and the daimyō of the Moriyama fief (守山) of Mutsu province
which had an annual income of 20.000 koku. Yasuchika did not move to
Mutsu but worked from the Edo-residence of the Moriyama fief. This
employment with Yorisada was very beneficial to Yasuchika´s artistic
development but he eventually ended it to work even more
independently. In the meanwhile, his son Yaichirō (弥一郎) was 22
years old and so he had him come to Edo. Yasuchika married again and
moved to Kanda where he trained his students. At this time – pushed by
orders of famous daimyō families like the Arima (有馬) and Tsugaru
(津軽) – most of his famous jūyō-bunkazai and jūyō-bijutsuhin
masterworks were created. Simply spoken, Yasuchika´s style followed
Nara Toshinaga but he expanded it by highly subjective interpretations
which were quite out of the ordinary of the then kodōgu motifs. These
interpretations make it sometimes difficult to grasp the extraordinary
quality at a glance but this is exactly what Yasuchika tried to achieve.
His later works are more of an elegant and tasteful simplicity.
In the 15th year of Kyōhō (1730) he entered priesthood at the age of
61 and called himself henceforth „Tō´u“ (東雨). He handed-over the
management of the family and his name „Yasuchika“ as well as his first
name „Yagohachi“ to his son Yaichirō.

Picture 15: Tsuchiya Yasuchika

– 160 –
 In Genbun three (1738) his second wife died and from extant letters
to the kinkō Watanabe Arichika (渡辺在哉), who worked in his
homeland Shōnai, we learn that Yasuchika often had to stay in bad due
to his bad physical condition. He died six years later, on the 27th day of
the ninth month of Enkyō one (1744), at the age of 75.

14.2 Tsuchiya Yasuchika (土屋安親), 2nd gen.

The 2nd gen. Yasuchika was born in the eighth year of Genroku
(1685), in Tsurugaoka (鶴ケ岡) in Dewa province, like his father. He
first bore the first name „Yashichi“ (弥七), followed by „Yaichirō“
(弥一郎), and later „Yagohachi“. As mentioned in the previous chapter,
he did not go to Edo right away but was raised and trained by Satō
Chinkyū. At the beginning of his career he signed with „Yasunobu“
(安信) but there is the theory that this name was probably used by
another artist of the Tsuchiya school because of the differences in
workmanship. When he succeeded as head of the school in the 15th year
of Kyōhō (1730) he was 35 years old. He died only three years after his
father, namely on the first day of the second month of Enkyō four
(1747) at the age of 53.

14.3 Tsuchiya Yasuchika (土屋安親), 3rd gen.

The 3rd gen. Yasuchika was the son of the 2nd gen. His first name
was „Yaichi“ (弥一)*51 but we do not know his year of birth, only the
date of death which was the third day of the fifth month of An´ei seven
(1778). He signed the characters for „Yasuchika“ in grass script. It is
unknown why there are relatively few works extant by him as he was
head of the Tsuchiya school for 31 years. A known signature variant of
the 3rd gen. was „Bushū-jū Yasuchika saku“ (武州住安親作, „work of
Yasuchika, resident of Musashi province [= Edo]“).

– 161 –
14.4 Yasuchika (安親), 4th gen.

The 4th gen. Yasuchika also worked under the name „Nagahide“
(永秀). He bore the first name „Shinsuke“ (新助) and his gō were
„Sei´unsai“ (生雲斎) and „Ichirin“ (一隣). It is unknown if the 4th gen.
Yasuchika was the son, or a later adopted student, of the 3rd gen. but it
is recorded that he also studied under the famous kinkō master Iwamoto
Konkan. He later moved to Mito, which we know from signatures Mito-
jū yondai-me Yasuchika“ (水戸住四代目安親, „4th gen. Yasuchika,
resident of Mito“). He worked mainly in katakiribori.

14.5 Kunichika (国親), 5th gen. Yasuchika

Kunichika´s civilian name was „Yoshida Kisōji“ (吉田喜惣治). He

came from Mito and was born in the ninth year of Tenmei (1788). He
was a student and later the adopted-son of the 4th gen. Yasuchika. Early
in his career he signed with „Yasumasa“ (安昌), and upon entering
priesthood, he used the same gō „Tō´u“ as the 1st gen. and also called
himself „Yasuchika“. Other pseudonyms were „Tōsui“ (東水),
„Nifūdō“ (二楓堂), „Shihō“ (紫峰) and „Bokujutei“ (墨樹亭).
His sons Masachika (昌親), Masatoshi (昌寿, also listed as „Toshimasa“
[寿昌]) and Tsunechika (常親) also worked as kinkō artist. Kunichika
spent his last active years in Shimodate (下館), in Hitachi province,
where he died on the third day of the seventh month of Kaei five (1852)
at the age of 65. His third son Tsunechika succeeded him and became
the 2nd gen. Kunichika, whereas his eldest son Masachika the took over
the Yasuchika line as the 6th gen.

*51
The first name „Yaichi“ is quoted in some sources with the characters (弥市).

– 162 –
14.6 Masachika (昌親), 6th gen. Yasuchika

Masachika´s first name was „Masatarō“ (政太郎, also read

„Seitarō“). He was the oldest son of Kunichika and was born in
Shimodate. He travelled through the country in his early years and
studied under different masters, like Hagiya Katsuhira (萩谷勝平) or
Tōryūsai Kiyotoshi (東竜斎清寿), before he settled in Edo. He also
worked for the Satake family (佐竹) from Dewa´s Akita (秋田). In his
later years he was promoted to the Buddhist rank of hōgen and took the
name „Yasuchika“ after the death of his father. Thereupon he is counted
as the 6th gen. Yasuchika. He used, among others, the gō „Garyō“
(雅良), „Ichimu“ (一夢), „Tōsen“ (東遷 or 東僊), „Hakugen“ (伯言),
„Kyōō“ (恭翁) or „Seki´enshi“ (石燕子). Masachika died on the ninth
day of the eleventh month of Bunkyū one (1861).*52

*52
Some sources list his date of death with the eleventh month of Man´en two (1861). But this is
not correct because the Bunkyū era already started on the 19th day of the second month of the
current nengō year.

– 163 –
Genealogy of the Yasuchika school:
Nara Toshinaga (奈良利永) Nara Toshiharu (奈良利治)

Nara Tatsumasa (奈良辰政) Satō Chinkyū (佐藤珍久)

see chapter 1.8

Yasuchika (安親), 1st gen. Watanabe Arichika (渡辺在哉)

Tsuchiya fam. (土屋), 1670-1747 see chapter 33.3
Yagohachi (弥五八), Tō´u (東雨)

Yoshihiro (喜寛) Yasutsugu (安族) Yasufusa (安房) Yasuchika (安親), 2nd gen.
Noda fam. (野田) Suzuki fam. (鈴木) student of the 1st gen. 1695-1747
1693~1765, student of student of the 1st gen. Yasuchika
the 1st gen. Yasuchika Yasuchika, Haynes
lists him as „Yasutomo“

Kanri (寛利) Kigan (亀眼) Yasuchika (安親), 3rd gen.

student ofYoshihiro gō „Shōsendō“ (松仙堂) ?-1778
his name read also as student of the 2nd gen.
„Hirotoshi“ Yasuchika

Yasuchika (安親), 4th gen.

Nagahide (永秀), Shinsuke (新助)
he also studied under Iwamoto Konkan

Kunichika (国親), 5th gen.

5th gen. Yasuchika, 1788-1852
Yoshida fam. (吉田)

Kunikatsu (国勝) Tsunechika (常親) Masatoshi (昌寿) Masachika (昌親), 6th gen.
Nakamura fam. (中村) 2nd gen. Kunichika second son of Kunichika 6th gen. Yasuchika, ?-1861
student of Kunichika third son of Kunichika first son of Kunichika

Arichika (在親) Takechika (武親) Yasuchika (安親), 7th gen.

Kimura fam. (木村), ?-1861 Yoshida fam. (吉田) Enomoto fam. (榎本), 1819~1880
student of Masachika 1827-1887, student student of Masachika and of Hagiya
of Masachika Katsuhira
Arinari (在成)
Shibayama fam. (柴山)
student of Arichika and
of Enomoto Yasuchika

– 164 –
15. The Yoshioka school (吉岡)

The Yoshioka was, like the Gotō, a high-ranking kinkō school which
worked exclusively for the bakufu and daimyō. The founder and 1st gen.
of the Yoshioka family of kinkō artists was Shigetsugu (重次). He was
able to trace back his ancestry to the Fujiwara family and was born in
Kyōto in the twelfth year of Eiroku (1569). During the Keichō era
(1596-1615) he was hired by Tokugawa Ieyasu and genealogic
information of the family show us that he and his eldest son Chōsaburō
(長三郎) visited Ieyasu´s headquarter at the Cha´usuyama (茶臼山) in
Keichō 19 (1614) – i.e. during the Winter Campaign of the Siege of
Ōsaka – to inquire about his health.
On the tenth day of the third month of Kan´ei six (1629) he received
the hereditary salary of 100 hyō (~ 40 koku)*53 and a stipend for the
support of ten persons. His son received at that time his own salary,
namely in the amount of 100 hyō accompanied by a stipend for the
support of four persons. This makes altogether 80 koku for father and
son, a very high amount for a kinkō artist at that time. At about the same
time the bakufu also provided for the „resettlement“ from Kyōto to the
Edo mansion (which measured 150 tsubo, about 500 m2). Also the
honorary titles „Bungo no Suke“ (豊後介) and „Buzen no Kami“
(豊前守) were granted to Shigetsugu at that time. Some say that the
Yoshioka school had its origins as preparatory craftsmen of the Gotō
but the latter did not move the Edo until the 10th gen. Renjō, that means
more than thirty years later, this is rather unlikely.
Regarding the workmanship, according to their clientele of high-
ranking bushi the Yoshioka adhered to the traditional style in shakudō
with nanako ground with suemon or takabori-iroe ornamentations. Due
to the similarity – also in terms of quality – several works of the school
bear today wrong attributions to the Gotō school.

*53
Some sources quote this salary wrongly as „100 koku“ but extant original documents from
Kyōhō era (1716-1736) clearly mention „100 hyō“

– 165 –
 However, there are only very few signed works extant by
Shigetsugu, and these are signed with „Yoshioka Buzen“ (吉岡豊前).
In his later years he entered priesthood and used the gō „Shōō“ (松翁)
and „Sōju“ (宗寿). He died on the last day of the sixth month of Jōō
two (1653) at the age of 85.

Picture 16: Yoshioka Shigetsugu

The 2nd gen. of the Yoshioka school was Shigetsugu´s third son
Rizaemon Hisatsugu (理左衛門久次) because the oldest son
Chōsaburō Nagatsugu (長次, 1598-1641) died before his father.
Hisatsugu was born in the 14th year of Keichō (1609) in Kyōto and
followed his father to Edo as a bakufu-kinkō. It is assumed that the
hereditary Yoshioka title „Inaba no Suke“ (因幡介) was used from
Hisatsugu onwards. The latter had no heir and so adopted the second
son of Gotō Seijō (清乗) which shows that both kinkō lineages were at
least in contact with each other.
It is said that Hisatsugu mainly made tachi fittings for the family of
the Tokugawa-shōgun. This transmission is consistent with the fact that
there are no signed works extant from him because it was a common
practice at that time that, out of respect, works were delivered unsigned
to high-ranking customers. Hisatsugu, who is also listed with the
craftsman name „Shigeyoshi“ (重吉), used the gō„Sōri“ (宗理). He
died on the 18th day of the fourth month of Kanbun eleven (1671) at the
age of 63.

– 166 –
 The 3rd gen. Yoshioka – called „Shigenaga“ (重長) – was as
mentioned the second son of Gotō Seijō. He was born in the 16th year of
Kan´ei (1639) and succeeded as head of the Yoshioka family on the 19th
day of the fourth month of Kanbun eleven (1671), i.e. exactly one day
after the death of his adoptive father. He took over the first name
„Rizaemon“ and the honorary title „Inaba no Suke“. In Genroku eight
(1695) he entered priesthood under the nyūdō-gō „Sōrin“ (宗林) and
retired on the 28th day of the seventh month of Hōei three (1706). He
transferred the management of the school to his adopted son Shigehiro
and died on the eighth day of the eighth month of Shitoku four (1714) at
the age of 76.
It is interesting that, from about the Genroku era (1688-1704)
onwards, the Yoshioka family had the monopoly for the inlay of
kinzōgan-mei on sword tangs of blades appraised by the Hon´ami. This
had previously been carried out by the Umetada family, as mentioned in
chapter 5. It is assumed that this change was connected to the very high
prices the Umetada estimated for an inlay. In Genroku ten (1697),
Shigenaga was able to arrange an agreement with the then head of the
Hon´ami family, namely that for an estimated value of a blade of 49
kinsu (金子), one bun (分, ¼ ryō) was charged per inlayed character
and 1 ryō per inlayed kaō. For a blade with a value of 50 to 90 kinsu,
the family took 3 bun per character and 1 ryō 2 bun per kaō, and from
100 kinsu and more, 1 ryō per character and 2 ryō per kaō were
charged. One kinsu was equivalent to one ōban (大判) and one ōban
was – depending on the inflation rate – 10 to 7 smaller koban (小判)
which had the worth of one ryō. This means that an origami for a blade
attributed with a value of 20 kinsu would cost 200 ryō.*54

*54
1 ryō (両) was the unit for a gold piece of 16,5 g. Further, 1 ryō of gold was equivalent to 1
koku of rice.

– 167 –
 Shigehiro (重広), the 4th gen. of the Yoshioka school, was the fifth
son of a farmer called Inagawa Genzaemon (稲川源左衛門) who lived
in the village of Nishimizumura (西水沼) in Shimotsuke province. His
first name was „Yashichi“ (弥七) and he was born in the eighth year of
Genroku (1695). He studied under the 1st gen. Yokoya Sōyo and under
Yoshioka Shigenaga and was eventually adopted by the latter. On the
21st day of the seventh month of Hōei seven (1710) he had already
received permission from the bakufu to use the honorary titles „Buzen
no Kami“ and „Inaba no Suke“, i.e. four years before his adoptive father
died. He changed his craftsman name to „Morotsugu“ (師次) on the 24th
day of the eighth month of Kyōhō 14 (1729) and, in Kyōhō 19 (1734),
moved from the Yoshioka residence in Edo´s Kanda district to the
vicinity of the Ryōgoku bridge (両国橋) over River Sumida, which was
located about one kilometer to the east of the old one. But this mansion
burned to the grounds shortly later, in the third month of Genbun three
(1738). He used the gō „Sōtoku“ (宗徳) and retired in the second year
of Kanpō (1742). Shigehiro died on the 18th day of the first month of
Hōreki three (1753).
His son Yasutsugu (易次) succeeded him as 5th gen. Yoshioka on
the 20th day of the fourth month of Kanpō two, i.e. when his father
retired. He used the gō „Sōgo“ (宗悟) and died on the ninth day of the
twelfth month of Hōreki nine (1759), which means he managed the
family for 17 years. He was succeeded on the sixth day of the third
month of Hōreki ten (1760) by his son Kiyotsugu (清次), who died on
the 22nd day of the third month of Kyōwa two (1802). The 7th gen. was
Terutsugu (照次) who was adopted by Kiyotsugu on the 26th day of the
twelfth month of An´ei three (1774). Terutsugu´s first name was
„Hidesaburō“ (秀三郎) before he took over the hereditary name
„Rizaemon“. He was born in the eleventh year of Hōreki (1761) and
died on the 28th day of the fourth month of Kaei two (1849) at the age
of 89, that means he acted as head of the Yoshioka family for 47 years.
There are works extant which are signed with „Yoshioka Inaba no Suke
Teruharu saku“ (吉岡因幡介照治作), It is assumed that Teruheru was
the same artist as Terutsugu.

– 168 –
 Terutsugu´s adopted son Yoshisaburō (義三郎, also read
„Gisaburō“) succeeded as 8th gen. Yoshioka under the craftsman name
„Hirotsugu“ (寛次) or under his nyūdō-gō „Sōkan“ (宗寛)
respectively. He retired on the 27th day of the seventh month of Ansei
two (1855) and died five months later on the 27th day of the first month
of Ansei three (1856). The 9th gen. of the school was Hirotsugu´s
adopted son Shigesada (重貞). Before he took over the hereditary name
„Rizaemon“ he was called „Inokichi“ (亥之吉). He was born in Edo in
the tenth year of Bunsei (1827) and changed his name on the eleventh
day of the seventh month of Genji one (1864) to „Buzen“ (豊前). On
the 16th day of the eighth month of Keiō two (1866) he was also
allowed to use the title „Inaba no Suke“. Shigesada died on the third
day of the third month of Meiji 26 (1893) at the age of 66 and used the
gō„Gyokudō“ (玉堂).
After the Meiji Restoration, all kinkō artists who worked for the
bakufu lost their jobs, but some of them were taken over by the Imperial
Household Agency (Kunai-chō, 宮内省) and others made orders and
medals for the newly formed government. This fate was shared by
Shigesada´s adopted son Sōunsai (宗雲斎) who was actually the son of
a certain Ōki Chikatsugu (大木竹次, his first name can also be read
„Takeji“). Sōunsai namely made among others small gold and silver
sake bowls for the 1876 newly founded „Office for Awards and
Decoration“ (shōkun-kyoku, 賞勲局) which was affiliated to the
Imperial Household Agency. He and his son Mitsushige (光重) died
during the large Kantō earthquake of 1923.

– 169 –
15.1 The Yoshioka branch school

The exact succession of generations of the Yoshioka branch school

is somewhat unclear and the meikan records also contain a lot of
deviating information and confusion. Some sources list the Yoshioka
artists Tsunetsugu (恒次), Tadatsugu (尹次) and Moritsugu (守次) after
Shigesada, the 9th gen. mainline, others in turn adopt them as the 10th,
11th and 12th gen. Yoshioka. But the latter succession of generations is
impossible because of the chronology, i.e. it is highly unlikely that
during the time of the Meiji Restoration three more heads of the
Yoshioka mainline followed, and first and foremost by the fact that
Tsunetsugu died more than 170 years earlier than Shigedada.
Munetsugu (宗次) is regarded as the founder of the Yoshioka
branch school. The son of Chōsaburō Nagatsugu (長三郎長次, 1598-
1641) was born out of wedlock in the 15th year of Kan´ei (1638). He
was first called „Chōsaburō“ and later „Chō´emon“ (長右衛門). After
entering priesthood he took the gō „Sō´e“ (宗恵 or 宗惠) and died in
the third year of Genroku (1690) at the age of 63. All successive
generations of the Yoshioka branch school used the character for
„tsugu“ (次) in their name.
He was succeeded by Nobutsugu (宣次) who was called
„Chō´emon“ and whose gō was „Sō´in“ (宗印). Nobutsugu also signed
with the craftsman name „Sanenobu“ (実信, which is quoted with the
characters [真信] in some sources). He died in the fifth year of Kyōhō
(1720), whereas 54 or 59 are transmitted as his age at time of death.
The 3rd gen. of the Yoshioka branch school was Munetugu´s third
son Mitsutsugu (満次). He was born in the third year of Tenna (1682).
His first name was „Kazaemon“ (嘉左衛門) and his gō „Sōkō“ (宗弘).
Mitsutsugu died in the first year of Meiwa (1764) at the age of 83.
Tsunetsugu (恒次), the 4th gen. of the branch school, was the son of
Nobutsugu and was later adopted by Mitsutsugu. He took over the
initial hereditary name „Chōsaburō“ and died in the second year of
Tenmei (1782).

– 170 –
 He was succeeded by his student and later adopted son Sadatsugu
(定次) whose first name was „Kichijirō“ (吉次郎). Sadatsugu died in
the third year of Kansei (1791) and was followed by his son Tadatsugu
(尹次) who was called „Daijirō“ (大次郎) and „Injirō“ (尹次郎). His
year of death is unknown. Moritsugu (守次), the 7th and last generation
of the Yoshioka branch school, was called „Daijirō“ too and was active
from about the Keiō (1865-1868) until the Meiji era.

– 171 –
Genealogy of the Yoshioka school:

Shigetsugu (重次), 1st gen.

founder of the Yoshioka family
Bungo no Suke (豊後介), Buzen no
Kami (豊前守), Inaba no Suke
gō „Shōō“ (松翁) und „Sōju“ (宗寿)
1569-1653

Hisatsugu (久次), 2nd gen. Nagatsugu (長次)

third son of Shigetsugu Chōsaburō (長三郎), eldest
1609-1671, gō „Sōri“ (宗理) son of Shigetsugu, 1598-1641

Shigenaga (重長), 3rd gen. Munetsugu (宗次), 1st gen.

second son of Gotō Seijō (清乗) founder of the Yoshioka branch school
adopted son of Hisatsugu son of Nagatsugu, 1638-1700
1639-1714, gō „Sōrin“ (宗林) gō „Sō´e“ (宗恵 oder 宗惠)

Shigehiro (重広), 4th gen. Nobutsugu (宣次), 2nd gen.

adopted son of Shigenaga gō „Sō´in“ (宗印), also „Sanenobu“
later „Morotsugu“ (師次) (実信), ?-1729
gō „Sōtoku“ (宗徳), 1695-1753

Mitsutsugu (満次), 3rd gen.

Yasutsugu (易次), 5th gen. third son of Munetsugus
son of Shigehiro gō „Sōkō“ (宗弘), 1682-1764
?-1759, gō „Sōgo“ (宗悟)

Kiyotsugu (清次), 6th gen. Tsunetsugu (恒次), 4th gen.

son of Yasutsugu, ?-1802 son of Nobutsugu, adopted son of
Mitsutsugu, ?-1782
Terutsugu (照次), 7th gen.
adopted son of Kiyotsugu, 1761-1849
Sadatsugu (定次), 5th gen.
Hirotsugu (寛次), 8th gen. student and adopted son of
adopted son of Terutsugu, ?-1856 Tsunetsugu, ?-1791
gō „Sōkan“ (宗寛)

Tadatsugu (尹次), 6th gen.

Shigesada (重貞), 9th gen. son of Sadatsugus
adopted son of Hirotsugu, 1827-1893
gō „Gyokudō“ (玉堂)
Moritsugu (守次), 7th gen.
around Keiō (1865-1868)
Sōunsai (宗雲斎)
adopted son of Shigesada, ?-1923
son of Ōki Chikatsugu (大木竹次)

– 172 –
16. The Yanagawa school (柳川)

16.1 Yanagawa Naomasa (柳川直政), 1st gen.

The transmissions list Masatsugu (政次, 1670-1721) – with first

name „Yasu´emon“ (安右衛門) and with the gō „Dōshū“ (道秀) – as
the founder of the Yanagawa school. But because there are no works
extant, usually his second son and heir Naomasa is today counted as the
1st generation. Naomasa was born in Edo in the fifth year of Genroku
(1692). His youth name was „Heijirō“ (平次郎) and later he bore the
first name „Sanzaemon“ (三左衛門). It is said that he studied at the
Yoshioka school for a while but later entered an apprenticeship with the
1st gen. Yokoya Sōmin at a young age. This master-student relationship
goes back to the mediation of his father who in turn had studied under
the 1st gen. Yokoya Sōyo.
Accordingly, the Yanagawa school was orientated towards the style
of Sōyo, which was a shakudō ground with nanako and a takabori-iroe
ornamentation. Interpretations in the later Yokoya-style of Sōmin in
katakiribori on a polished surface are rather rare.
Naomasa´s wife was a maid from Sōmin´s mansion in Edo´s
Mikawashima (三河島).*55 He met her when he studied under Sōmin
but the marriage did not bring forth a son and so Naomasa adopted his
students Naohisa (直故) and Naomitsu (直光). In his later years he
entered priesthood under the gō „Sō´en“ (宗円) and died on the ninth
day of the ninth month of Hōreki seven (1757) at the age of 66.

*55
Mikawashima is about seven kilometres to the northeast of Naomasa´s later workship in
Kanda´s Sakuragaike (桜ケ池). By the way, old sources list this place by its old name
„Otamagaike“ (お玉ケ池).

– 173 –
 Picture 17: Yanagawa Naomasa

16.2 Yanagawa Naomitsu (柳川直光), 2nd gen.

Naomitsu was the son of Ishida Kō´emon (石田幸右衛門) who

worked as shirogane-shi for the Sōma fief (相馬) of Mutsu province.
He was born in the 18th year of Kyōhō (1733) and bore the first name
„Rizaemon“ (利左衛門). Later, his son-in-law Naotoki (直時) who
originally came from the Sugiura family (杉浦), inherited this name and
opened his own branch of the Yanagawa school. Thereupon he took the
first name „Ribei“ (利兵衛). He learned the basic kinkō techniques
from his father Kō´emon but went to Edo to become a student of
Yanagawa Naomasa in Kann´en three (1740), at the age of 18. He was
25 years old when his master died and so it is assumed that he must
have been adopted by the latter when he was still alive as he succeeded
as the 2nd head of the Yanagawa school. After Naohisa’s death in the
first year of Hōreki (1751) he married the widow and adopted her son
Naoharu (直春). Naomitsu retired during the Kansei era (1789-1801).
His nyūdō-gō was „Sōko“ (宗固) and he used the pseudonyms
„Dokugetsu´an“ (独月庵, or in the old version 獨月庵), „Gyokusensai“
(玉泉斎) and „Niryūken“ (二柳庵).

– 174 –
 Under the name of „Sōko“ and „Deiki´an“ (泥亀庵), Naomitsu was
also active in the world of tea ceremony. He became an official master
of the Enshū school (Enshū-ryū, 遠州流) founded by Kobori Enshū
Masakazu (小堀遠州 政一, 1579-1647). He died on the 15th day of the
twelfth month of Bunka five (1808) at the age of 76.

16.3 Yanagawa Naohisa (柳川直故)

Naohisa was born in Edo in the first year of Kyōhō (1716). He

studied under Naomasa, the 1st gen. of the Yanagawa school, and
married his daughter. That means he was probably adopted by the latter
as his heir. Unfortunately he died young, namely on the 18th day of the
fifth month of Kan´en four (1751) at the age of 36. Naomasa was 60
years old at that time and this was probably the context in which he
adopted Naomitsu as successor. Naohisa is also listed with the
characters (直久) and also with the craftsman names „Naoyuki“ (直幸),
„Naonobu (直信) and „Naoyoshi“ (直好). But it is rather unlikely that
he changed his name that often in his relatively short career.

16.4 Yanagawa Naoharu (柳川直春), 3rd gen.

Naoharu was born in Edo in the third year of Kan´en (1750) as the
son of Naohisa. His first name was „Benzō“ (弁蔵) followed by
„Koheiji“ (小平次) and later „Rizaemon“. He was two years old when
his father died and so he was raised by Naomitsu who had married his
mother. Naoharu succeeded as 3rd gen. of the Yanagawa school when
the latter retired during the Kansei era. He is regarded as the most
talented Yanagawa artist after Naomasa and used the gō „On´kokan“
(温故観) and „Sei´unsha“ (青雲舎). His year of death is unknown but it
is assumed that he died during the Kansei era.

– 175 –
 The „Sōken-kishō“ lists Shimizu Jin´emon (清水甚右衛門) as the
natural father of Naoharu. Jin´emon was a student of Naomasa and was
allowed to use the family name „Yanagawa“. He also worked under the
craftsman name „Naotsugu“ (直次). Some sources say that Naoharu
was the adopted son of Naohisa but this can be ruled out because he
was two years old when the latter died. But it is conceivable that
Naoharu and Naotsugu were brothers.

16.5 Yanagawa Naotsura (柳川直連), 4th gen.

Naotsura was the son of Naoharu. His first name was „Harusaburō“
(春三郎) and he later took the first name of his grandfather Naomasa,
namely „Sanzaemon“. His year of birth and death are unknown but
there is a work extant which bears the date of the eighth year of Bunsei
(1825).

16.6 Other artists of the Yanagawa school

First and foremost Naotsune (直常) has to be mentioned being a

student of Naomasa. His civilian name was „Katō Ichirōbei“
(加藤市郎兵衛) and he originally came from Satsuma province. He
became famous as being the master of Ishiguro Masatsune (石黒政常).
Yamamoto Ichirōji (山本市郎次) from Kōzuke´s Takasaki (高崎) was
active under the Yanagawa name „Naotaka“ (直隆) which he also
signed with the characters (直孝). His gō was „Ryūsenshi“ (柳泉子)
and there is a dated signature extant of the second month of An´ei three
(1774). Yanagawa Naotoshi (直俊), also a student of Naomasa, was
born in the first year of Genbun (1740). His year of death is unknown
but from dated works with the mentioning of the age we learn that he
was at least 60.

– 176 –
 His successor as 2nd gen. Naotoshi was his student and later adopted
son Yamada Hanjirō (山田半二郎) who died young. Therefore many
more pieces are extant from the 1st gen. For further information about
Naomasa´s student Inagawa Naokatsu (稲川直克) see chapter „The
Inagawa school“.
A student of Naomitsu was Kondō Rinzō (近藤林蔵) who used the
craftsman name Yanagawa Mitsuyasu (光保). His son Kondō
Tsunanori (連儀) studied in turn under the 4th gen. Naotsura.
Mitsuyasu used the gō „Eiseisai“ (永盛斎) and Tsunanori the gō
„Seiseiken“ (霽々軒). The famous Naomitsu-students Kikuoka
Mitsuyuki (菊岡光行), his brother Mitsumasa (光政), and Washida
Mitsutoki (鷲田光時) are introduced separately. There is also a
separate chapter on Naoharu´s most outstanding student Kōno Haruaki
(河野春明).
Nakajima Chūji (中島忠次), born in the fourth year of An´ei (1775),
was also a student of Naoharu. His craftsman name was „Haruhide“
(春英) and he used the gō „Gyōheitei“ (業平堤). He died in the fourth
year of Kaei (1851). A student during Naoharu’s last years was
Shingorō (鈴木新五郎) who carried out his business under the name
„Yanagawa Haruchika“ (春親). Haruchika was born in the third year
of Kansei (1791) and dated works with information about his age show
us that he was at least active until the age of 66.

– 177 –
Genealogy of the Yanagawa school:

Yokoya Sōyo (横谷宗與), 1st gen.

Yokoya Sōmin (宗珉), 1st gen. Masatsugu (政次)

founder of the Yanagawa fam.
student of Yokoya Sōyo

Naomasa (直政), 1st gen.

son of Masatsugu, 1692-1757
gō „Sō´en“ (宗円)

Naohisa (直故) Naomitsu (直光), 2nd gen. Naotsugu (直次) Naotsune (直常)
student and adopted son student and adopted son of Naomasa Shimizu Jin´emon student of Naomasa
of Naomasa, 1716-1751 son of Ishida Kō´emon (石田幸右衛門) (清水甚右衛門), acc. Katō Ichirōbei
1733-1808, gō „Sōko“ (宗固) to the „Sōken-kishō“ the (加藤市郎兵衛)
father of Naoharu

Ishiguro Masatsune
(石黒政常)
see separate chapter

Naotoki (直時) Naoharu (直春), 3rd gen. Kikuoka Mitsuyuki Washida Mitsutoki
branch family adopted son of Naomitsu, 1750-? (菊岡光行) (鷲田光時)
see separate chapter see separate chapter

Naotaka (直孝)

Kōno Haruaki Naotsura (直連), 4th gen. Tanabe Tomomasa Harushige (春重)
(河野春明) (田辺伴正) Yanagawa fam.
see separate chapter see chapter „Kōno-school“ student of Naoharu

Naokatsu (直克) Naonori (直矩)

student of Naomasa student of Naomasa
Inagawa fam. (稲川) Nakamura fam. (中村)
see separate chapter regarded as founder of the Naoyuki (直随) Naoyoshi (直好)
Nakamura or Konakamura Tōyama fam. (遠山) founder of the Sano
School (小中村) see „Genealogy of the school (佐野), ?-1862
Hamano family“ see separate chapter

– 178 –
17. The Ishiguro school (石黒)

17.1 Ishiguro Masatsune (石黒政常), 1st gen.

Masatsune – his first name was „Zenzō“ (善蔵) followed by

„Shūsuke“ (周助) – was the founder of the Edo Ishiguro school. He was
born in the tenth year of Hōreki (1760) and studied initially under Katō
Naotsune (加藤直常, see chapter 16.6). Before that he was also taught
for a certain time by Naotsune´s master Yanagawa Naomasa. When he
became independent he took a character from each of his masters,
namely „tsune“ (常) from „Naotsune“ and „masa“ (政) from
„Naomasa“ and combined them to „Masatsune“. With his extraordinaly
skill he was able to give the Ishiguro school a strong position in the
system of the Yokoya lineages. His harmonic balance between motif
and shape of the piece was highly appreciated, as was his perfect
nanako. The strong point of the Ishiguro school were interpretations of
birds combined with floral motifs, the so-called subject of „kachō“
(花鳥), whereas most works were done in shakudō with nanako ground
and a takabori-iroe ornamentation. At the age of 61 he took the gō
„Jumyō“ (寿命). In his early years, when he studied under Naotsune, he
also signed with „Koretsune“ (是常) and other pseudonyms such as
„Tōgakushi“ (東嶽子 or 東岳子) – of which the suffix „-shi“ can also
be omitted – „Sekkokusai“ (石黒斎, which is also read „Ishigurosai“),
„Sekkoku´ō“ (石黒翁), or „Jukokusai“ (寿谷斎). The latter gō and
„Tōgakushi“ were also used by the 2nd gen. Masatsune. Masatsune the
first died in the seventh month of Bunsei eleven (1828) at the age of 69.

– 179 –
17.2 Ishiguro Masatsune (石黒政常), 2nd gen.

The 2nd gen. Masatsune was the son of the 1st gen. His first name
was „Taminosuke“ (民之助) and he signed with the name „Masamori“
(政守) from the An´ei (1772-1781) to the Tenmei era (1781-1789).
Before he succeeded under the name of „Masatsune“ he also used
„Moritsune“ (盛常) for a while. His gō were „Tōgakushi“, „Jukokusai“
or „Jukoku“ and „Juchō“ (寿長). His year of birth and death are
unknown.

17.3 Ishiguro Masatsune (石黒政常), 3rd gen.

The 3rd gen. Masatsune was the son of Masatsune the second and the
grandson of the 1st gen. He studied first under Ishiguro Masahiro
(政広), a student of the 1st gen. Masatsune, whereas he used the name
„Shigetsune“ (恵常 or 惠常) at that time. His first name was
„Matakichi“ (亦吉) and his pseudonyms were among others „Hōgen“
(抱元), „Hōgan“ (抱完), „Kakujusai“ (鶴寿斎), „Gantōshi“ (雁蕩子),
„Koryūsha“ (古竜舎), „Keiho“ (恵甫) and „Shūsai“ (周斎). He
succeeded as head of the Ishiguro family sometime between the Kōka
(1844-1848) and Kaei (1848-1854) periods and it is assumed that he
was still active in the Meiji era.

17.4 Ishiguro Koretsune (石黒是常)

Koretsune was a son of the 1st gen. Masatsune, namely the eldest
son of his second wife. His first name was „Shūkichi“ (周吉) and he
used the gō „Tōgakushi“, „Shugyokusai“ (種玉斎), „Shuhōsai“
(種宝斎), „Gishinken“ (義真軒), „Kō´untei“ (高雲亭), „Ittokutei“
(一得亭), „Sekkokusai“ (石黒斎) and „Ichiyō´an“ (一葉庵).

– 180 –
 Due to the fact that he was the eldest son of Masatsune, but did not
succeed as 2nd gen., it is assumed by some that he died young, i.e. when
his father was still alive. So Masatsune´s second son – then still active
under the name „Masamori“ – had to be installed as successor.

17.5 Ishiguro Masayoshi (石黒政美)

Masayoshi – his first name was „Shōzō“ (庄蔵) – was the adopted
son of Okamoto Yūsen (岡本祐仙), a physician of Western medicine
from Satsuma province. He was born in the first year of An´ei (1772)
and studied first under Sano Naoyoshi (直好) and later under the 1st
gen. Ishiguro Masatsune. He adopted the character for „Masa“ (政)
from Masatsune and „yoshi“ from Naoyoshi when the latter still signed
his name with „Masayoshi“ (直美). He worked for the Shimazu family
(島津), the daimyō of the Satsuma fief, but from their Edo residence.
His son Shūki (秋暉, 1807-1862) was a painter and used throughout his
entire life the family name „Okamoto“. It is interesting that Shūki´s
paintings often show the aforementioned kachō motifs which were in
turn strongly influenced by Masayoshi and the Ishiguro school.*56
Masayoshi struck strictly to the Ishiguro style. His interpretations are
somewhat rustic and remind us of the workmanship of his Satsuma
colleagues. He used the gō „Jugakusai“ (寿岳斎), „Jugakusai“
(寿寉斎), „Jurōsai“ (寿老斎) and „Juōsai“ (寿翁斎) and died in the
second year of Bunkyū (1862).
His second son Koreyoshi (是美) – whose first name was „Kanjirō“
(寛次郎) – was by no means inferior to Masayoshi. Koreyoshi´s name
is also composed of characters from both of his masters, namely
„yoshi“ from his father and „Kore“ from the 1st gen. Masatsune when
the latter signed still with „Koretsune“ (是常).

*56
One painting by Shūki with birds and flowers is designated jūyō-bijutsuhin.

– 181 –
17.6 Other artists of the Ishiguro school

Masaaki (政明) – his first name was „Sadakichi“ (定吉) – was

born in the tenth year of Bunka (1813). He was a student of the 1 st gen.
Masatsune and used as gō the name „Moku´ensai“ (木鳶斎). His year
of death is unknown but the latest known dated signature is the fourth
year of Kaei (1851). His successor was his adopted son Torajirō
Moriaki (寅二郎守明) who continued to work until the Meiji era. A
student of Masaaki was Katō Unjirō (加藤雲次郎) who came from
Aizu (会津). Unjirō´s name was „Teruaki“ (英明) and he was also
allowed to use the family name „Ishiguro“. His gō were among others
„Ichijuken“ (一寿賢), „Tōkabu“ (桃花舞) and „Tōka´ō“ (桃花翁).
Another student of Masatsune was Masaharu (政春), the son of the
Mito-kinkō Tamagawa Yoshinaga (玉川吉長). Masaharu´s first names
were Jūgorō“ (重五郎) and „Yūzō“ (勇蔵) (see also chapter 34.6).
Yoshitaka (美孝) was the nephew and student of Masayoshi (政美).
He was called „Kintarō“ (金太郎) but he also signed his craftsman
name the other way round, ie „Takayoshi“ (孝美). He worked in
Maebashi (前橋) in Kōzuke province and used the gō „Gyokuseisai“
(玉生斎), „Jugyoku“ (寿玉) and „Hō´ensai“ (方円斎).

– 182 –
Genealogy of the Ishiguro school:

Masatsune (政常), 1st gen.

founder of the Ishiguro school
1760-1828, signed in early years
with „Koretsune“ (是常)

Masayoshi (政美) Koretsune (是常) Masatsune (政常), 2nd gen. Masahiro (政広)
adopted son of the son of Masatsune Taminosuke (民之助) Matakichi (亦吉)
Okamoto fam. (岡本) it is said that he also „Masamori“ (政守)
1772-1862, studied died before his father and „Moritsune“ (盛常)
also under Yanagawa
Naoyoshi (直好)

Masatsune (政常), 3rd gen.

son of the 2nd gen. Masatsune
studied first under Masahiro

Koreyoshi (是美) Yoshitaka (美孝) Yoshitsugu (美次)

son of Masayoshi nephew and student student of Masayoshi
of Masayoshi worked for the Tottori fief
of Inaba province, Sakai fam. (坂井)

Masaaki (政明) Masaharu (政春)

1813-?, Sadakichi (定吉) son of Tamagawa
student of Masatsune Yoshinaga (玉川吉長)
from Mito, student of Masatsune

Moriaki (守明) Teruaki (英明)

Torajirō (寅二郎) Katō Unjirō (加藤雲次郎)
student of Masaaki student of Masaaki

– 183 –
18. The Ōmori school (大森)

The ancestor of the Ōmori school was, according to transmission,

Ōmori Shirōbei (大森四郎兵衛) who was active around Genroku
(1688-1704) as the fencing master and retainer of Sagami´s Odawara
fief (小田原). His son Shigemitsu (重光) was born in the ninth year of
Genroku (1696). His first name was „Bunshirō“ (文四郎) and later
„Shirō´emon“ (四郎右衛門) and he studied under a certain Nara-
student called „Ichibei“ (市兵衛).*57 It is said that he also studied later
in his career under the 1st gen. Tsuchiya Yasuchika. He signed with the
supplements „Kinryūsan“ (金龍山) and „Kinryūhō“ (金龍峯), whereas
„Kinryū“ (金龍) is a lyric name of Sensō-ji (浅草寺), Edo´s Asakusa
district. Shigemitsu died on the 20th day of the twelfth month of Kyōhō
eleven (1726) at the young age of 30. His son Terumasa is today
considered as the actual 1st gen. of the Ōmori-kinkō and this is also
followed in this publication.

18.1 Ōmori Terumasa (大森英昌), 1st gen.

Terumasa – whose first name was „Yoichi“ (与一) – was the

nephew of Shigemitsu and was later adopted by the latter. He was born
in Edo in the second year of Hōei (1705) and studied under Yokoya
Sōmin who was at the height of his career. Terumasa was 29 years old
when Sōmin died. He continued the initial Yokoya style, i.e. shakudō
with nanako ground and takabori-iroe ornamentations whereas he made
himself a name with the especially magnificent interpretations of
peonies (botan, 牡丹).

*57
It is possible that there was a certain connection between Ōmori Shigemitsu and Nakamura
Shigemitsu (中村重光) who was a student of Nara Shigeharu (重治). Shigeharu in turn was a
student of Nara Toshinaga (利永).

– 184 –
 With his great works he firmly secured a place for the Ōmori school
amongst the numerous Yokoya currents of the time. It is said that he
used the name „Shigemitsu“ for a while after his unlce and adoptive
father died, and some sources also see him as a student of Yanagawa
Naomasa (柳川直政). This, on the other hand, is doubtful because
Naomasa was only 13 years older than Terumasa. He used the gō
„Kanshiken“ (幹支間) which is somewhat uncommon because he was
the only kinkō artist who signed the widely used suffix „-ken“ with the
character (間), instead of the usual „ken“ (軒). He died in the sixth
month of the ninth year of Meiwa (1772) at the age of 68.

Picture 18: Ōmori Terumasa

18.2 Ōmori Teruhide (大森英秀), 2nd gen.

Teruhide was the nephew, student, and later the adopted son and
successor of Terumasa. His first name was „Kisōji“ (喜惣次) and he
was born in the 15th year of Kyōhō (1730). He continued the style of his
father but widened it by three-dimensional undercut takabori
interpretations of waves, as well as by a so-called „nashiji-zōgan“
(梨子象嵌) or „makie-zōgan“ (蒔絵象嵌) technique where fragments
of gold foil are hammered on the prepared surface. The latter is polished
and so a magnificent effect is created which reminds us of the makie
lacquer technique and some style elements from paintings.

– 185 –
 Sometimes the Ishiguro school is paraphrased with the splendour of
a cherry and the Ōmori with the sobriety of a plum blossom. Teruhide
trained numerous students, from the northern Tōhōku area down to
Kyūshū. One of them was Chizuka Hisanori (遅塚久則, 1725-1795), a
samurai and retainer of Hitachi´s Moriyama fief (守山藩), which was
ruled by the Matsudaira family (松平). Teruhide used the gō „Ittōsai“
(一濤斎) and „Ryū´usai“ (龍雨斎) and died in the fourth month of
Kansei ten (1798) at the age of 69.

18.3 Ōmori Terumitsu (大森英満), 3rd gen.

Terumitsu´s first name was „Manzō“ (満蔵) and later „Kisōji“

(喜惣次). He was the fifth son of Teruhide but his years of birth and
death are unknown. Some sources say he was born in Tenmei five
(1785) and there exists a work with the information „made at the age of
61“ but thats all. We also don´t know why exactly the fifth son of
Teruhide became his successor. From extant records we learn that the
first son was called „Hidenaga“ (秀永), the second „Hideuji“ (秀氏),
the third „Hidekuni“ (秀邦), and the fourth son „Hidemoto“ (秀元). It
is unlikely that all four died at a young age. Maybe his oldest or the first
two sons died young and it turned out that Terumitsu was the talented
one of the remaining sons. It is also interesting that the Ōmori mainline
ended with Terumitsu, which means no further official head of the
family is found in the meikan records. Terumitsu used the gō
„Chōsendō“ (潮泉堂) and „Kitōsai“ (奇濤斎).

– 186 –
18.4 Other artists of the Ōmori school

The most outstanding students of Terumasa were Terutatsu (英辰)

and Terutomo (英知) from the Tokuno family (徳野). Terutatsu´s first
names were „Genjirō“ (源次郎) and „Genbei“ (源兵衛). He was born
in the second year of Kan´en (1749) and belonged first to the Nobara
family (野原) but was allowed to use the family name „Ōmori“ after his
subsequent studies under Terumasa and his successor Teruhide. His
year of death is unnown but there exists a work with the information
„made at the age of 61“, that means he was at least active until 1809.
Terutatsu used the gō „Ichimudō“ (一夢堂 or 一無堂) and Terutomo
the pseudonym „Ichigyokudō“ (一玉堂).
Terutomo´s successor was his son Hidetomo (秀知) who also
signed whilst his father was still alive with „Terutomo“. Terutomo and
Hidetomo both used the family name „Ōmori“. Hidetomo´s first name
was „Sadabei“ (定兵衛). He also studied under Teruhide and used the
gō „Ryūrinsai“ (龍鱗斎). The roots of the Nobara and Tokuno family
were in Sendai (仙台). Hidetomo died in the fourth year of Bunka
(1807) at the age of 65. A better known student of Hidetomo was
Tomohiro (知広) from the Takenouchi family (竹内). But Tomohiro
also signed with the family name „Nobara“ and the gō „Ichigyokudō“
(一玉堂), so it seems that the latter was used successively by this
branch of the Ōmori family. A student and the later adopted son of
Terutatsu was Tokuno Terukatsu (英勝).

– 187 –
Genealogy of the Ōmori school:

Ōmori Shirōbei (大森四郎兵衛)

ancestor of the family, around Genroku (1688-1704)

Shigemitsu (重光)
son of Shirōbei, 1696-1726
Nara student

Terumasa (英昌), 1st gen.

son of Shigemitsu, 1705-1772
gō „Kanshinken“ (幹支間)

Teruhide (英秀), 2nd gen. Terutatsu (英辰) Terutomo (英知)

nephew, student and adopted Tokuno (徳野) and Tokuno (徳野) and
son of Terumasa, 1730-1798 Nobara fam. (野原) Nobara fam. (野原)
student of Terumasa, 1749-? student of Terumasa
gō „Ichimudō“ (一夢堂) gō „Ichigyokudō“ (一玉堂)

Terukatsu (英勝) Hidetomo (秀知)

student and adopted son son of Terutomo, 1743-1807
of Terutatsu, studied also gō „Ryūrinsai“ (龍鱗斎)
under Terumasa

Tomohiro (知広)
student of Hidetomo
Takenouchi fam. (竹内)
gō „Ichigyokudō“ (一玉堂)

Terumitsu (英満), 3rd gen. Hisanori (久則) Hidenaga (秀永) Hideuji (秀氏)
1785-?, 5th son of Teruhide Chizuka fam. (遅塚) 1st son of Teruhide 2nd son of Teruhide
1725-1795

Hidekuni (秀邦) Hideuji (秀氏)

3rd son of Teruhide 4th son of Teruhide

– 188 –
19. The Iwamoto school (岩本)

A certain „Chūbei“ (忠兵衛) is regarded as the founder of the

Iwamoto school. It is said that he was a student of the 1st gen. Yokoya
Sōyo (横谷宗與). Volume 8 of the „Nihontō-kōza“ says the he was
active around Kyōhō (1716-1736) but this would mean that he was
rather a student of the 2nd gen. Sōyo (i.e. the 3rd gen. Yokoya). He was
succeeded by his adopted son Sōotsu (宗乙) who was first called
„Kōhachi“ (幸八) but adopted later the hereditary name „Chūbei“. On
the other hand, the „Tōsō-kodōgu-kōza“ assumes that Chūbei and
Sōotsu Chūbei were the same artist who originally came from Aizu
(会津). Anyway, there are no signed works extant from either of them.
If we stick to the handed-down counting of generations, then Sōotsu´s
oldest son Sōei (宗栄) succeeded as 3rd gen. of the Iwamoto family. His
first name was „Yohachi“ (与八). It is said that he died young and so he
is omitted by some sources and Ryōkan is listed as 3rd gen.

19.1 Iwamoto Ryōkan (岩本良寛), 4th+ 5th gen.

Ryōkan – whose first name was „Kōhachi“ (幸八) – was the second
son of Iwamoto Sōotsu. According to transmission he was later adopted
by Sōotsu´s predecessor Chūbei. Ryōkan the fourth died young and so
his student and adopted son Okamura Eisen (岡村栄泉)*58 succeeded
him as 2nd gen. Ryōkan and 5th gen. Iwamoto. Well, no details are
known about the years of birth of death of the two Ryōkan but the first
is dated around Hōreki (1751-1764) and the second around An´ei
(1772-1781).

*58
The family name „Okamura“ is quoted with the characters (岡邑) or (岳村) and, in addition, the
craftsman name „Eigi“ (栄宜) is sometimes found in entries regarding Eisen.

– 189 –
 Regarding their workmanship, we know a fuchigashira set by the 4th
gen., i.e. Ryōkan the first, which is entirely interpreted in the initial
Yokoya style, that means shakudō with nanako ground and a takabori-
iroe ornamentation. From the 5th gen. we know a more diversified
workmanship, for example quite realistic interpreted works which
remind us of Tsuchiya Yasuchika or the Nara school. We can also see
some stylistic similarities with the Yanagawa school. Some sources say
that a certain master-student relationship also exists between Sōotsu and
the Sōmin-student Yanagawa Naomasa (柳川直政). This is supported
by extant Iwamoto works in the style of Kōno Haruaki (河野春明) who
was in turn a student of the Yanagawa school.

Picture 19: 1st gen. Iwamoto Ryōkan.

19.2 Iwamoto Konkan (岩本昆寛), 6th gen.

Konkan originally came from the Asai family (浅井). His first name
was „Kisaburō“ (喜三郎) and he was born in the first year of Enkyō
(1744). He studied under the 1st gen. Ryōkan and used at that time the
name „Ryō´un“ (良云). Later he was adopted by Ryōkan and succeeded
as the 6th head of the Iwamoto family. He was entirely engulfed in the
then bloom of the Edo style. He was not only a kinkō artist but also a
calligrapher, a painter, a poet and a storyteller (kōshaku-shi, 講釈師).
His wife was, according to transmission, a geisha of the notorious
entertainment district Fukagawa (深川).

– 190 –
 The following anecdote is about one of his regular visits to one of
the numerous brothels. One day, Konkan received a special order from
a customer who wished that one could see at a glance that, without
being signed, the piece was a „Konkan“. Konkan was at loss and one
evening visited a brothel in the close-by Naitō-Shinjuku district
(内藤新宿) for „inspiration“. A young kamuro (禿, a geisha-in-
training) asked him his name and when she heard „Konkan“ she started
to lough loudly: „Your name sounds like someone stroking a gong!“
The master fell down on his knees, thanked the young girl and rushed
home to start his work. He carved a motif where a fox accidentally
knocks a gong which is leaning against some bales of rice. He handed
over the piece to his customer who was impressed by this brilliant
interpretation.
He used the pseudonyms „Chōunsai“ (朝雲斎), „Hakuhōtei“
(白峯亭), „Shunshodō“ (春曙堂) and „Nanpo“ (南浦), whereas he
signed the last character of the gō in a way which makes it look like the
character (俌). Therefore the name „Nanpo“ is sometimes also wrongly
quoted as (南俌). Incidentally, the gravestone which mentions his
posthumous Buddhist name „Hakuhō-Nanpo“ (白峯南浦) shows us
that the former character is the „correct“ one. Konkan died on the 18th
day of the ninth month of Kyōwa one (1801) at the age of 58. We know
his death poem with which he probably looks back on his eventful and
not very ascetic life:

世を去れば Se o sareba, When I leave this world,

頭陀ひとつなり zuda hitotsu nari I wear at my return
戻る旅 modoru-tabi. just the bag of a mendicant.

– 191 –
19.3 Iwamoto Kanri (岩本寛利), 7th gen.

Kanri – his first name was „Kijūrō“ (喜十郎) – was the student and
adopted son of Konkan. He signed with the gō „Kōryūken“ (好龍軒)
and „Suichiku´en“ (翠竹園) and died 14 years after his adoptive father,
on the third day of the tenth month of Bunka twelve (1815). The
development and successive generations of the Iwamoto family after
Kanri is unknown. Extant documents from the late Edo period list a
certain „Gonnojō“ (権之尉 or 権之丞) as Kanri´s successor but it is
difficult to attribute this first name to a certain kinkō artist. A theory
says that he was the 2nd gen. of Sendai Yasutoshi (安壽), from the
Shibuya school (渋谷, see also chapter „The Shibuya school“).

19.4 Other artists of the Iwamoto school

Sōkan (宗寛) was the younger brother of the 1st gen. Ryōkan. The
„Sōken-kishō“ says that the name of the 1st gen. Sōkan was „Okamura
Eigi“ (岡邑栄宜) but this entry is somewhat unclear because the 2nd
gen. Ryōkan is also listed with that name. I follow the theory that the
2nd gen. Ryōkan used just the name „Eisen“ (栄泉) and the 1st gen.
Sōkan „Eigi“. Anyway, the 2nd gen. Sōkan was, according to
transmission, the adopted son of a certain Ryōkan-student called
„Gorōhachi“ (五郎八).
Ryōei (良栄) from the Suzuki family (鈴木) was the adopted son of
Ryōkan. His first name was „Kin´emon“ (金右衛門) and he studied
later under Iwamoto Konkan whereupon he changed his name to
„Kanji“ (寛次). His gō was „Sōhō“ (聡彭 or 聰彭). „Sōhō“ means
literally „the wise man (sō, 聡) Hō (彭)“. Hō (Chin. „Péng“) was a
legendary Chinese hermit from the Yin Dynasty (殷, 1600~1027 BC) of
whom is said that he became more then 800 years old. It is assumed that
Kanji used this pseudonym as an allusion to his luck of longevity.
Incidentally, he also signed with the family name „Suzuki“.

– 192 –
 Konju (昆寿) was a student of Konkan. His first name was
„Kyūgorō“ (久五郎) and his gō was „Shōjōfu“ (猩々夫). He worked in
the style of his master and died on the third day of the tenth month of
Bunka twelve (1815), i.e. on the very same day as his fellow student
Kanri. This is either pure coincidence or an error in transcription.
Another student of Konkan was Mutō Masatoshi (武藤正甫). He
was born in the second year of An´ei (1773) and his first name was
„Genpachi“ (源八). He also used the craftsman name „Masakatsu“
(政克)*59 and because of his great talent was allowed by the Nara family
to use their name „Nara“. This might be explained by the fact that he
mostly worked in the Nara style throughout his career. Masatoshi died
in the third year of Kōka (1846).

*59
His names – Masatoshi and Masakatsu – are according to source listed with either one of the
two characters for „Masa“, i.e. (正) or (政).

– 193 –
Genealogy of the Iwamoto school:

Yokoya Sōyo (横谷宗與), 1st gen.

Yokoya Sōmin (横谷宗珉), 1st gen.

Yanagawa Naomasa (柳川直政)

Chūbei (忠兵衛), 1st gen.

student of Sōyo, from Aizu (会津)
founder of the Iwamoto family

Sōotsu (宗乙), 2nd gen.

adopted son, according to
transmission a student of Naomasa

Sōei (宗栄), 3rd gen.

eldest son of Sōotsu
died young

Ryōkan (良寛), 4th gen.

second son of Sōotsu
around Hōreki (1751-1764)

Sōkan (宗寛) Ryōkan (良寛), 5th gen.

younger brother of student and adopted son of Ryōkan
the 1st gen. Ryōkan around An´ei (1772-1781)

Sōkan (宗寛), 2nd gen.

adopted son of Gorōhachi Konkan (昆寛), 6th gen.
origin. Asai fam. (浅井)
adopted son of Ryōkan, 1744-1801

Kanji (寛次) Konju (昆寿) Kanri (寛利), 7th gen. Masatoshi (正甫)
Suzuki fam. (鈴木) ?-1815 ?-1815 Mutō fam. (武藤)
student of Konkan, student of Konkan adopted son of Konkan 1773-1846
adopted son of Ryōkan student of Konkan
also „Ryōei“ (良栄) also „Masakatsu“ (政克)
Gonnojō (権之丞)
maybe Shibuya
Yasutoshi (渋谷安壽)
see separate chapter

Kanju (寛寿)
student of Konkan
Tani fam. (谷)
see chapter 43.1

– 194 –
20. The Sano school (佐野)

20.1 Sano Naoyoshi (佐野直好), 1st gen.

The founder of the Sano school was Naoyoshi who was – as seen in
the Genealogy of the Yanagawa school (p. 178) – a student of
Nakamura Naonori (中村直矩). That means via the Yanagawa the Sano
school was an offshoot of the Yokoya school. Naoyoshi´s first name
was „Rihachi“ (利八) and in his early years he signed „Naoyoshi“ with
the characters (直美). At that time he sometimes also signed with the
family name „Yanagawa“. He was employed by the Akimoto family
(秋元), the daimyō of Dewa´s Yamagata fief (山形藩) from 1767 to
1845, but his workshop was in Edo´s Shiba-Shirokane district
(芝白金町). Regarding his workmanship, he was oriented towards the
style of the Yokoya and the Yanagwa school and in old sources we find
very favourable ratings like „high-quality, excellently executed works
in Yokoya-style“ or entries which refer to the overall style like „the
Sano school had its origins in the Yokoya school but we can see an
adoption of new fashions and elements“. The strong point of many of
the subsequent Sano students was the application of family crests in
takabori-iroe on kozuka, kōgai and tsuba. Naoyoshi died on the
eleventh day of the sixth month of Bunkyū two (1862).

20.2 Sano Naoteru (佐野直照), 2nd gen.

Naoteru – his first name was „Hikojirō“ (彦次郎) – was the son of
Naoyoshi and worked for the Satake family (佐竹), the daimyō of
Dewa´s Akita fief (秋田藩). In his workshop in Edo he later trained
many kinkō artists from Dewa, like Shōami Shigeteru (正阿弥重照)
and Ishikawa Masateru (石川政照). The latter was even married to his
daughter and received so the family name „Sano“.

– 195 –
 Other students of Naoteru were Terumoto (照求) and Teruyama
(照山). Terumoto´s first name was „Tōshirō“ (藤四郎). He was later
adopted by Naoyoshi´s student Michiyoshi (道好) and received via this
way the family name „Sano“. Teruyama’s civilian name was
„Kasayama Magoyata“ (笠山孫弥太). He was a retainer of Bingo´s
Fukuyama fief (福山藩) which was ruled by the Abe family (阿部).

20.3 Sano Tokinobu (佐野時信), 3rd gen.

Tokinobu was born in the tenth year of Bunsei (1827). His civilian
name was „Mori Ichijūrō“ (守市十郎) and he was later adopted by
Naoteru. Transmissions say that he also studied under Yanagawa
Naotoki (柳川直時), Naomasa (直政), and/or Sano Naoyoshi. He used
the gō „Tōko“ (桃湖) and „Jukakusai“ (寿鶴斎) and we also know of
the craftsman name „Michinobu“ (通信) which he used in his early
years. He died in the twelfth year of Meiji (1879) at the age of 52.

20.4 Sano Tokiyoshi (佐野時美), 4th gen.

Some sources say that Tokiyoshi was the son of Tokinobu but this is
doubtful because the same sources say that he was born in Bunsei ten
(1827), i.e. the same year Tokinobu was born. His relationship with
Michimoto (通求), who is once listed as the same artist as Tokiyoshi,
and in other places as his son and as 5th gen. of the Sano mainline is also
unclear.

– 196 –
20.5 Other artists of the Sano school

Naonobu (直信) – his first name was „Ribei“ (利兵衛) – was a

student of Naoyoshi and married later the daughter of his master.
Therefore he was adopted into the Sano family but split from the
mainline and opened up his own branch. One of his students was
Morinobu (盛信) whose first name was „Kōjirō“ (幸次郎) and who
was active around Bunsei (1818-1830).
Michiyoshi (道好) was a student of the 1st gen. Naoyoshi. His
civilian name was „Adachi Tōjūrō“ (安達藤十郎) and he used the gō
„Raku´ōsai“ (楽翁斎). Michiyoshi´s students were among others
Tokutarō Taneyoshi (徳太郎胤好) and his nephew Genjirō Masayoshi
(源次郎政好), who both used the family name „Sano“, like Michiyoshi.
Michinori (道則), a retainer of Echizen´s Nagaoka fief (長岡藩) which
was ruled by the Makino family (牧野), also studied the kinkō craft
under Sano Michiyoshi. Michinori´s civilian name was „Moriyama
Bun´emon“ (森山文右衛門).*60 Other students of Michiyoshi were
Yokoyama Wasuke (横山和助) who used the craftsman name
„Michinobu“ (道信), and Kanda Iwakichi (神田岩吉) alias
„Michitoshi“ (道俊).
Students of Genjirō Masayoshi were Kimura Bunzō (木邑文蔵),
who took the craftsman name „Tomoyoshi“ (友好), and Masatomo
(政朝), a retainer of the Kinoshita family (木下) who were the daimyō
of Bingo´s Hiji fief (日出藩). Masatoshi´s civilian name was „Fukai
Busaburō“ (深井武三郎)

*60
Michinori is also listed with the first names „Chōzaemon“ (長左衛門) and „Tomo´emon“
(友右衛門).

– 197 –
Genealogy of the Sano school:

Nakamura Naonori (中村直矩)

student of Yanagawa Naomasa

Naoyoshi (直好), 1st gen.

founder of the Sano school
?-1862

Naoteru (直照), 2nd gen. Naonobu (直信) Michiyoshi (道好)

son of Naoyoshi student and adopted son student of Naoyoshi
of Naoyoshi, also Adachi fam. (安達)
„Morinobu“ (盛信)

Masayoshi (政好) Taneyoshi (胤好) Michinori (道則)

student and nephew student of Michiyoshi student of Michiyoshi
of Michiyoshi Moriyama fam. (森山)

Michinobu (道信) Michitoshi (道俊)

student of Michiyoshi student of Michiyoshi
Yokoyama fam. (横山) Kanda fam. (神田)

Tomoyoshi (友好) Masatomo (政朝)

student of Masayoshi student of Masayoshi
Kimura fam. (木邑) Fukai fam. (深井)

Shigeteru (重照) Masateru (政照) Tokinobu (時信), 3rd gen. Terumoto (照求)
Shōami (正阿弥) Ishikawa fam. (石川) adopted son of Naoteru, 1827-1879 student of Naoteru, later
also „Michinobu“ (通信) adopted son of Michiyoshi

Tokiyoshi (時美), 4th gen. Teruyama (照山)

1827-? Kasayama fam. (笠山)
student of Naoteru

Michimoto (通求), 5th gen.?

son of Tokiyoshi?

– 198 –
21. The Kōno school (河野)

21.1 Kōno Haruaki (河野春明)

Founder of the Kōno school was Haruaki, whose first name was
„Chūzō“ (忠蔵). He was born in the seventh year of Tenmei (1787) in
Echigo province. In Kyōwa two (1802), when he was 16 years old, he
went to Edo to enter an apprenticeship with Naoharu (直春), the 3rd gen.
of the Yanagawa school. At that time he used the craftsman name
„Harutō“ (春任). The name change to „Haruaki“ took place sometime
during the Bunka era (1804-1818) after he had received the character
„Haru“ from his master. After his studies he opened up his own
workshop in Edo´s Mukōjima (向島, present day Tōkyō-Sumida)
district and trained several students. Regarding his workmanship, he
worked in the first half of his career in the Yanagawa style of his
master, i.e. fine shakudō-nanako pieces with rather small takabori-iroe
ornamentations. Later he was influenced by the bakumatsu-era trend of
a more free choice of motifs. He was highly appreciated and there was
the saying „what is Ichijō in the West (Kyōto) is Haruaki in the East
(Edo)“. At the age of 33 he was promoted to the Buddhist rank of
hokkyō and seven years later to hōgen. Because he mostly signed with
that title in the combination „Haruaki Hōgen“ (春明法眼), the latter
name became synonymous for the artist rather than „Kōno Haruaki“.
Towards the end of his thirties he decided to visit the northeastern
provinces. From the ninth to the tenth year of Bunsei (1826-1827) – i.e.
from the age of 40 to 41 – he lived in Sendai (仙台) from where he
visited Aizu-Wakamatsu (会津若松) and Tsuruoka (鶴岡) in Dewa
province. This can be learned from signed and dated works made at all
these locations. Later, between the Kaei (1848-1854) and Ansei (1854-
1860) eras, he moved to Niigata (新潟) in Echigo province where he
died on the 26th day of the twelfth month of Ansei four (1857) at the age
of 71.

– 199 –
 Haruaki used several gō, for example „Jippō´ō“ (十方翁),
„Jippōkūsha“ (十方空舎), „Getsuō“ (月翁), „Sansō“ (三窓), „Tai´ō-
kanjin“ (対鷗閑人), „Kensai´ō“ (謙斎翁), „Fū´un-sanjin“ (風雲山人),
or „Fūko“ (風乎).

21.2 Tanabe Tomomasa (田辺伴正), 1st + 2nd gen.

Tomomasa was the son and heir of Tanabe Jin´emon Tomonao

(田辺甚右衛門友直), the founder of the Tanabe family. His first name
was „Eizō“ (栄蔵). It is said that Tomonao had studied at the Yoshioka
school*61 but further details on this craftsmen are – except for his gō
„Bunsuiken“ (文水軒) – unknown. Tomomasa learned the kinkō craft
first from his father and after his coming of age he entered an
apprentice-ship with Yanagawa Naoharu, the master of Haruaki. After
that apprenticeship he became independent and used the gō
„Tokusuiken“ (徳水軒).
It is said that the 1st gen. Tomonao died young and so his son
Komajirō (駒次郎) was raised by Tomotada (伴忠) who belonged to
the Yanagawa family and was, according to transmission, a student –
other say the brother – of Tomonao. Later the 2nd gen. Tomonao studied
under Haruaki and accompanied his master during his travels through
the northern and eastern provinces. Both Tomonao were great kinkō
artists and their works are very difficult to separate. Even Kanō Natsuo
appreciated them and said that if the 1st gen. Tomonao had lived longer
he would have reached the level of Yokoya Sōmin.

*61
The Haynes-Index says it was the Yokoya school.

– 200 –
21.3 Other artists of the Kōno school

Haruaki´s student Sawaki Jibei (左脇次兵衛) used the craftsman

name „Akitatsu“ (明龍). His speciality was the carving of peonies
(botan, 牡丹) whereupon he received the gō „Ichibosai“ (一牡斎) from
Prince Yamashina Akira (Yamashina-no-miya Akira Shinnō, 山階宮晃
親王, 1816-1891). Besides that he was promoted to the Buddhist rank
of hōgen and he used the pseudonyms „Hōkidō“ (宝亀堂),
„Kannonsha“ (観音舎) and – inspired by his master – the gō „Ippōshi“
(一方子) and „Fūko“ (風乎). Akitatsu’s years of birth and death are
unknown but there are dated signatures from the Ansei (1854-1860) and
Bunkyū (1861-1864) eras extant.
Akichika (明親) came from the Ōishi family (大石). He used the gō
„Kūsōsai“ (空窓斎) and we know dated signatures from the Kaei
(1848-1854) to the Ansei (1854-1860) era. Akishige (明重), another
student of Haruaki, was called „Kuga Shūzō“ (久賀集蔵). He used the
gō „Hekigyokusai“ (碧玉斎). In 1936, the Nezu family (根津)
auctioned off a joint work (gassaku, 合作) of Akishige, Wada Isshin,
Nakagawa Isshō, the 17th gen. Gotō Tenjō, and Ōkawa Teikan
(大川貞幹, see chapter 34.9). That means Akishige was a renowned
artist of the bakumatsu and Meiji eras who was also approached for
special orders.
Kameda Kinzō (亀田金蔵), who came from Sendai, also studied
under Haruaki. His craftsman name was „Akio“ (明雄) and we know
signatures where he explicitely mentions a master-student relationship
with Haruaki, namely in the form „Kōno Haruaki-monjin Akio“
(河野春明門人明雄). Akinori (明乗) from Aizu (会津) was from the
Tsukabara family (塚原). He studied under Haruaki too and used the gō
„Kōreishi“ (恒嶺子). And last but not least, I would like to introduce
Akisuke (明輔, also read „Myōho“), who used the gō „Gyokutōken“
(玉刀軒) and „Sōkakan“ (窓下関).

– 201 –
Genealogy of the Kōno school:

Yanagawa Naoharu (柳川直春)

Tomonao (友直)
founder of the Tanabe
family (田辺), supposed
to be a Yoshioka student,
gō „Bunsuiken“ (文水軒)

Tomomasa (伴正), 1st gen. Kōno Haruaki (河野春明)

Tanabe fam. (田辺) student of Naoharu, 1787-1857
son of Tomonao founder of the Kōno school, hōgen
student of Naoharu formerly „Harutō“, better known as
gō „Tokusuiken“ (徳水軒) „Haruaki Hōgen“ (春明法眼)

Tomomasa (伴正), 2nd gen. Akitatsu (明龍) Akichika (明親)

Tanabe fam. (田辺) student of Haruaki student of Haruaki
Komajirō (駒次郎) Sawaki fam. (左脇) Ōishi fam. (大石)
student of Haruaki gō „Ichibosai“ (一牡斎) gō „Kūsōsai“ (空窓斎)

Akishige (明重) Akio (明雄) Akinori (明乗) Akisuke (明輔)

student of Haruaki student of Haruaki student of Haruaki student of Haruaki
Kuga fam. (久賀) Kameda fam. (亀田) Tsukabara fam. (塚原) gō „Gyokutōken“ (玉刀軒)
gō „Hekigyokusai“ (碧玉斎) gō „Kōreishi“ (恒嶺子)

– 202 –
22. The Kikuoka school (菊岡)

22.1 Kikuoka Mitsuyuki (菊岡光行), 1st gen.

The Kikuoka school was founded by Mitsuyuki, whose family had a

cultural background. His father and his grandfather – according to
transmission a friend of Matsuo Bashō (松尾芭蕉, 1644-1694) – were
renowned haiku and waka poets. Their pseudonym „Senryō“ (沾涼)
was later passed on to Mitsuyuki and his art of metalwork was, to a
great deal, inspired by poetry. The 1st gen. Senryō, i.e. Mitsuyuki´s
grandfather, was called Tō´emon Fusayuki“ (藤右衛門房行, ?-1747).
He came from Ueno (上野) *62 in Iga province but went to Edo during
the Genroku era (1688-1704) where he published in Kyōhō 17 (1732),
under the name Kikuoka Senryō, an Edo guide called „Edo-sunago“
(江戸砂子). His eldest son was Tōbei Fusen Haruyuki
(藤兵衛布仙晴行, 1697-1783). Haruyuki´s third son was Ritōji
Mitsuyuki (利藤次光之) who used the reading of his civilian name
„Mitsuyuki“ as his craftsman name taking the characters (光行). He
was born in Edo in the third year of Kan´en (1750) and succeeded as 3rd
gen. Senryō in his late thirties. Besides his profession as a poet he
studied metalwork under Yanagawa Naomitsu (柳川直光) and used the
gō „Kakkenshi“ (活釼子), „Dokuhosai“ (独歩斎 or 独甫斎),
„Saika´an“ (崔下庵), „Suiminsha“ (睡眠舎), „Minsōken“ (民竈軒)
and „Nansensai“ (南仙斎), whereas the latter name goes back to his
nyūdō-gō „Nansen“ (南仙). Mitsuyuki died on the sixth day of the tenth
month of Kansei twelve (1800) at the age of 51.

*62
According to transmission, the family adopted the name of their place of residence which was
Kikuoka.

– 203 –
 Regarding his workmanship, Mitsuyuki combined the styles of
Sōmin and Naomasa and was by no means inferior to them. His
interpretations are very carefully carved and are highly graceful. But the
price for his rather „systematically“ arranged motifs create concessions
in terms of elegance. Therefore he is ranked a little lower than Sōmin
and Naomasa. Also, the execution of the signature in a perfect block
script (kaisho, 楷書) speaks for his orderliness and the Meiji-era kinkō
artist Unno Shōmin criticized Mitsuyuki stating that he must had
waisted an entire day chiselling the signature.

22.2 Kikuoka Mitsutomo (菊岡光朝), 2nd gen.

Mitsutomo, born in the fourth year of An´ei (1775), was the son of
Mitsuyuki. He succeeded as fead of the family in the eleventh year of
Kansei (1799), that means at the age of 24, and adopted the first name
„Ritōji“ and the gō „Kakkenshi“ and „Saika´an“, whereas Mitsutomo
signed the character for „ken“ in „Kakkenshi“ with (劔) instead of (釼).
For „Saika´an“, he also used the character (菴) for „an“ (庵). He died
on the 22nd day of the fourth month of Bunka ten (1813) at the young
age of 38. He had an older brother called Hideyuki (秀行) but who had
died of illness at 21. This was also the reason why Mitsuyuki succeeded
as head of the Kikuoka family even though he was not the first-born
son.

22.3 Kikuoka Mitsushige (菊岡光重), 3rd gen.

Mitsushige – first name „Kisōji“ (喜惣二) – was a student of

Yanagawa Naomitsu and also learned later from Kikuoka Mitsuyuki.
Some sources say that he was even adopted by the latter. He came
originally from the Watanabe family (渡辺). After the early death of
Mitsutomo, Mitsumasa (光政) and other students of the Kikuoka family
decided that Mitsushige should succeed as 3rd gen.

– 204 –
 Mitsushige´s gō was „Ichiyōken“ (一楊軒 or 一葉軒).
Unfortunately, his years of birth and death are unknown but he was
active from about the end of the Tenpō (1830-1844) to the Kōka (1844-
1848) era. Incidentally, he had the most students of all the Kikuoka
masters.
His son Mitsuhiro (光広) followed as 4th gen. of the school. He had
the first name „Yasutarō“ (安太郎) and his gō were „Ippōsai“ (一甫斎
or 一峰斎), „Kōfūken“ (行風軒) and „Hōgetsusai“ (峰月斎). Together
with his son Mitsutaka (光孝) he worked from the very end of the
bakumatsu until into the Meiji era. Mitsutaka, first name „Yasunosuke“
(安之助), was the 5th and last generation of the Kikuoka mainline. He
used the gō „Shūyōken“ (秀陽軒) and „Kyūsendō“ (九泉堂).

22.4 Other artists of the Kikuoka school

Samonji Mitsumasa (左門治光政) was the younger brother of

Mitsuyuki. He also studied under Yanagawa Naomitsu and supported
his older brother when the latter decided to work as an independent
kinkō artist besides his original profession as a poet. After Mitsuyuki´s
death he took care of Mitsumasa and Mitsutomo, as well as of the 3rd
gen. Mitsushige, that means he played a major role in the continuation
of the Kikuka school. He was born in Edo in the ninth year of Hōreki
(1759) and used the gō „Tanryōsai“ (探良斎), „Ikki´an“ (一箕庵),
„Ittōshi“ (一東子) and „Minryō“ (珉涼). Mitsumasa died in the fifth
month of Bunsei seven (1824) at the age of 66.
He was succeeded by his son Mitsutoshi (光利) whose first name
was „Saheiji“ (佐平次). Mitsutoshi also signed his craftsman name with
the characters (光寿) and used the gō „Nansensai“ (南泉斎) and
„Sen´yū“ (沾遊), but the latter only in his later years.

– 205 –
 Mitsutoshi´s son Mitsuaki (光明) is counted as 3rd gen. of this line
even if there are hardly any works extant because of his late artistic
period during and after the Meiji Restoration. His first name was
„Fukutarō“ (福太郎) and as gō, the name „Tōryūsai“ (登龍斎) is
transmitted.
Yukinobu (行信) was a student of Mitsuyuki. His civilian name was
Nakamura Naokichi (中村直吉) but he was allowed to use the family
name „Kikuoka“. He used the gō „Gyokusensai“ (玉川斎) and was
succeeded by his adopted son Yosaburō Yukiyoshi (与三郎行喜).
Other students of Mitsuyuki who had the permission to use the name
„Kikuoka“ were among others Mitsutomo (光友), Mitsuyoshi (光義),
Mitsunari (光成), Mitsusada (光定), Mitsumori (光守) and Aoyama
Shichibei Yukimasa (青山七兵衛行正).
A student of Kikuoka Mitsumasa, Mitsuyuki´s younger brother, was
Mitani Jūgorō (三谷十五郎) who was a retainer of the Matsudaira
family (松平), the daimyō of Sanuki´s Takamatsu fief (高松). He used
the craftsman name Masakatsu (政克). It is said that his father
Masaharu (政春) – called „Mitani Tōbei“ (三谷藤兵衛) – had already
learned the kinkō craft from Mitsumasa. Masakatsu´s son Shigeyoshi
(茂義) was also a retainer of the Takamatsu fief. His civilian name was
„Mitani Jūjirō“ (三谷十次郎) and he studied under the 3rd gen. of the
Kikuoka mainline, i.e. under Mitsushige. Shigeyoshi used the gō
„Tōko“ (東湖) and „Jō´unsai“ (乗雲斎).
Toshinobu (利信) was a student of Mitsumasa´s son Mitsutoshi. His
civilian name was Shimane Seijirō (島根清次郎) and we know from
him the gō „Unsuiken“ (雲水軒) and „Unkaken“ (雲下軒). Other
students of Mitsutoshi were among others Matsushima Toshisada
(松島利貞), Nakamura Toshitsugu (中村利次), and Kawamura
Toshinori (川村利則).

– 206 –
Genealogy of the Kikuoka school:

Tō´emon Fusayuki
(藤右衛門房行)
?-1747, from Iga-Ueno
1st gen. „Senryō“ (沾涼)

Yanagawa Naomitsu Tōbei Haruyuki

(柳川直光), 1733-1808 (藤兵衛晴行)
1697-1783, son of Fusayuki
2nd gen. „Senryō“

Mitsuyuki (光行), 1st gen.

founder of the Kikuoka school
3rd gen. „Senryō“, 1750-1800

Mitsumasa (光政) Hideyuki (秀行) Mitsutomo (光朝), 2nd gen. Yukinobu (行信)
older brother of Mitsuyuki son of Mitsuyuki son of Mitsuyuki, 1775-1813 student of Mitsuyuki
he also studied under died young Nakamura fam. (中村)
Yanagawa Naomitsu
1759-1824
Mitsushige (光重), 3rd gen. Yukiyoshi (行喜)
student of Yanagawa Naomitsu son of Yukinobu
Mitsutoshi (光利) Masaharu (政春) was adopted into the Kikuoka fam.
son of Mitsumasa student of Mitsumasa origin. Watanabe fam. (渡辺)
2nd gen. of this line Mitani fam. (三谷)

Mitsuaki (光明) Masakatsu (政克) Mitsuhiro (光広), 4th gen.

son of Mitsutoshi son of Masaharu son of Mitsushige
3rd gen. of this line student of Mitsumasa
Mitani fam. (三谷)
Mitsutaka (光孝), 5th gen.
son of Mitsuhiro
Shigeyoshi (茂義)
son of Masakatsu
Mitani fam. (三谷)
student of Mitsushige

Toshinobu (利信)
Student of Mitsutoshi
Shimane fam. (島根)

– 207 –
23. The Inagawa school (稲川)

23.1 Inagawa Naoshige (稲川直重), 1st gen.

The Inagawa school was founded by Shōsaburō Naoshige (庄三郎

直重). Some sources say he belonged initially to the Kikuchi family
(菊池) and a relationship with the latter is not unreasonable because one
of Inagawa Naokatsu´s students, Tsunekatsu (序克), also bore the
family name Kikuchi (see also chapter „The Kikuchi school“).
However, Naoshige was a student of the 1st gen. Yokoya Sōyo. He used
the gō „Sōkan“ (宗閑) and „Sōmu“ (宗夢) and died on the 26th day of
the first month of Genbun four (1739). Another theory says that
Naoshige originally came from Mito province.

23.2 Inagawa Naokatsu (稲川直克), 2nd gen.

Naokatsu was the son of Naoshige. His first name was „Bunshirō“
(文四郎) and he was born in the fifth year of Kyōhō (1720). He first
used the craftsman name „Shigenaga“ (重長). He was one of the most
outstanding students of Yanagawa Naomasa (柳川直政) and, because
of that, he got permission to use the family name „Yanagawa“. From
the point of view of workmanship he kept strictly to the style of his
master, or his master´s master, Yokoya Sōmin. In old publications his
style is often described as „Yokoya elements paired with a classical
elegance“ or „moderate Yokoya style“. His nyūdō-gō was „Sōmo“
(宗茂). Regarding the signatures of the Inagawa family it has to be
mentioned that the character for „Ina“ (稲) was also occasionally
written in the old style (稻). Naokatsu died in the secon month of the
eleventh year of Hōreki (1761) at the age of 42. Like his father, he
worked in Edo´s Kanda district but Naokatsu was buried in Kyōto´s
Higashi-Hongan-ji (東本願寺).

– 208 –
 Picture 20: Inagawa Naokatsu

23.3 Inagawa Yoshikatsu (稲川良克), 3rd gen.

Yoshikatsu, the 3rd gen. of the Inagawa family, was actually called
„Kimura Ginpei“ (木村銀平).*63 He was born in the tenth year of
Kyōhō (1725) and studied under Naokatsu. He married his daughter
Tetsu (てつ, 1719-1761) who was also active as a kinkō artist. With
this marriage, he was adopted into the Inagawa family. When he
succeeded as head of the latter, he took over the first name „Bunshirō“
of his adoptive father. His gō was „Undō“ (雲洞) and when he entered
priesthood in his later years he took the pseudonym „Sōju“ (宗樹).
Yoshikatsu died in the second month of the eighth year of An´ei (1779)
at the age of 55.

23.4 Inagawa Shigekatsu (稲川茂克), 4th gen.

Yoshikatsu´s successor was his student and adopted son Shigekatsu.

Before taking over the hereditary name „Bunshirō“ he was called
„Sōsuke“ (惣助) and in early years he signed with the name
„Katsushige“ (克茂).

*63
He also signed the family name „Kimura“with the characters (木邑).

– 209 –
23.5 Inagawa Nobukatsu (稲川信克), 5th gen.

The 5th and last generation of the Inagawa school was Nobukatsu,
the son of Shigekatsu. His first name was „Shingorō“ (新五郎) and we
know that he used the pseudonym Kenkaishi“ (硯海子). „Tōsō-kodōgu-
kōza“ says that Nobukatsu was active between Tenpō (1830-1844) and
Ansei (1854-1860) which would speak for the last generation of the
family but the „Nihontō-kōza“ lists him as being active around Kansei
(1789-1801). And Haynes dates him around 1775 and mentions that he
also studied under the 2nd gen. Naokatsu. But this is rather unlikely
because Naokatsu had already died in 1761.

23.6 Other artists of the Inagawa school

Via the 3rd gen. Yoshikatsu many members of the Kimura family
came in touch with the Inagawa school like, for example, Yoshikatsu´s
nephew Kimura Kan´emon (木村勘右衛門) who signed with the name
„Yoshitaka“ (良堯). Kimura Sadakatsu (貞克) – whose first name was
„Matasaku“ (又作) – like Yoshikatsu studied under Naokatsu. He was
later hired by the Nanbu family (南部), the daimyō of the northern
Morioka fief (盛岡藩). Another student of Naokatsu was Ōhashi Hanzō
(大橋半蔵) who used the craftsman name „Shigekatsu“ (重克).
Sadakatsu and Shigekatsu got received permission to use the family
name „Inagawa“. Yoshimitsu (良光), also a student of Yoshikatsu, was
called „Aoyanagi Eigorō“ (青柳栄五郎) and he used the gō „Ichimudō“
(一夢堂). Yoshimitsu also studied under Horie Okinari (堀江興成),
who in turn was a student of Ōmori Teruhide. Other students of the
Inagawa family are introduced in the genealogy on the next page.

– 210 –
Genealogy of the Inagawa school

Naoshige (直重), 1st gen.

founder of the Inagawa school
?-1739, according to some sources
a member of the Kikuchi fam. (菊池)

Shigehisa (重久) Naokatsu (直克), 2nd gen.

student of Naoshige son of Naoshige, 1720-1761
Inagawa fam. student of Yanagawa Naomasa (柳川直政)

Sadakatsu (貞克) Yoshikatsu (良克), 3rd gen. Tsunekatsu (序克) Shigekatsu (重克)
Kimura fam. (木村) adopted son-in-law and student of Naokatsu student of Naokatsu
student of Naokatsu student of Naokatsu, 1725-1779 Kikuchi fam. (菊池) Ōhashi fam. (大橋)
later Morioka Kimura fam. (木村) see separate chapter

Yoshitaka (良堯) Shigekatsu (茂克), 4th gen. Yoshimitsu (良光) Yoshitoshi (良寿)
nephew of Yoshikatsu student and adopted son student of Yoshikatsu student of Yoshikatsu
Kimura fam. of Yoshikatsu Aoyanagi fam. (青柳) Kimura fam.

Shigeyoshi (茂良) Nobukatsu (信克), 5th gen.

student of Shigekatsu around Tenpō (1830-1844) and
Ansei (1854-1860)

Yoshitaka (良堯) Yoshinao (良直) Yoshitada (良忠) Yoshitaka (良高)

student and nephew of student of Yoshikatsu student of Yoshikatsu student of Yoshikatsu
Yoshikatsu, Kimura fam. Katsuragi fam. (葛木) Sekigawa fam. (関川) Hirose fam. (広瀬)
came from Morioka

– 211 –
24. The Kikuchi school (菊池)

24.1 Kikuchi Tsunekatsu (菊池序克), 1st gen.

The founder of the Kikuchi school was Tsunekatsu, a student of

Inagawa Naokatsu (稲川直克). He also received the character for
„Katsu“ from the latter. He was born in the first year of Hōei (1704) and
was called „Seijirō“ (清次郎). Because of his artistic background in the
Inagawa school he worked mostly in shakudō with nanako ground and
takabori-iroe ornamentations but his strong point was katakiribori. In
his later years he entered priesthood and took the nyūdō-gō „Sōju“
(宗寿). Other pseudonyms of Tsunekatsu were „Sōryūken“ (草流軒)
and „Gidōken“ (蟻洞軒). There are also works extant which are signed
with the characters (常克) for „Tsunekatsu“ and it is assumed that they
go back to his earlier years. In addition, we know a joint work (gassaku,
合作) with Naoharu (柳川直春, 1750-?), the 3rd gen. Yanagawa, which
is signed with the supplement „made at the age of 60“. That means
Tsunekatsu was also in direct contact with the Yanagawa school. His
year of death is unknown but the latest extant information about his age
mentions „made at the age of 64“. That means he was at least active
until the Meiwa (1764-1772) era.

24.2 Kikuchi Tsuneoki (菊池序沖), 2nd gen.

Tsuneoki was the son of Tsunekatsu and followed him as 2nd gen. of
the Kikuchi family. Some sources list the later mentioned Tsunemitsu
(序光) as 2nd gen. but the „Sōken-kishō“, which was published during
his lifetime, says that he was the student of Tsunekatsu. That means this
information should be correct. However, the „Tōsō-kodōgu-kōza“ lists
Tsunemitsu as a student and later adopted son and successor of
Tsunekatsu. But Tsuneoki´s first name was „Seijirō“ (清二郎) which is
seen by some as support of him as having been the 2nd gen. Kikuchi.

– 212 –
 Tsuneoki signed first with Masamitsu (政光) and later also with
Masakatsu (政克) but it is not yet completely clarified if Kikuchi
Masakatsu was a different kinkō than Tsuneoki. The „Tōsō-kodōgu-
kōza“ even assumes that Masakatsu was the younger brother of
Tsunekatsu and had therefore nothing to do with Tsuneoki. Anyway,
Tsuneoki is said to have been the student of Inagawa Naokatsu. He used
the gō „Sōju“ (草寿) and „Sōjuken“ (草寿軒) but more details about his
career or his year of birth and death are largely unknown.

24.3 Kikuchi Tsunemitsu (菊池序光)

Tsunemitsu – his first name was „Izaemon“ (伊左衛門) – was one

of the most outstanding students of Tsunekatsu. This might be the
reason why some counted him as his actual successor and 2nd gen. of the
Kikuchi family. His strong points were excellently carved and elegant
kebori. He used the gō „Seirandō“ (青藍堂) and it is said that in his
early years he signed his name with the characters (常光). He had one
son who followed him as 2nd gen. Izaemon Tsunemitsu.

24.4 Kikuchi Tsunetomo and Tsunesada (菊池序朝・序定)

Tsunetomo, who belonged to the Shibuya family (渋谷), from

Sendai (仙台), studied for some time under Kikuchi Tsunekatsu.
Tsunesada was his son and both of them received permission to use the
family name „Kikuchi“. For background on their relationship with the
Kikuchi school see chapter „Sendai´s Kikuchi school“. Tsunetomo´s
first name was „Kinzō“ (金蔵) and he used the gō „Shōjuken“ (松寿軒)
and „Sōryūken“ (草柳軒). Tsunesada´s civilian name was „Shibuya
Tsunesada“ (渋谷常定). He later adopted the first name „Kinzō“ (金蔵)
from his father.

– 213 –
24.5 Other artists of the Kikuchi school

Tsuneyuki (序行) was the student of the 2nd gen. Tsuneoki but it is
said that he had also studied under the 1st gen. Tsunekatsu. His civilian
name was „Oguma Zenkichi“ (小熊善吉) and he worked for the Date
family (伊達), the daimyō of the Sendai fief. This means that after his
apprenticeship Tsuneyuki left Edo and worked for the Kikuchi school in
Sendai. He used the gō „Jūkokuken“ (渋谷軒) whereas the first two
characters – „Jukoku“ (渋谷) – are the Sino-Japanese reading for
„Shibuya“. This suggests that he had a certain relationship with the
local Shibuya school. Tsuneyuki was born in the first year of Meiwa
(1764) and died in the sixth month of Bunsei seven (1824).
Masanaga (政長), who was also a student of Tsuneoki, originally
came from Numata (沼田), from Shimotsuke province. His gō was
„Joryūken“ (如龍軒) and he also signed the second character of the
family name „Kikuchi“ (菊池) with (地). According to the „Tōsō-
kodōgu-kōza“, he was active around An´ei (1772-1781) and Tenmei
(1781-1789), which seems to be more likely than the note in the
Haynes-Index that there exists a dated signature of the year 1868.
Probably the latter date goes back to a later generation Kikuchi
Masanaga.

24.6 Bamen Tsunemasa (馬面序政)

The Bamen school goes back to the armourer family of the same
name which was, according to transmission, a branch of the famous
Myōchin family (明珍). „Bamen“ was written with the characters
(馬面) and (馬免). The origins of the Bamen-katchūshi lie in Toyohara
(豊原), in Echizen province, namely at the time of Oda Nobunaga
(織田信長, 1534-1582). When the latter burned down the local
Toyohara-dera (豊原寺) in 1575, the family moved in the following
year to the nearby village of Maruoka (丸岡).

– 214 –
 Towards the end of the Edo period and with the strongly decreasing
demand for newly produced armours and helmets, many of the Bamen
members had to change jobs. Some of them became gunsmiths (teppō-
shi, 鉄砲師), others arrow smiths, and Tsunemasa – whose first name
was „Ichijūrō“ (市十郎) – entered an apprenticeship with Kikuchi
Tsunekatsu. However, Tsunemasa did not continue the kinkō craft of his
master but continued the tradition of the Bamen family, being the
forging of iron and the opening of ji-sukashi. He was strongly
influenced by the then very popular sukashi-tsuba of the Akasaka
school (赤坂) and the fine ito-sukashi of the Itō school (伊藤).
Tsunemasa was born in the first year of Kanpō (1741) but his year of
death is unknown. On the basis of pieces signed with his age we can say
that he was at least active until the age of 75, which means at least until
the Bunka era (1804-1818).

Genealogy of the Kikuchi school:

Tsunekatsu (序克), 1st gen.

student of Inagawa Naokatsu
(稲川直克), founder of the
Kikuchi school, 1704-?

Tsunemasa (序政) Tsunetomo (序朝) Tsuneoki (序沖), 2nd gen. Tsunemitsu (序光)
student of Tsunekatsu student of Tsunekatsu son of Tsunekatsu, signed student of Tsunekatsu
Bamen fam. (馬面) Shibuya school (渋谷) also with „Masamitsu“ (政光)
Sendai, see separate chapter and probably also with
„Masakatsu“ (政克) Tsunemitsu (序光)
Tsunefusa (序房) son of Tsunemitsu
student of Tsunekatsu
Shibuya school (渋谷) Tsunesada (序定)
Sendai, see separate chapter Shibuya school (渋谷)
son of Tsunetomo
Sendai, see separate Tsuneyuki (序行) Masanaga (政長)
chapter student of Tsuneoki student of Tsuneoki
Oguma fam. (小熊) came from Shimotsuke
Sendai, 1764-1824

– 215 –
25. The Tanaka-Tōryūsai school (田中東竜斎)

25.1 Tanaka Kiyotoshi (田中清寿)

Kiyotoshi was born in Edo in the first year of Bunka (1804), the son
of the Bushū-tsuba craftsman Tanaka Tōryūsai Fusajirō
(田中東竜斎房二郎). His first name was „Bunjirō“ (文次郎). In
„Kinkō-tanki“ (金工鐔寄), published in the tenth year of Tenpō (1839),
Kiyotoshi´s affiliation is mentioned as follows: „Around the Tenmei era
(1781-1789), there was a tsuba artist called ´Tanaka Sōbei´
(田中宗兵衛) active in Edo´s Asakusa (浅草). His son, the 2nd gen.
Sōbei, specialized in the production of nanban-tsuba in large numbers
of several thousand. Shōjō (正乗, also read „Masanori“), the son of the 2nd
gen. Sōbei, studied eventually under Gotō Seijō (後藤清乗), but it is
unknown under which generation of the Edo-Seijō line. It is assumed
that Shōjō was married to a daughter of Gotō Seijō because he bore the
civilian name ´Gotō Sōjirō“´ (後藤宗次郎).“ And the „Kinkō-tanki“
says in the following that Tanaka Kiyotoshi learned the craft of tsuba
making from this Shōjō. Well, Kiyotoshi´s later workmanship in
excellent nunome-zōgan would speak for an artistic origin in the
vicinity of nanban-tsuba because they are decorated in the same way.
Kiyotoshi´s early signature was „Kiyonaga“ (清永) which he
changed later to (清寿) but with the same reading. Exact dates
concerning the use of these names or these characters respectively are
unknown but there is the theory that he changed the second character
following the great master Nara Toshinaga (奈良利寿) who also read
(寿) as „naga“. Regardless of his origins from the Bushū school or the
nanban group, he was a self-trained artist who oriented his style
towards famous kinkō masters like Umetada Myōju, Tsuchiya
Yasuchika or Yokoya Sōmin.

– 216 –
 Later, from about the twelfth year of Tenpō (1841) onwards, he
repeatedly refers to his autodidactic studies when he signed with
supplement like „ryūji“ (流自, „own style“), „yuiitsu-kaku“ (唯一格,
meaning „following an unique standard/rule“) or „ikkashiki“ (一家式,
translated as „à la maison“ or „in the style of the family“). *64 Regarding
his workmanship, he combined freely and in a new way smaller and
medium sized sukashi elements with zōgan, nunome-zōgan, takabori
and iroe, mostly in iron. But he also worked in shakudō and shibuichi
whose surface is not or only very rarely finished in nanako and mostly
rather rough and irregular, for example in ishime. Very characteristic of
the Tanaka-Tōryūsai school are the „kuchibeni“ (口紅, lit. „lipstick“) or
„batei-kei“ (馬蹄形, lit. „horseshoe shape“),softmetal inserts at the top
and bottom of the nakago-ana of a tsuba. Originally, these inserts
would provide a firmer fit for a tsuba on the sword tang but with
Kiyotoshi and his students, they have first and foremost an ornamental
character.
Kiyotoshi received the priest rank hokkyō in the second year of Kōka
(1845), which was upgraded to hōgen during the Kaei era (1848-1854).
He used among others the gō „Ittōshi“ (一東子), „Juō“ (寿翁), „Jusō“
(寿叟), „Ryūō“ (竜翁), Ryūsō“ (竜叟) and of course „Tōryūsai“ which
gave the school its name. He also bore the family name „Fujiwara“
(藤原) and died on the 18th day of the twelfth month of Meiji nine
(1876) at the age of 73. Besides Gotō Ichijō and Kanō Natsuo he is
ranked among the greatest kinkō artists of the bakumatsu era.
Due to a wrong interpretation of the „Kinkō-tanki“ in Kuwahara
Yōjirō´s (桑原羊次郎) publication „Kokon-sōken-kinkō ichiran“
(古今装剣金工一覧) from 1922, Tanaka Kiyotoshi is also listed as a
student of Kōno Haruaki. The reason for this mistake lies in Haruaki´s
student, Akiyoshi (明義), whose civilian name was „Tanaka Bunjirō“
(田中文二郎).

*64
These supplements are today often wrongly regarded as gō on their own and quoted as „Ikkaku“
(一格) or „Ikkashi“ (一家式)

– 217 –
 So, because of the striking similarity in their names, Kuwahara
assumed that „Akiyoshi“ must have been an early signature of
Kiyotoshi. Most of the subsequently published standard works like the
„Nihontō-kōza“ (日本刀講座), the „Tsuba-taikan“ (鐔大鑑), volume
„Tsuba and kodōgu“ of the „Nihontō-taikan“ (日本刀大鑑) and so on
adopted Kuwahara´s assumption and so Kiyotoshi’s supposed master-
student relationship with Kōnō Haruaki still until today.

25.2 Tanaka Kiyoshige (田中清重)

Kiyoshige was the son, according to some sources the adopted son,
of Kiyotoshi. His first name was „Minomatsu“ (巳之松) but his years
of birth and death are unknown. But we know that he held the priest
rank of hokkyō and that he used the gō „Tōryūsai“ and „Sei´u“ (盛雨).

25.3 Toshiyoshi (寿良)

Toshiyoshi – his name can also be read „Juryō“ or „Toshinaga“ –

was a student of Tanaka Kiyotoshi. He carried the family names
„Fujiwara“ (藤原) and „Murasakibara“ (紫原) whereas the latter is also
quoted in the „Tōsō-kodōgu-kōza“ with the reading „Fujiwara“. This
reading is quite common and a play on words because the blossoms of
the fuji (藤, wisteria) are purple (Jap. murasaki, 紫), i.e. „wisteria field“
is transcribed as „purple field“. However, his first name was „Kyūtarō“
(久太郎) and he was born in the twelfth year of Bunseo (1829).
Toshiyoshi continued the style of his master but made more menuki
and fuchigashira than kozuka and tsuba. His motifs are elegant and his
strong point was takabori-iroe ornamentations, meaning he worked
against the bakumatsu trend towards hira-zōgan with katakiribori
and/or kebori.

– 218 –
 His gō were „Jusō“ (寿叟), „Kōsō“ (孔叟), „Kōsō“ (耕叟), „Seijō“
(声乗), „Ryūgensai“ (龍眼斎) and „Ryūgenshi“ (龍眼子). His year of
death is unknown but there exists from him a hakogaki (箱書,
inscription on a storage box) which is dated with the 18th year of Meiji
(1885).

25.4 Toshikage (寿景)

Toshikage, a student of Kiyotoshi, also continued the Tōryūsai style

but was not so strictly orientated towards master Kiyotoshi as was
Toshiyoshi. His civilian name was „Morikawa Matsugorō“ (森川
松五郎) but he also bore the first name „Iwajirō“ (岩次郎) and the
family names „Fujiwara“ and „Minamoto“. From an extant work with
the dated signature of the eleventh year of Meiji (1878) and the
information „made at the age of 38“ we can calculate his year of birth –
according to the Japanese way of counting years – as Tenpō twelve
(1841). Toshikage used the gō „Hōshinsai“ (宝真斎), „Hōshinsai“
(法真斎), „Hōjudō“ (宝寿堂), „Hōshudō“ (宝珠堂), „Ichiryūsai“
(一竜斎), „Hōmeisai“ (鳳鳴斎), „Kagyoku“ (花玉) and „Gyokuhōsai“
(玉宝斎).

25.5 Masakage and Yoshikage (政景・義景)

Masakage is listed as the son of Toshikage but it is said that he

studied not only under his father but also under Kiyotoshi and
Yoshikage (義景), who was in turn also a student of Kiyotoshi and
belonged also to the Morikawa family. From Yoshikage we know the
pseudonyms „Hōansai“ (宝庵斎) and „Hōshinsai“ (宝真斎) and
Masakage used the gō „Hōshusai“ (宝殊斎), „Hōjusai“ (宝寿斎) and
„Hōshudō“ (宝殊堂). Masakage continued the traditional Tōryūsai style
of Kiyotoshi and Toshikage but we don´t know the years of birth and
death of neither Masakage nor Yoshikage. But both were active around
the early Meiji era.

– 219 –
25.6 Itō Katsumi (伊藤勝見)

Katsumi was born in Edo in the third month of the twelfth year of
Bunsei (1829), the son of a fish wholesaler with the family name
„Takahashi“ (高橋). His youth name was „Kingorō“ (金五郎). When
he was eight years old he started an apprenticeship as a painter with the
Kanō master Baiken Kazunobu (梅軒員信, 1815-1863), whereopon he
used the pseudonym „Baigyoku“ (梅玉). At twelve he went to train as a
kinkō artist and became the student of Tanaka Kiyotoshi from whom he
was adopted three years later*65 in the first year of Kōka (1844).
His kinkō artist craftsman name was then „Kiyoshige“ (清重). Quite
early he received the Buddhist priest rank hōgen but fell from grace
with his master because of his forgeries. So he was prohibited to use the
school name „Tōryūsai“ and his adoption was later cancelled. Katsumi
married the daughter of Masahiro (正広), the 9th gen. of the Itō family,
and succeeded in the first year of Man´en (1860) as 10th gen. Itō under
the name „Masataka“ (正隆). According to Shinkichi Hara, he used the
craftsman name „Katsumi“ from the first year of Genji (1864) onwards.
His gō were among others „Genchūkyo“ (弦忠居), „Sei´u“ (盛雨),
„Sodō“ (素堂) and „Taikyū´an“ (退休庵). He died on the 24th day of
the second month of Meiji 43 (1910) at the age of 82.

*65
According to some sources, Katsumi was adopted by Kiyotoshi at the age of 17.

– 220 –
25.7 Other artists of the Tanaka-Tōryūsai school

Toshinori (寿矩) was a student of Kiyotoshi. His civilian name was

„Morimiya Heikichi“ (森宮平吉) and he was born in the first year of
Tenpō (1830) the son of a cooper (okeya, 桶屋). His former family
name was, according to transmission, „Miyashita“ (宮下). He used the
gō „Ryūseimin“ (竜青眠 or 龍青眠) and died on the 15th day of the
ninth month of Meiji 30 (1897). His son Heijirō (平次郎), who
continued the original family name „Miyashita“, specialized after the
Meiji Restoration in the mounting of rayskin (same, 鮫) on sword hilts
under the name of „Samehei“ (鮫平).
The exact master-student relationship of Toshiaki (寿明) is
unknown but because of his pseudonyms Hōrinsai“ (宝林斎) and
„Hōansai“ (宝庵斎) it is assumed that he belonged to the Morikawa
branch of Toshikage and Masakage. His civilian name was „Sekine
Kinjirō“ (関根金次郎) and he signed in his early years with
„Toshitomo“ (寿友) as well as with the family name „Fujiwara“
throughout his career. There is a work of Toshiaki extant which is dated
Meiji eleven (1878) in combination with the information „made at the
age of 32“. That means he was born in the fourth year of Kōka (1847,
according to the Japanese way of counting years).
Also from the Moriyama family was Toshiyuki (寿之), whose
craftsman name is also read „Jushi“. He used the gō „Senshūken“
(仙秀軒) and had studied directly under Tanaka Kiyotoshi. Another
student of Kiyotoshi was Watanabe Chūgorō (渡辺忠五郎) who, alrady
at the beginning of the Tenpō era (1830-1844), had parted from the
Tanaka-Tōryūsai under the name of „Toshimitsu“ (寿光). He used the
gō „Tō“ (東), „Tōkōsai“ (東広斎) and „Tōkōsai“ (東興斎). Jusan
(寿山, also read „Toshiyama“) belonged to Toshimitsu´s branch. Jusan
had also studied under Kiyotoshi and was from the Watanabe family
too. There is the signature „Jusansō“ (寿山叟) extant but it is unclear if
it was a gō by itself or if he just added the suffix „-sō“ (叟, „old man“)
to his usual signature.

– 221 –
 Toshitaka (寿高), who was also a student of Kiyotoshi, was called
„Mori Kōichirō“ (森考一郎). His gō was „Hakuryūshi“ (伯竜子) and
his adopted son – who also studied under Kiyotoshi – continued to use
the craftsman name „Toshitaka“ and the gō „Hakuryūshi“. But the latter
also used the pseudonyms „Hakuryūken“ (伯竜軒) and „Hakuryūsai“
(伯竜斎). According to transmission, the 2nd gen. Toshitaka came
originally from the Kobayashi family (小林).
Another Tanaka-student was Tsunenobu (常信) who claimed to be
a successor of the noble Fujiwara family. He used the gō „Hōryūgen“
(豊龍原), „Hōryūsai“ (豊龍斎) „Hōryūshi“ (豊龍子), „Ichiryūsai“
(一龍斎), „Isshinsai“ (一心斎), „Kisuisha“ (其水舎), „Shiryū“ (止龍)
and „Shōryū“ (正龍). Many sources also list Kataaki (賢明) as the
student of Kiyotoshi. He came from the Nakano family (中野) from
Ōmi´s Hikone (彦根) and specialized in copies of the famous
hatomaru-tsuba (鳩丸鐔) from a tachi worn by Minamoto Hachiman-
tarō Yoshiie (源八幡太郎義家, 1039-1106). This tsuba in the form of a
little dove was very popular towards the end of the Edo period among
Satsuma-samurai. Today, the master-student relationship between
Kataaki and Tanaka Kiyotoshi or with the Tanaka school at all is
doubted because of the totally difference in workmanship.

– 222 –
Genealogy of the Tanaka-Tōryūsai-school:

Tanaka Sōbei, 1st gen.

(田中宗兵衛)

Tanaka Tōryūsai Fusajirō Tanaka Sōbei, 2nd gen. Gotō Seijō (後藤清乗)
(田中東竜斎房二郎) (田中宗兵衛)

Shōjō or Masanori (正乗)

student of Gotō Seijō, son of the 2nd gen. Sōbei
civilian name „Gotō Sōjirō“ (後藤宗次郎)

Kiyotoshi (清寿)
son of Fusajirō, student of Shōjō
Tanaka fam. (田中), 1804-1876

Kiyoshige (清重) Toshiyoshi (寿良) Toshikage (寿景) Yoshikage (義景)

Tanaka fam. (田中) student of Kiyotoshi student of Kiyotoshi student of Kiyotoshi
supposedly the adopted 1829-? Morikawa fam. (森川) Morikawa fam. (森川)
son of Kiyotoshi 1841-?

Yoshitsugu (良次)
son of Toshitsugu (寿次) Masakage (政景) Toshiaki (寿明)
Takahashi fam. (高橋) son of Toshikage, studied Sekine fam. (関根)
student of Toshiyoshi also under Yoshikage 1847-?
and of Kiyotoshi

Katsumi (勝見) Toshinori (寿矩) Toshiyuki (寿之)

student and adopted son of student of Kiyotoshi, 1830-1897 student of Kiyotoshi
Kiyotoshi, the adoption was Morimiya fam. (森宮) Morikawa fam. (森川)
later cancelled, originally. origin. Miyashita fam. (宮下)
Takahashi fam. (高橋)
succeeded as 11th gen. Itō
Masataka (伊藤正隆) Heijirō (平次郎) Toshitsugu (寿次)
1829-1910 son of Toshinori student of Kiyotoshi
Miyashita am. (宮下) Takahashi fam. (高橋)
mounted same on
sword hilts

Toshimitsu (寿光) Jusan (寿山) Toshitaka (寿高), 1st gen. Tsunenobu (常信)
student of Kiyotoshi student of Kiyotoshi student of Kiyotoshi Tanaka student
Watanabe fam. (渡辺) Watanabe fam. (渡辺) Mori Fam. (森)

Toshitaka (寿高), 1st gen.

origin. Kobayashi fam. (小林)

– 223 –
26. The Someya school (染谷)

26.1 Someya Masanobu (染谷昌信)

Masanobu is regarded as the founder of the Someya school. His first

name was „Hanbei“ (半兵衛) and he originally came from Tsu fief
(津藩) in Ise, which was ruled by the Tōdō family (藤堂), before
settling in Edo´s Shikoku district (新石) around the Kansei era (1789-
1801). Old publications on kinkō metalworks describe Masanobu with
„carved exquisite landscape motifs“ and „carved in the style of the Gotō
school“ but it has not yet been completely clarified if the Someya
founder Masanobu worked as a kinkō artist at all.

26.2 Someya Tomonobu (染谷知信)

Tomonobu – whose first name was „Kichigorō“ (吉五郎) – was the

son of Masanobu. Besides his profession as a kinkō artist, which he had
learned according to transmission from his father, he studied painting
under Tani Bunchō (谷文晁, 1763-1840), a famous landscape painter
who also worked in the newly introduced Western style. Some doubt
the master-relationship of Tomonobu with Bunchō, but it is at least
transmitted that Tomonobu used some of Bunchō´s paintings as models
for his famous landscape tsuba, using gold as contrasting elements. He
signed in grass script (some works from his early artistic period are also
signed in block script) and some pieces show a square hira-zōgan seal
signature (in-mei, 印銘). In his later years he used the gō „Shūki“
(周鬼). Unfortunately, we don´t know Tomonobu’s years of birth and
deah but dated works show us that he was mainly active around Bunsei
(1818-1830). Incidentally, after the death of his father, Masanobu,
Tomonobu took care of his student Seisaburō (清三郎) and completed
his apprenticeship as a kinkō artist.

– 224 –
26.3 Someya Masanobu (染谷正信)

Masanobu was the son of Tomonobu. He continued the highly

decorative style introduced and established by his father. It is said that,
like his grandfather, he took the craftsman name „Masanobu“ but wrote
it with different characters. There is a dated signature of the third year
of Ansei (1856) extant.

26.4 Someya Kazunobu (染谷一信)

Kazunobu´s first name was „Gonbei“ (権平). He was the nephew

and student of Tomonobu. He used the gō „Shūkyū“ (周舊).*66 In the
Haynes-Index we read that Kazunobu also worked sometimes outside of
the classical style of the Someya school. The „Tōsō-kodōgu-kōza“ states
that his workmanship is identical to that of Tomonobu and further that it
is also possible that he made daisaku works (代作)*67 for his master.
Kazunobu was active around Kaei (1848-1850) and had a son called
Tsuneyoshi (常吉) but who died young.
Nobukazu (信一), not to be mixed-up with Kazunobu, was a student
of Tomonobu. His civilian name was Someya Yohachi (染谷与八).

*66
Read „Chikamoto“ in the Haynes-Index.
*67
Works made by a student in the place of for his master but with the permission or on the order
of the latter. If they are signed in the name of the master but were made by the student, than they
are called „daisaku-daimei“ (代作代銘).

– 225 –
26.5 The line of Tomomichi (知道・知至)

Tomomichi´s civilian name was „Wakayama Hanzō“ (若山伴蔵).

He originally came from Mutsu province where he studied at the
beginning of his career under Tokuno/Ōmori Terukatsu (徳野・
大森英勝) when the later was still active in Morioka (盛岡). Terukatsu
in turn was a student of Ōmori Terumasa (大森英昌) and was also
adopted into the Ōmori family. Due to the relationship with Terukatsu
Tomomichi also got the chance to study under an Ōmori master, namely
under the 2nd gen. Teruhide (英秀). With this he took the craftsman
name „Hidemitsu“ (秀光). It is said that Tomomichi also studied later
in his career under the 16th Gotō generation Hōjō Mitsuaki
(後藤方乗光晃). Incidentally, the aforementioned Terukatsu was later
adopted by the Morioka artist Sekigawa Yoshitada (関川良忠) and so it
came that Tomomichi was also allowed to use the family name
„Sekigawa“ (関川). Tomomichi studied eventually under Someya
Tomonobu from whom he received the character for „Tomo“ (知).
Thereupon he took the name „Tomomichi“ which he signed with the
characters (知道) and (知至). Some say that the latter are read
„Tomoyoshi“ but it is more likely that „Tomomichi“ was the correct
reading. According to transmission, Tomomichi worked also for the
Nanbu family (南部), the daimyō of the Morioka family, which was in
turn the employer of the Sekigawa line of kinkō artists.
Tomomichi used the gō „Jakuryūsai“ (若柳斎) and, at a certain time
in his career, he bore the name „Tsukidate Yaohachi“ (月舘八百八).
He also signed with the family name „Minamoto“ and the name
combination „Sekigawa Yaohachi“ (関川八百八). His year of birth and
death are unknown but he was mainly active around Bunsei (1818-
1830). Tomomichi´s son was Tomohisa (知尚). His civilian name was
„Sekigawa Rikizō“ (関川力蔵) and he continued the gō „Jakuryūsai“ of
his father. Tomohisa worked around Kaei (1848-1854) and it is said that
he also used the craftsman name „Tomoaki“ (知影).

– 226 –
 The adopted son of Tomomichi was Sekigawa Senjirō (関川扇次郎)
who signed with the name „Tomohide“ (知秀) and the gō
„Shunryūken“ (春柳軒) and „Shinryūsai“ (春柳斎). Some sources say
that the kinkō artist Tomonari (知登), whose civilian name was
Wakayama Tomojirō“ (若山友次郎), was the same person as
Tomohide.
Another adopted son of Tomomichi was Kimura Bunsuke
(木村文助) who used the craftsman name „Tomokatsu“ (知克).
Tomoshige (知重), his civilian name was „Takahara Zenshirō“
(高原善四郎), Tomoharu (知治), alias „Inada Tarōkichi“ (稲田
太郎吉), and Tomoyuki (知幸) who was called „Oyamada Shōkichi“
(小山田正吉), were all students of Tomomichi. All adopted sons and
students of Tomomichi worked – at least for a certain time – for the
Nanbu family too.

Genealogy of the Someya-school:

Masanobu (昌信)
founder of the Someya school
originally from Ise

Tomonobu (知信) Seisaburō (清三郎)

son of Masanobu student of Masanobu
around Bunsei (1818-1830) trained by Tomonobu

Masanobu (正信) Kazunobu (一信) Nobukazu (信一) Tomomichi (知道・知至)

son of Tomonobu nephew and student student of Tomonobu student of Tomonobu, Sekigawa (関川),
of Tomonobu Wakayama (若山) and Tsukidate fam.
(月舘)

Tsuneyoshi (常吉) Tomohisa (知尚) Tomohide (知秀)

son of Kazunobu, died young son of Tomomichi, maybe adopted son of Tomomichi
also „Tomoaki“ (知影) Sekigawa fam. (関川)

Tomokatsu (知克) Tomoshige (知重) Tomoharu (知治) Tomoyuki (知幸)

adopted son of Tomomichi student of Tomomichi student of Tomomichi student of Tomomichi
Kimura fam. (木村) Takahara fam. (高原) Inada fam. (稲田) Oyamada fam. (小山田)

– 227 –
27. The Nomura school (野村)

27.1 Nomura Masatoki (野村正時), 1st gen.

The Nomura school was founded by Kozaemon Masatoki

(小左衛門正時) who worked for the Hachisuka family (蜂須賀), the
daimyō of the Tokushima fief (徳島藩) of Awa province on the island
of Shikoku. He had studied with the Gotō mainline but the records are
in disagreement. One says he was a student of the 7th gen. Kenjō (顕乗,
1586-1663) and others of the 5th gen. Tokujō (徳乗, 1550-1631).
However, he was born in the second year of Genna (1616) and died in
the seventh year of Enpō (1679) that means, from the point of view of
lifetime, both master-student relationships are possible. But then he
must have been a student of Tokujō at a very young age. Incidentally, as
mentioned in the next chapter, the life data of the Nomura artists have
to be taken with a grain of salt. Masatoki worked in the traditional Gotō
style in shakudō with nanako ground and takabori-iroe ornamentations,
and because of this the Nomura school was also called „Awa-Gotō“.
The speciality of this – if you like – „Gotō branch“, was the production
of kozuka, kōgai and menuki, also in mitokoromono sets, and
fuchigashira. Tsuba were only included later in the Edo period in the
repertoire of the school. The gō of Masatoki was „Sōtoku“ (宗徳).

27.2 Nomura Masanori (野村正則), 2nd gen.

Masanori – his first name was „Shō´emon“ (庄右衛門) – was the

son of Masatoki. Like his father and all subsequent generations, he
worked for the Hachisuka family, but from Edo. According to
transmission, he also studied under Gotō Shōjō (後藤昌乗, ?-1657), the
1st gen. of the Jinbei line, but some sources also see him as a student of
Tokujō. But both approaches can be dismissed because of Masanori´s
handed-down year of birth: Manji one (1658).

– 228 –
 He used the gō „Itoku“ (意徳) and died in the fifth year of Hōei
(1708) at the age of 51. As indicated in the previous chapter, the life
data of the Nomura artists have to be taken with a grain of salt because
they go back to Wada Tsunashirō´s (和田維四郎, 1856-1920) „Honpō-
sōken-kinkō-ryakushi“ (本邦装剣金工略誌) from 1912 where he lists a
striking number of them as having died at the age of 51 (or also 52).
This means that some of the handed-down master-student relationships
with the Gotō family might have actually existed.
Masanori´s second son Koshirō (小四郎) signed with the name
„Masayoshi“ (正吉). He also studied under Gotō Ekijō (後藤益乗), the
2nd gen. of the Seibei line, and used the gō „Seihaku“ (清伯). He died in
the eighth year of Kyōhō (1723) at the age of 52. The third son of
Masanori, Shōjirō Masayuki (庄次郎正行), also studied under Ekijō.
His gō was „Ryō´en“ (了円) and he died in the 13th year of Kyōhō
(1728) at the age of 52. Jōen (常円) from the Fujinaka family (藤中)
was also a student of Masanori but his actual profession was that of a
preparatory craftsman for the Gotō family.

27.3 Nomura Masatada (野村正矢), 3rd gen.

Masatada was the son of Masanori. He adopted his first name

„Shō´emon“ (庄右衛門) and he rarely signed with his craftsman name
„Masatada“ but mostly with his nyūdō-gō „Yūki“ (友喜) or his gō
„Niō“ (日翁, also read „Hiō“). Apart from the Gotō style, Masatada also
made some works modelled on Nara Toshinaga (奈良利寿). He was
born in the eleventh year of Kanbun (1671) and died in the seventh year
of Kyōhō (1722) at the age of 52.

– 229 –
 Picture 21: Nomura Yūki Masatada

27.4 Subsequent generations of the Nomura family

The 4th gen. was Masatada´s son Masamichi (正道), also called
„Shō´emon“, whose nickname was „Chōtoku“ (彫徳, meaning „apt“ or
„virtuous craver“). The gō of Masamichi was „Yūsen“ (友仙). His life
data is stated in „Honpō-sōken-kinkō-ryakushi“ as Hōei four (1707) to
Hōreki seven (1757), but there are works extant which mention the ages
75, 77 and 80. This is another indication for the assumption that the data
of the latter work contains many errors (according to the latter,
Masamichi died also at the age of 51). His famous student Tsu Jinpo is
introduced in the separate chapter 27.6
The Masamichi’s successor as 5th gen. Nomura was his son
Masatada (正忠) who also took over the first name „Shō´emon“. He
was born in the 15th year of Kyōhō (1730) and died in the ninth year of
An´ei (1780) at the age of 51. However, there are neither gō nor works
known by Masatada.
The 6th Nomura gen. was Masatsugu (正次). He was the adopted
son of Masamichi and his civilian name was „Nakamura Magoshichi“
(中村孫七). Because of the lack of works, some sources omit Masatada
and list Masatsugu as the actual 5th gen. Nomura. He was born in the
14th year of Kyōhō (1729) and died in the eighth year of An´ei (1779).

– 230 –
 Masatsugu was followed by his son Masamitsu (正光) whose first
name was „Genshichi“ (源七). The „Honpō-sōken-kinkō-ryakushi“ does
not mention his life data but we know an extant work with the
information „made at the age of 61“. Masamitsu´s son Masahide
(正英) succeeded as 8th gen. His first name was „Hidegorō“ (秀五郎)
and he used the gō „Seiryūshi“ (生龍子) and „Seiryūken“ (生龍軒).
The last known head of the Nomura kinkō school was Masahide´s
second son Kotōji Masayoshi (小藤次正芳). It is said that he worked
until the early years of the Meiji era. His gō were „Yūsen“ (友仙) and
„Shōshishi“ (松司子) and he also signed with the pseudonym
„Gekka´an Kōō“ (月下庵光翁). Masahide´s third son Masatsune
(正恒) was called „Masagorō“ (政五郎) and worked primarily as a
nanako artist. Masayuki (正随), the eldest son of Masahide, had a
student called „Yukitoshi“ (随利) who is also listed in some sourves
under the name „Toshiyuki“ (利随).

27.5 Other artists of the Nomura family

Masahide (正秀) – his first name was „Sadashirō“ (定四郎) – is

listed as the son or student of the 6th gen. Masatsugu and also that he
had studied under the 7th gen. Masamitsu too. His gō were „Nintōsai“
(仁藤斎) and „Hokushinrō“ (北辰櫻). There is a dated work from the
tenth year of Kansei (1798) extant. Masamine (正峰) was, according to
transmission, the grandson of this Masahide but it is unclear who was
his father. His first name was „Ka´emon“ (嘉右衛門) and his gō
„Nintōsai“ (仁藤斎), „Sanryūsha“ (鏨立舎) and „Rei´enshi“ (嶺燕子).
Masaharu´s (正春) civilian name was „Kasuya Genshirō“ (粕屋
源四郎). He was a student of the 4th gen. Masamichi. We also know the
Masatsugu-students Kōno Yoshitarō (河野嘉太郎) alias Masakuni
(正邦) and Nagafusa (長房). Both worked for the Hachisuka family too
but directly from the Tokushima fief. Nagafusa belonged to the local
Awa-kinkō line of the Hirata family (平田, see chapter 44.1).

– 231 –
 Students of the 7th gen. Masamitsu were, among others, Masanao
(正直) and Masatoyo (正豊). Masanao´s civilian name was
„Wakabayashi Takegorō“ (若林竹五郎)*68 and he started his career as a
nanako artist. He enjoyed a long life and therefore left many works. It is
also said that he later took the place of Masahide as 7th gen. Nomura.
Masatoyo was a student and later the son-in-law of Masamitsu. Before
his adoption he was called „Ōmizo Sagorō“ (大溝左五郎). Masanao´s
son Wakabayashi Tomejirō (若林留次郎) and his student Kosuge
Kōjirō (小菅幸次郎) worked as nanako artists for the Nomura
mainline. Yano Denzaemon (矢野伝左衛門), whose craftsman name
was „Hidemasa“ (英政), had studied under the 8th gen. Masahide and
received permission to use the family name „Nomura“. A student of
Masahide (正秀) was Teruchika (英親, also read „Hidechika“), whose
civilian name was „Ichikawa Magohei“ (市川孫平).

27.6 Tsu Jinpo (津尋甫)

Jinpo´s first name was „Hachizaemon“ (八左衛門). He was born in

the sixth year of Kyōhō (1721) and learned the kinkō craft from
Masamichi, the 4th gen. of the Nomura family. Old sources also mention
a master-student relationship with Gotō Tsūjō (後藤通乗) but this is
probably based on the similarity of their workmanship because Tsūjō
died in the year Jinpo was born. As indicated, Jinpo worked in the style
of the Gotō and the Nomura school, i.e. shakudō with nanako ground
and a takabori-iroe ornamentation, whereas the latter style – which
depicts mostly plants, fish or other animals – occupies by trend larger
areas of the ground plate. Sometimes we also find works which are
done in sukidashibori or kebori.

*68
According to the Haynes-Index his first name was „Masugorō“ (升五郎).

– 232 –
 Jinpo was very talented but died at the height of his creative period,
namely in the sixth month of Hōreki twelve (1762) at the young age of
42. Transmissions say that he had a strong body and several scars from
swordfights but was nevertheless of a noble and elegant appearance.

Picture 22: Tsu Jinpo

– 233 –
Genealogy of the Nomura school:
Masatoki (正時), 1st gen.
founder of the Nomura school
student of Gotō Kenjō (顕乗)
or of Tokujō (徳乗), 1616-1679
craftsman of the Hachisuka fam.

Masanori (正則), 2nd gen.

son of Masatoki, 1658-1708
also studied under Gotō Shōjō (昌乗)

Masayoshi (正吉) Masayuki (正行) Masatada (正矢), 3rd gen. Jō´en (常円)
2nd son of Masanori 3rd son of Masanori 1st son of Masanori student of Masanori
also studied under Gotō also studied under Ekijō 1671-1722 Nakamura fam. (中村)
Ekijō (益乗), 1673-1723 1677-1728
Masamichi (正道), 4th gen.
son of Masatada, 1707-1757

Tsu Jinpo (津尋甫) Masatada (正忠), 5th gen. Masaharu (正春)

student of Masamichi son of Masamichi, 1830-1780 student of Masamichi
1721-1762 Kasuya fam. (粕屋)

Masatsugu (正次), 6th gen.

adopted son of Masamichi
Nakamura fam. (中村)
1729-1779

Masahide (正秀) Masamitsu (正光), 7th gen. Masakuni (正邦) Nagafusa (長房)
student or son of son of Masatsugu student of Masatsugu student of Masatsugu
Masatsugu Kōno fam. (河野) Hirata fam. (平田)

Masamine (正峰) Teruchika (英親)

grandson of Masahide student of Masahide
Ichikawa fam. (市川)

Masanao (正直) Masatoyo (正豊) Masahide (正英), 8th gen.

Wakabayashi fam. (若林) student and son-in-law son of Masamitsu
student of Masamitsu of Masamitsu
Ōmizo fam. (大溝)

Masayuki (正随) Hidemasa (英政) Masayoshi (正芳), 9th gen. Masatsune (正恒)
1st son of Masahide student of Masahide 2nd son of Masahide 3rd son of Masahide
Yano fam. (矢野) nanako artist
Yukitoshi (随利)
student of Masayuki
also „Toshiyuki“ (利随)

– 234 –
28. The Murakami school (村上)

28.1 Murakami Jochiku (村上如竹)

Unfortunately, Jochiku’s master is unknown but is is transmitted that

he first applied zōgan inlays to stirrups (abumi, 鐙) under the name of
„Nakanori“ (仲矩) in Kanazawa (金沢). We also know the craftsman
name of Mitsunori“ (光則) and his first name „Seijirō“ (清次郎). He
was active from about Meiwa (1764-1772) to Tenmei (1781-1789) in
Edo´s Shinmonzen district (新門前町) and used the gō „Kanshōdō“
(観笙堂) and „Yūkokuken“ (幽谷軒). Because of the use of the
character „shō“ (笙) in the former pseudonym – a wooden mouth organ
– it is assumed that he also played that instrument. An important
reference for this artist and his production site is the extant signature:
„Bushū San´en-zan-roku ni oite Akabane no hotori Murakami Seijirō
Nyūdō Jochiku Mitsunori saku“ (武州三緑山麓於赤羽辺村上清次郎
入道如竹光則作, „made by Murakami Seijirō Mitsunori, nyūdō-gō
´Jochiku´, at the foot of Mt. San´en at Akabane *69 in Musashi
province“). Jochiku´s year of birth and death are unknown but we know
of pieces which are at least signed with the supplement „made at the age
of 65“. Regarding his style, the ornamentation takes quite a large place
on the ground plate and is mostly inlayed in suemon and carved in
takabori. Because his origins were that of a zōgan artist, many pieces
show excellent hira-zōgan applications. But the Murakami style refrains
mostly from additional kebori or katakiribori. Another characteristic of
the school is the slightly uneven surface finish, the so-called „chirimen-
ishime“ (縮緬石目, lit. „silk crepe ishime“) or „kawa-ishime“ (革石目,
lit. „leather ishime“). Motifs of dragonflies, butterflies and fish were
daring for his time and novel in their realism.

*69
„San´en-zan“ is the so-called „mountain name“ of Tōkyō´s Zōjō-ji (増上寺) and Akabane the
corresponding district.

– 235 –
 Picture 23: Murakami Jochiku

28.2 Other artists of the Murakami family

Johaku (如柏) – his first name was „Wasuke“ (和助) – was first the
student of Jochiku but was later adopted by him as successor.
Accordingly, he followed as 2nd gen. Jikuchi after the death of the
master, using the name „Shōeiken Jochiku“ (松英軒如竹).
Interestingly, there is a work extant which bears the signature Shōei-
aratame nidai Jochiku“ (松英改め二代如竹, „2nd gen. Jikuchi, name
changed to ´ Shōei´“).
The records are in disagreement about Masanori (正則). His first
name was „Tadashichi“ (唯七) and one refers to him as the younger
brother of Jochiku and the others as his son or also as his adopted
student. He worked entirely in the Murakami style and trained several
students himself, whose craftsman names always start with the
character „Nori“ (則). Another adopted son of Jochiku was Jokyō
(如笻) who is listed with the reading „Jogu“ in the Haynes-Index.
„Kyō“ (笻, Chin. „quióng“) is the name of a Chinese bamboo and so it
is assumed that Jokyō took this character in an allusion to his master
and adoptive father („chiku“ (竹) means „bamboo“). Haynes also lists
another way of writing the name „Jokyō“, namely (如筇), which is read
accordingly as „Jotsue“.

– 236 –
 Anyway, the second character of this name has the same meaning as
the former one, i.e. a special kind of Chinese bamboo. In addition, there
is a pair of menuki extant which bears the signature Jochū“ (如中)*70
and it is assumed that all the three names go back to the very same
artist.
Old publications also list two daughters for Jochiku, namely Josui
(如水) and Jotetsu (如鉄). The „Sōken-kishō“ says that Josui came
originally from Kyōto´s Kamo family (加茂) and studied in Edo under
Jochiku. There are some kinkō works known which bear the signature
„Josui“ but which go back to the hand of different artists, like for
example the Mito-kinkō Josui who was a student of Sekijōken
Motozane (赤城軒元孚).

28.3 Other artists of the Murakami school

Students of Jochiku were among others Sugiura Kyūzō (杉浦久蔵),

who used the craftsman name „Josen“ (如泉) and Josen (如瑌), who
worked for the Niwa family (丹羽), the daimyō of Mutsu´s Nihonmatsu
fief (二本松藩). Josen´s son bore the family name „Nozawa“ (野沢)
and signed with the name „Bunjo“ (文如). Joryō (如柳) was another
student of Jochiku as was Joran (如蘭). Joran – his civilian name was
„Nagata Ryōzō“ (永田良蔵) – was born in the second year of Kanpō
(1742) and was hired by the Kikkawa family (吉川), the daimyō of
Suō´s Iwakuni fief (岩国藩), in Meiwa five (1768). In the first year of
An´ei (1772) he was elevated to the rank of samurai accompanied by
the right to wear a sword and the family name „Nagata“ (永田). In
Meiwa five he also started his studies under Murakami Jochiku and his
master gave him, on the 21st day of the twelfth month of that year, the
craftsman name „Joran“. He died on the 17th day of the seventh month
of Bunka one (1804).
dd
*70
An uncommon chracter is used here which consists of the upper radical ( ⺮) and the root
character (中).

– 237 –
 In some meikan records we also find the name „Jotoku“ (如篤) but
it is nowadays assumed that this is a wrong transcription of the name
„Jokyō“ (如笻). Incidentally, the Jochiku-student Josan (如山) is listed
in some sources as the father of Bunjo.
Norihisa (則久) was also a student of Jochiku. His civilian name
was „Sakuragawa Daigorō“ (桜川大五郎) and he was also active as a
kyōka poet (狂歌), a satirical form of the 31-syllable tanka poem
(短歌), in his later years under the pseudonym „Jihisei“ (慈悲成, also
read „Jihinari“). It is said that he was originally a scabbard maker and that
he died at the age of 73. Another student of Jochiku was Noritora
(則虎) who was a retainer of Shinano´s Ueda fief (上田藩) which was
ruled by the Matsudaira family (松平). Hirazawa Montarō (平沢
文太郎) studied under Jochiku too and was adopted by Masanori
(正則). He took the craftsman name „Noriyoshi“ (則珍) and he also
signed the character for „yoshi“ in the variant (珎).

– 238 –
Genealogy of the Murakami school:

Jochiku (如竹), 1st gen.

originally a zōgan master
from Kanazawa, also „Nakanori“
(仲矩) and „Mitsunori“ (光則)

Johaku (如柏), 2nd gen. Masanori (正則) Jokyō (如笻)

student and adopted son of younger brother, son or adopted son of Jochiku
Jochiku, „Shōeiken“ (松英軒) adopted student of Jochiku also (如筇) and probably
also the same person as Jochū
(如中) and Jotoku (如篤)

Noriyoshi (則珍)
student of Jochiku,
adopted son of Masanori
Hirazawa fam. (平沢)

Josui (如水) Jotetsu (如鉄) Josen (如泉) Josen (如瑌)

daughter of Jochiku daughter of Jochiku student of Jochiku student of Jochiku
Kamo fam. (加茂) Sugiura fam. (杉浦) worked for the
Nihonmatsu fief

Bunjo (文如)
son of Josen
Nozawa fam. (野沢)

Joran (如蘭) Joryō (如柳) Josan (如山)

student of Jochiku, 1742-1804 student of Jochiku student of Jochiku
Nagata- fam. (永田), is also listed as the father
worked for the Iwakuni of Bunjo
fief (岩国)

Norihisa (則久) Noritora (則虎)

student of Jochiku student of Jochiku
Sakuragawa fam. (桜川) worked for the
Ueda fief (上田)

– 239 –
29. The Katsura school (桂)

29.1 Katsura Eiju (桂永寿), 1st gen.

Eiju, the founder of the Katsura school, was called „Sajūrō“

(左十郎). He originally came from Kurume (久留米) in Kyūshū´s
Chikugo province but went later to Edo where he studied under Yokoya
Terukiyo (横谷英精) and also under the 2nd gen. Sōyo (宗與, i.e. the 3rd
gen. Yokoya). The „Tōsō-kodōgu-kōza“ does not mention the latter
master-student relationship but that he worked for several years as a
preparative craftsman for Sōyo. The „Nihontō-kōza“, on the other hand,
dismisses the preparative craftsman theory and says that he studied
regularily under Sōyo. However, he returned to his home province after
finishing his studies and was hired by the Arima family (有馬), the
daimyō of the Kurume fief who elevated him to the rank of bushi. He
first used the gō „Shikō“ (紫江) and later, after being employed by the
Arima family, the pseudonym „Unsui“ (雲水) which he changed later to
„Eiju“. Another of his pseudonym’s was Shōyōshi“ (逍遥子).
Transmissions say that he had three sons but who probably all died
young because he had to adopt Egawa Toshimasa (江川利政) from
Mito as successor.
Regarding his workmanship, Eiju stuck to the initial Yokoya style in
shakudō-nanako with takabori-iroe ornamentation and almost no works
in the later Yokoya-style with katakiribori are known. It is said that Eiju
once made a daishō-tsuba with takabori carvings of one hundred horses
for the lord of the Satsuma fief, for which he was royally rewarded with
100 ryō. His year of birth and death are unknown but he was active
from about Meiwa (1764-1772) to Tenmei (1781-1789).

– 240 –
29.2 Egawa Toshimasa (江川利政), 2nd gen.

Toshimasa´s civilian name was „Egawa Seikichi“ (江川 清吉). He

was born in Mito in the third year of An´ei (1774). It is said that he
studied first under the Mito-kinkō Ichiryū Tomoyoshi (一柳友善), and
under his second son Tomomichi (友道), before he went to Edo to
refine his art under Yokoya Terukiyo and eventually under Katsura
Eiju. After his adoption by the latter, he also took over his civilian name
„Katsura Sajūrō“,*71 and the gō „Sōrin“ (宗隣), and was hired by the
Arima family too. Other known pseudonyms of Toshimasa are
„Kōsensai“ (江川斎) – a variation of his former family name „Egawa“
– and „Sōrin“ (宗琳). His year of death is unknown but on the basis of
extant works with the information „made at the age of 82“ and „at the
age of 88“ we know that he enjoyed a long life. His son Egawa
Kamemichi (江川亀道) succeeded as 2nd gen Tomomasa whereas he
took over the first name „Seikichi“ and the gō „Sōrin (宗隣). Another
pseudonym of Tomomasa the second was „Sōrōsai“ (桑老斎).

29.3 Students of the Katsura or Egawa school respectively

From Egawa Sōgi (江川宗義), we know dated works from the fifth
year of Kaei (1852) and the sixth year of Ansei (1859). According to
the „Tōsō-kodōgu-kōza“ he came from the former family of Egawa
Munemasa (江川宗政, 1817-1863)*72 who was a kinkō artist from Ise
province and who worked for the Tōdō family (藤堂) which ruled the
Hisai fief (久居藩). It is also said that Sōgi did preparatory forgings for
the swordsmith Tairyūsai Sōkan (泰龍斎宗寛, ?-1883) and the
Myōchin family of armourers.

*71
The Haynes-Index lists Toshimasa with the name „Saichirō“ (左一郎).
*72
Munemasa´s fomer family name was „Shinoda“ (篠田).

– 241 –
 Other students of Eiju were Yasutoshi (安寿) (see also chapter
„Sendai´s Shibuya school“), Ishii Seisaburō (石井清三郎) who used the
craftsman name „Toshiyasu“ (利易), the brothers Iizuka Seijirō
(飯塚清次郎) and Gizō (儀蔵) from Mito who signed with
„Toshihide“ (利秀) and „Toshihide“ (利英) respectively, and Sakai
Seishichi (酒井清七) alias „Masamitsu“ (正光) who was also born in
Mito. The latter used the gō „Jurōsai“ (寿老斎) and „Ju´unsai“
(寿雲斎). Katsura Sōju (宗寿, also read „Munetoshi“) and Sōman (宗満, also
read „Munemitsu“) also belonged to the kinkō lineage of the Katsura school.
Sōman´s civilian name was „Katsura Sōbei“ (桂宗兵衛).*73

Genealogy of the Katsura school:

Eiju (永寿), 1st gen.

studied under Yokoya Sōyo
and Yokoya Terukiyo

Toshimasa (利政), 2nd gen. Sōgi (宗義) Yasuyoshi (安福)

Egawa fam. (江川), 1774-? Egawa fam. student of Eiju
student, adopted son Shibuya school
and successor of Eiju
Yasutoshi (安寿)
student of Eiju
Toshimasa (利政) Yasufusa (安房) Shibuya school
son of Toshimasa student of Toshimasa
2nd gen. Toshimasa Shibuya school

Toshiyasu (利易) Toshihide (利秀) Toshihide (利英) Sōju (宗寿) Sōman (宗満)
student of Eiju student of Eiju student of Eiju Katsura school Katsura school
Ishii fam. (石井) Iizuka fam. (飯塚) Iizuka fam. (飯塚)

*73
Because of inaccuracies in the transcriptions of older texts, his first name could also have been
„Uhei“ (宇兵衛).

– 242 –
30. Other kinkō artists from Edo

30.1 Kumagai Yoshitsugu and Yoshiyuki (熊谷義次・義之)

Kumagai Yoshitsugu (義次) – his first name was „Genbei“

(源兵衛) – was born in the seventh year of Kansei (1795) in Sendai and
was the 7th gen. of the Kumagai family. He later went to Edo where he
was hired by the Hosokawa family (細川), the daimyō of the Higo fief
(肥後藩). Thereupon he opened up a workshop in Edo´s Yotsuya
district (四谷). His year of death is unknown but there is a work extant
which is signed with the information „made at the age of 71“. Because
of his employer and the resulting order situation, he oriented his work
towards the style of the Higo master Shimizu Jingo (清水甚吾) or the
Hayashi school (林). That means he worked primarily in iron with
karakusa or nunome-zōgan ornamentation. Because of this „similarity“,
his line and his works are also called „Edo-Higo“ (江戸肥後) or,
according to his place of residence, „Yotsuya-Higo“ (四谷 肥後).
Yoshiyuki (義之) was, according to transmission, the younger
brother of Yoshitsugu. Others say he was his son. His first name was
„Genshichi“ (源七) and he came from Sendai too and also worked from
Edo´s Yotsuya for the Hosokawa family. It is said that before his
employment for the latter, he had worked in the style of Hamano
Shōzui, that means mainly in katakiribori, before he changed to the
Edo-Higo style. On the basis of extant documents we know that the 5 th
and 6th gen. of Higo´s Nishigaki school (西垣), i.e. Kanzaemon
(勘左衛門) and Shirōsuke (四郎助) respectively, went to Edo for a
certain time to study under Yoshiyuki (see also chapter 46.3).
Shirōsuke´s apprenticeship lasted from the eight to the tenth year of
Bunka (1811-1813) for example. In documents on Yoshiyuki we find
the entry „go-nai´i kaku“ (御内意覚) regarding Kanzaemon, with the
meaning that the latter became his student on his own request.

– 243 –
 Kumagai Shōjirō Yoshinobu (熊谷庄次郎義信) was, according to
the „Nihontō-kōza“, the son of a hatamoto. He studied under Kumagai
Yoshiyuki and another transmission says that he later married the
widow of Funada Ikkin and moved to Shōnai (庄内) in Dewa province,
the home of Ikkin (see also chapter „Funada Ikkin“). Shōjirō Yoshinobu
was born in the second year of Kansei (1790) and died on the 18th day
of the second month of Keiō three (1867).*74 He used the gō
„Bōryūkutsu“ (望流窟) and „Kansai“ (閑斎).
Yoshinobu´s son Yoshimasa (義正) – whose first name was
„Katsusuke“ (勝助, also read “Shōsuke”) – was born in Shōnai in the seventh
year of Bunsei (1824). The fact that he is also listed with the first name
„Sashichirō“ (佐七郎) is an indication that there was only „one“
Yoshinobu, namely the stepfather of Ikkin and the student of
Yoshiyuki. This means that Yoshimasa later adopted the first name of
his natural father (see also page 75).*75 However, Yoshimasa died on
the 19th day of the fourth month of Meiji 24 (1891). It is said that he
returned to his home country in Dewa in the eighth year of Meiji
(1875).
Another student of Yoshiyuki was Shibata Hachigorō (柴田 八五郎)
who came from Sendai too and who also worked temporarily in Kyōto.
His craftsman name was „Yoshimasa“ (義政). Yoshiyuki´s adopted son
Kumagai Gorō (熊谷五郎) studied also under Gotō Ichijō and therefore
we know from him works in the Edo-Higo and in the Ichijō style.

*74
The „Nihontō-kōza“ says that he died in the fourth year of Bunkyū (1864).
*75
This requires that Kumagai Yoshinobu bore the first names „Shōjirō“ and „Sashichirō“.

– 244 –
30.2 Horie Okinari (堀江興成)

Okinari´s first name was „Yajūrō“ (弥十郎). He entered an

apprenticeship with Hamano Shōzui when he was 15 years old. Back
then he received the craftsman name „Masuyuki“ (益随, also read „Ekizui“),
but when his master died five years later in the sixth year of Meiwa
(1769),*76 he continued his studies under Ōmori Teruhide. Teruhide
granted him the character for „Teru“ (英) whereupon he changed his
name to „Terutoshi“ (英俊). „Okinari“ was his name when he had
finished all his training and was hired by the Hachisuka family
(蜂須賀) for a salary of 50 koku. The Hachisuka were the daimyō of the
Tokushima fief on the island of Shikoku who also employed, among
others, Hamano Yasuyuki (保随), whereas Okinari and Yasuyuki
worked from Edo. Okinari used the gō „Isshiken“ (一枝軒) and
„Sei´undō“ (晴雲堂). His year of death is unknown but we know works
which are signed with the information „made at the age of 75“, which
corresponds to the sixth year of Bunsei (1823). Regarding his
workmanship, at the beginning of his career he tried a mixtures of styles
from the Hamano and the Nara school, which he later combined with
elements of the Nomura family – who worked also for the Hachisuka –
as well as of Yokoya and Ōmori artists.
His successor was his son Okiyoshi (興吉) who also inherited the
first name „Yajūrō“ and the gō „Isshiken“ and „Sei´undō“. He received
from the Hachisuka family a stipend for the support of five persons and
an additional payment of five silver coins. Okiyoshi died in the fourth
month of Tenpō 15 (1844). His son Okihisa (興久) followed him as 3rd
gen. of the Horie school. Okihisa´s first name was „Kichisaburō“
(吉三郎).
Other students of Okinari were Okisada (興定) and Okiyuki (興之)
who also bore the family name „Horie“. And for Okiyuki, the gō
„Shikyūdō“ (枝及堂) is also transmitted.

*76
On this basis Okinari´s year of birth can be estimated to Kan´en two (1749).

– 245 –
30.3 Furukawa Genchin (古川元珍)

It is said that Kichijirō Genchin (吉次郎元珍) was originally a

kazari-shoku (see chapter 1.6) from the Yoshikawa family (吉川). The
transmission further says that he omitted a stroke in the first character
for „Yoshi“ (吉) resulting in „Furukawa“ (古川). Later he studied under
Yokoya Sōmin and signed in the early phase of his career with the name
„Shōju“ (聖寿). Genchin oriented his style towards that of his master,
i.e. katakiribori and kebori ornamentations, and he made first and
foremost kozuka. His year of birth and death are unknown but he was
active around Kyōhō (1716-1736). Some sources also read the character
for Genchin as „Mototaka“ or „Motoyoshi“.
He was succeeded by his son Jōchin (常珍) who continued his style.
Other artists of the Furukawa school were among others Jōchin´s son
Shūchin (秀珍), Motonaga (元長, also read „Genchō“), Jōchin (乗珍),
Sōchin (宗珍), Genmi (元弥・元彌), and Ryōchin (了珍) who came
from the Iwasawa family (岩沢).

Picture 24: Furukawa Genchin

– 246 –
30.4 The Kikugawa school (菊川)

The kinkō lineage of the Kikugawa family was founded by Chōbei

Muneyoshi (長兵衛宗吉) who was active around Kyōhō (1716-1736).
The „Sōken-kishō“ says that the name of the family goes back to their
primary focus on chrysanthemum motifs (kiku, 菊). When we
consolidate all available data then we get three generations Chōbei
Muneyoshi whose successors were subsequently Yoshitsugu (吉次) –
the son of the 3rd gen. Muneyoshi – and his son or according to some
sources his adopted son Hidekiyo (英精).*77
One of Muneyoshi’s outstanding students was Hisahide (久英).*78
He bore the first names „Jibei“ (治兵衛) and „Seizō“ (清蔵) and
received permission to use the family name „Kikugawa“. Some sources
assume that he was even adopted by his master. Hisahide also studied
later under the Ōmori-student Chizuka Hisanori (遅塚久則) from
whom he received the character „Hisa“ (久). By marriage he was also
related to the painter Kikugawa Eizan (菊川英山, 1787-1867) with
whom he exchanged on an artistic level. His nyūdō-gō was „Nanpo“
(南甫) and other pseudonyms of Hisahide were „Gyokushōken“
(玉松軒) and „Yō´shitsudō“ (容膝堂). His year of birth and death is
unknown but extant dated signatures show us that he was mainly active
around Bunsei (1818-1830). He worked for the Moriyama fief (守山藩)
as Hisanori did. One of his sons, his fifth, signed with the name
„Hideyuki“ (英敬).
Other students of Muneyoshi were Eizui (栄瑞・栄端) from the
Narita family (成田), Masanaga (正永), Masayasu (正保), Masatsune
(正恒・政恒) and Motonori (元教, ?-1773) from Mito´s Ōyama line
(泰山). Motonori´s first name was „Shinsuke“ (新助) and he used the
gō „Hōsanken“ (鳳山軒). He had also studied under the Yokoya school
and received permission to use the family name „Yokoya“.

*77
The Haynes-Index lists Hidekiyo with the characters (英清).
*78
Some sources also list this name with the characters (久栄).

– 247 –
Genealogy of the Kikugawa school:

Chōbei Muneyoshi (長兵衛宗吉), 1st gen.

around Kyōhō (1716-1736)

Chōbei Muneyoshi (長兵衛宗吉), 2nd gen.

around Kan´en (1748-1751)

Chōbei Muneyoshi (長兵衛宗吉), 3rd gen.

around An´ei (1772-1781)

Hisahide (久英) Munetsugu (宗次) Eizui (栄瑞・栄端)

student of Muneyoshi son of Muneyoshi student of Muneyoshi
he also studied under Narita fam. (成田)
Chizuka Hisanori around Kyōwa (1801-1804)
Hidekiyo (英精)
son or adopted son of Munetsugu

Hideyuki (英敬)
5th son of Hisahide

Masanaga (正永) Masayasu (正保) Masatsune (正恒・政恒) Motonori (元教)

student of Muneyoshi student of Muneyoshi student of Muneyoshi student of Muneyoshi
around Kyōwa (1801-1804) around Bunka (1804-1818) around Kyōwa (1801-1804) came from Mito´s Ōyama
line, ?-1773

– 248 –
30.5 Ozaki Naomasa (尾崎直政)

The founder of the Ozaki school was a certain Ozaki Tō´emon

Munekore (藤右衛門宗是) of whom it is said that he came from
Kyōto to Edo on orders of Tokugawa Ieyasu at the beginning of the Edo
period. Munekore´s son – who worked for the bakufu too – was Jūbei
Nobusada (重兵衛延貞) who was also known under his gō „Sōken“
(宗堅). Some sources see this gō as his actual craftsman name and
quote it therefore with the Japanese reading „Munekata“. Sōken was a
student of Gotō Teijō (後藤程乗, 1603-1673), the 9th gen. Gotō
mainline. Accordingly, the Ozaki school worked in the style of the
Gotō, i.e. shakudō-nanako with a takabori-iroe ornamentation. In the
records we find Tō´emon Munesuke (藤右衛門宗祐) as a student of
Munekore. At about the time of Gotō Renjō (後藤廉乗, 1627-1708) a
branch of the Ozaki family moved permanently to Edo whereas those
Edo-based Ozaki artists used primarily the character „Bi“ (備) in their
names. For example Biji (備次), Bigi (備義), Bihō (備保), Bihō
(備房), Biei (備英).
Naomasa – first name „Ki´emon“ (喜右衛門) and later „Mago-
zaemon“ (孫左衛門) – was born in Kyōto in the 17th year of Kyōhō
(1732) and belonged therefore to the Kyōto branch of the Ozaki family.
But he went later to Edo as he was hired by the bakufu for a salary of
200 koku with the opportunity to work in the atelier of Gotō Genjō
(後藤玄乗), the 6th gen. of the Genbei line. This took place in the 14th
year of Hōreki (1763). Ozaki Naomasa was very skilful and old
documents, which were published in the years after his death on the 20th
day of the third month of Tenmei two (1782), say that his works are on
a level with the Gotō family. Naomasa used the gō „Kiyōsai“ (貴陽斎)
and „Kisai“ (貴斎), whereas the former is listed in the Haynes-Index as
„Kichōsai“ (貴暢斎).

– 249 –
 Naomasa´s son (some say his adopted son) Yōhachi (養八) used the
craftsman name „Naomoto“ (直旧). As students of Ozaki Naomasa we
know among others Arishige (有重), Yoshimasa (吉政), who did not
work in the Ozaki but in the style of Hamano Shōzuis, Kan´ōsai
Yukimitsu (寛翁斎幸光) who worked also in Chōshū, and Fukuda
Masatomo (福田政供), the son of the shirogane-shi Fukuda Sōhachi
(福田宗八).

Picture 25: Ozaki Naomasa

30.6 The Tsuji school (辻)

The kinkō artists of the Tsuji school, which had it origins in Kyōto,
formed a branch of the Gotō and acted mostly as preperative craftsmen
of the latter. It is only from the 3rd gen. Masakatsu onwards that we find
works and signatures from their own hands. Before, the works were
either left unsigned or handed-over to individual Gotō masters for the
final processing. Because Masakatsu worked from Edo, the Tsuji school
is also listed as a Edo lineage. From extant records we know that there
was also a Kyōto line of the Tsuji school called „Tsuji Yamashiro no
Kami“ (辻山城守) which was based in Fushimi (伏見). The craftsmen
of that line were invited by the Maeda family during the Kan´ei era
(1624-1644) to work for them in Kanazawa (金沢), namely as zōgan
specialists for stirrups (abumi, 鐙) and not for sword fittings.

– 250 –
 The ancestor of this line of zōgan-shi was, according to
transmission, a certain Tsuji Masasada (辻政貞) who was active
around Keichō (1596-1615). Known craftsmen from this line were
Tsuji Masanaga (辻政長), Masanari (政也, also read „Masaya“), and
Masatomo (政知). An ancestor of the Tsuji line who made sword
fittings, a certain Ichirōzaemon Masahide (市郎左衛門政英), who
worked as mentioned in Kyōto is transmitted. He was succeeded by his
son Gen´emon Masachika (源右衛門政近, 1644-1724) who was hired
by the Mito-Tokugawa family (水戸徳川) in the second year of
Kanbun (1662) to work for them from their Edo properties. The 3rd gen.
of that line was Masachika´s son Gen´emon Masakatsu
(源右衛門政勝, 1682-1733). Gen´emon Masakata (源右衛門政方,
1711-1757), the son of Masakatsu, was the 4th gen. Tsuji. He was
followed by Gengorō Masachika (源五郎政親, ?-1797) who used the
gō „Tō´unsai“ (東雲斎). The 6th gen. Gen´emon Masaoka
(源右衛門政丘) was the son of Masakatsu. Other sources also list him
as the student and later adopted son of Masakatsu. He used the gō
„Gyō´unsai“ (暁雲斎) and was succeeded by the 7th and last known
Tsuji generation Gengorō Masataka (源五郎政孝).
Old sources and meikan records list from the 3rd gen. Masakatsu
onwards some Tsuji students whose craftsman name’s start with the
character for „Masa“ (政). For example, Fujiki Shōjirō (藤木庄次郎)
who signed with „Masayuki“ (政之) and the pseudonym „Ryō´ei“
(良栄), Tsuji Seijirō Masatoshi (辻清次郎政利), Yamaura Yasohachi
(山浦八十八) alias Masatomo (政友), Tsuji Genzō Masatomo
(辻源蔵政朝), Hamada Kiichi (浜田喜市) alias Masaoki (政興), who
was according to transmission the second son of Hamano Shōzui´s
student Masanobu (政信), and Watanabe Sukekurō (渡辺助九郎), who
was also allowed to use the family name „Tsuji“ and whose craftsman
name was „Masayuki“ (政幸). Masayuki also signed with the gō
„Hōsetsu“ (保雪) and „Tōkei“ (筩景).

– 251 –
30.7 Miyake Terumitsu (三宅英充)

Terumitsu´s civilian name was „Miyake Honjirō“ (三宅本次郎). He

was born in Nagasaki, Hizen province, in the second year of Kan’en
(1749). Later he went to Edo and became a student of the 2nd gen.
Yokoya Sōyo (横谷宗與) but transmissions tells us that he had also
studied under Ōmori Terumasa (大森英昌) and Yokoya Terukiyo
(横谷英精). The latter is quite comprehensible for his use of the
character „Teru“ (英). He became independent and continued to work in
the style of the Yokoya school. He used the gō „Jiryūken“ (自立軒) and
was eventually hired by the Mōri family (毛利) but worked throughout
his entire career from Edo. He died in the fourth year of Tenmei (1784)
at the young age of 36, a reason why there are not many works known
from this kinkō artist.
He was succeeded by his son Tomohide (友英) who also took over
the first name „Honjirō“ and the gō „Jiryūken“. Tomohide was born in
the seventh year of An´ei (1778) and worked in Edo but also in
Nagasaki. In later years he took the gō „Hokkyū“ (北休) and we also
know the pseudonyms „Hokkyū“ (北丘) and „Keiho“ (桂圃). He died
on the tenth day of the fifth month of Kōka four (1847) at the age of 70.
Terumitsu had more sons, namely Naojirō Terumitsu (直次郎英光)
and Teruhide (英秀), whereas the former worked in Edo and the latter
in Nagasaki. Other more well-known artists of the Jiryūsai line of
Terumitsu were Terumasa (英政) and Shiraishi Kiheiji (白石喜平次).
Kiheiji also studied under the 1st gen. Yokoya Sōmin and signed with
the name or gō „Sōri“ (宗理). He worked for the Matsuura family
(松浦), the daimyō of Hizen´s Hirado fief (平戸藩).

– 252 –
30.8 Mori Joken (森如件)

Mori Joken was originally a mask carver from Kyōto who also went
later in his career to Edo to study the art of kinkō metalwork. His master
is unknown but most of the transmissions assume that he had studied
under the swordsmith and tsuba craftsman Honjō Yoshitane
(本庄義胤) who in turn was a student of the famous smith Taikei
Naotane (大慶直胤). This is supported by Joken´s workmanship which
is mostly rather undecorated iron but he also made kinkō works in
takabori-iroe like fuchigashira and kozuka in shibuichi, shakudō and
gold. He used the gō Nangyokudō“ (南玉堂) and „Ungansai“ (雲岩斎
and 雲巌斎) and as a mask carver he used the name „Ariyoshi Joken“
(有吉如件). His year of birth and death are unknown but there is a Nō
mask extant which bears the inscription „made at the age of 77“, that
means we know that he enjoyed a long life. In later years he became a
very good friend of the kinkō master Kagawa Katsuhiro (香川勝広,
1853-1917), who had once entered an apprenticeship as a Nō mask
carver with Ariyoshi Yoshinaga (有吉吉長)*79 at the age of twelve.
Katsuhiro initially studied the art of kinkō metalwork under Nomura
Katsumori (野村勝守, 1835-1917) and both Katsumori and Katsuhiro
studied later together under Kanō Natsuo (see also chaoters 31.4 and
31.5).

30.9 Seki Yoshinori (関義則)

Yoshinori – his first name was „Naokichi“ (直吉) – bore the family
name of his mother, namely „Sugano“ (菅野), before he started his
career as a kinkō artist. He was born in the twelfth year of Kansei
(1800) in the village of Kawamata (川又), in the nothern Mutsu
province.

*79
Yoshinaga belonged to the Kita school (喜多), one of the five Nō mainlines. The other four
were Kanze (観世), Hōshō (宝生), Kongō (金剛) and Konparu (金春).

– 253 –
 He started to travel throughout the country at the young age of 18,
when he visited Shikoku, Higo and Nagasaki before he returned to his
home village. After his parents death in Bunsei three (1820), he went
into business for himself in Edo on an autodidactic basis but studied
later under Kumagai Yoshiyuki (熊谷義之). It is assumed that he met
Yoshiyuki either directly during one of his travels to Higo or that the
contact to him was made via the Higo fief for which Yoshiyuki worked.
Anyway, he received the character for „Yoshi“ (義) from his master
whereupon he took the name „Yoshinori“. His gō was „Sōryūken“
(雙龍軒). During his studies under Yoshiyuki, he lived in the Edo
mansion of the Kumagai family. He continued the style of his master to
a certain extant and worked primarily in iron with takabori
ornamentations. Regarding his mei, Yoshinori often signed with only
„Seki“ or his gō „Sōryūken“ and on some works, the name „Yoshinori“
is added in the form of a seal. He died on the 30th day of the eleventh
month of Meiji three (1870) at the age of 71.

30.10 The Takahashi school (高橋)

Takahashi Toshitsugu (寿次) – his first name was „Kanejirō“

(兼二郎)*80 – was a student of Tanaka Tōryūsai Kiyotoshi. He used the
gō „Tō´unsai“ (東雲斎) and had also studied in his earlier years under
Akao Yoshitsugu (赤尾吉次). Toshitsugu´s son Yoshitsugu (良次,
1842-73), who was called „Tokujirō“ (徳次郎), learned the kinkō craft
from his father but studied additionally under Kiyotoshi and
Toshiyoshi, who was introduced in chapter 25.3. Yoshitsugu continued
to use the gō „Tokujirō“ but also signed with the pseudonym
„Ryū´unsai“ (龍雲斎).

*80
The Haynes-Index lists this first name with the characters (兼次郎). The „Nihontō-kōza“ and
the „Tōsō-kodōgu-kōza“ use the version quoted here.

– 254 –
 Toshitsugu, Yoshitsugu and Ietsugu (家次) – who studied also
under Kiyotoshi but of whom we don´t know the kind of relationship he
had with the latter two – worked in the style of the Tanaka school,
which was very popular during the bakumatsu era. Yoshitsugu and
Ietsugu also signed their family name in the abbreviated form „Taka“
(高).
Another orientation of the Takahashi school was lead by Masatsugu
(正次). Masatsugu´s first name was „Uhei“ (卯兵衛) and he studied
first under the 2nd gen. Akao Yoshitsugu and the Bushū-Itō school
whereas he signed with the name „Masaoki“ (正興) during these early
years. That means his style is strongly influenced by the latter two
schools, i.e. iron with sukashi. His speciality were tsuba in the so-called
„guribori“ (倶利彫), a kind of carving which consists of parallel
running carvings of different depths in karakusa style. Actually,
guribori was applied to lacquer ware where each layer of lacquer had a
different colour, to produce a colourful grooves. But there are also
single-coloured guribori lacquer wares. Masatsugu´s son Okitsugu
(興次) and his student Masaoki (正興) continued his guribori
interpretations.

30.11 The Yasuda school (安田)

The Yasuda school worked for the bakufu and therefore most of the
works were delivered unsigned. The rare information on the school go
almost entirely back to extant records of the Tokugawa family, that
means they are found in inventories from the officer responsible for the
swords of the bakufu, the so-called „koshimono-bugyō“ (腰物奉行).
Masanaga (政長), whose first name was „Matagorō“ (又五郎), is
considered the founder and 1st gen. of the Yasuda school. He was hired
by Ieyasu in the 15th year of Keichō (1610) for a salary of 150 hyō (~
60 koku) and a stipend for the support of 14 persons. Some sources
wrongly quote his salary in koku (but correct in hyō). Later, the salary
of the Yasuda family was raised to 200 hyō (~ 80 koku).

– 255 –
 It seems that there were two lineages of the Yasuda school, namely
one using the hereditary first name „Matagorō“, and another one whose
heads bore the first name „Gengo“ (源吾). Yasuda-kinkō artists, whose
craftsman name begins with the character (政) for „Masa“ and those
who used the gō „Shōi“ (松以), are attributed to the Matagorō line. The
artists of the Gengo line used the character (方) for „Masa“ which can
also be read „Kata“, whereupon the corresponding craftsmen are also
often listed under the names „Kata…“. It is also assumed that some
members of the Yasuda family worked as sub-contractors for the Gotō
family, accordingly they demonstrate a workmanship in shakudō-
nanako with takabori-iroe.
The Yasuda school in turn also hired craftsmen, namely those of the
Ichimura (一邑) and Fuji (富士) families. Ichimura Masanori
(一邑政則), whose first name was „Chūjirō“ (忠次郎), was a student of
Masatsune (方常), the 8th gen. Yasuda. His gō was „Jakusuiken“
(若水軒) and in his later years „Shisui“ (止水). The former was
adopted by his two sons Masayoshi (政美), first name „Kamejirō“
(亀次郎), and Masakage (政景), as well as by his student Masaharu
(政春) whose civilian name was „Yamamoto Shōgorō“ (山本庄五郎).
From the Fuji family we know Masachika (方周), who is as also listed
sometimes under the name „Katachika“.

– 256 –
Genealogy of the Yasuda school:

Masanaga (政長), 1st gen.

Matagorō (又五郎)

Masatsugu (政次), 2nd gen.

Matagorō (又五郎), son of Masanaga

Masanobu (政信), 3rd gen.

Matagorō (又五郎), son of Masatsugu

Masasada (政貞), 4th gen.

Matagorō (又五郎), son of Masanobu

Masashige (政鎮), 5th gen.

Matagorō (又五郎), son of Masasada

Masatake (政武), 6th gen.

Matagorō (又五郎), son of Masashige
also probably signed with „Masataka“ (政孝)
Masachika (方周)
Fuji fam. (富士), maybe a student
of Masatake or Masanori Masanori (方教), 7th gen.
Matagorō (又五郎), son of Masatake
Also bore the family name „Tanaka“ (田中)

Masatsune (方常), 8th gen.

Matagorō (又五郎), son of Masanori
Also bore the family name „Tanaka“ (田中)

Masanori (政則) Masataka (方孝), 9th gen.

student of Masatsune son of Masatsune, also signed the name
Ichimura fam. (一邑) „Masataka“ with (方高)

Masayoshi (政美) Masakage (政景) Masaharu (政春)

son of Masanori son of Masanori son of Masanori
Ichimura fam. (一邑) Ichimura fam. (一邑) Yamamoto fam. (山本)

– 257 –
 The fate of the kinkō artists working exclusively for the bakufu of
„falling into oblivion“, like the Yasuda and Ichimura, was also shared
for example by the Matsumura (松村) or Tamura (田村) families. As
they handed-over their works unsigned we have to rely on extant
documents. One such source mentions that the origins of the Matsumura
family was in Kyōto and that they worked there as tachi-kanagu-shi.
And further that a certain „Yasaburō“ (弥三郎) worked for Hideyoshi
in Yamashiro province (= Kyōto) during the Tenshō era (1573-1592)
and received a salary of 200 koku. This salary was maintained
throughout the Edo period. It is also mentioned that the Matsumura
residence in Edo´s Ushigome district (牛込), provided for by the
bakufu, measured an immodest 209 tsubo (about 670 m²). From out
present point of view, this was 50 tsubo more than the much more
famous Yoshioka school. The salary was also considerably higher than
the 40 koku the 1st Yoshioka generation Shigetsugu received. This
means that, from the point of view of annual salary and size of the
provided residence, the tachi-kanagu-shi of the Matsumura family
played in the same league as the Gotō!
For comparison, the above mentioned Tamura family received a
salary of 200 hyō (~ 80 koku) and a stipend for the support of 14
persons and lived in a 37 tsubo (about 123 m2) workshop in Edo´s
Tōrishio district (通塩町, present-day Tōkyō´s Nihonbashi district).
The founder of the Tamura family, a certain Munenori (宗徳) worked,
like Yasuda Masanaga, for the bakufu from the 15th year of Keichō
onwards.
Regarding individual craftsmen, we know from records concerning
the Matsumura family names like „Yahachirō“ (弥八郎, Tenpō, 1818-
1830), „Kinshichi“ (金七, also Tenpō), „Kōnosuke“ (鋼之助, Man´en,
1860-1861), or „Matazaemon“ (又左衛門, Jōkyō, 1684-1688). A tsuba
from a efu-tachi-koshirae bears the signature „Matsumura Jibei“
(松村治兵衛) and a date of the second year of Jōō (1653). A gai in
shakudō-nanako with a takabori-iroe ornamentation is signed “Tōbu
go-kanagu-shi Matsumura Masatoku saku kore“ (東武御金具師
松村正篤作之, „made by the Edo kanagu-shi Matsumura Masatoku“).

– 258 –
 Regarding the Murata family, we find in documents from the Genji
era (1864-1865) the name „Shigesaburō“ (茂三郎), and from the Meiji-
era the artist Murata Muneyoshi (宗吉), who made with Kanō Natsuo
and other kinkō artists in Meiji 25 (1892) a tachi-koshirae for emperor
Meiji.

30.12 Miyata Nobukiyo (宮田信清)

Nobukiyo was born in Kyōto on the 22nd day of the twelfth month of
Bunka 14 (1817) as the third son of Kinoshita Yahachi (木下弥八), a
retainer of the Inaba family (稲葉). In Tenpō four (1833), when he was
15 years old, he was adopted by Miyata Yūzen (宮田右膳), a Shintō
priest of Kyōto´s Kamo-jinja (加茂神社). His first name was first
„Tetsunosuke“ (鉄之助) and later „Orie“ (織江). At 16 he entered
apprenticeship with Gotō Mitsuyasu (後藤光保), the 5th gen. of the
Hanzaemon line. When he was 21 he received a stipend from the Inaba
family and spent two years refining his craft. Two years later he went to
Edo and opened up his business in Kayaba-chō in the Nihonbashi
distirict in the 14th year of Tenpō (1843, at the age of 25). Subsequently
he worked for a small Edo branch of the Hosokawa family (細川) and
also for Mutsu´s Nanbu family (南部) who both granted him a stipend
for the support of twelve persons. Nobukiyo used the gō „Kakumeisai“
(鶴鳴斎) and „Jurakusai“ (寿楽斎). In his later years he moved to
Kanasugi (金杉) in Edo´s Nippori district (日暮里) where he died on
the third day of the twelfth month of Meiji 17 (1884) at the age of 68.
He was succeeded by his eldest son Nobuhisa (信久) whose first
name was Orinosuke (織之助). Nobuhisa was born in Edo on the
eleventh day of the tenth month of Kaei two (1849). At the age of 15 he
studied for three years under Funada Ikkin who was a close friend of his
father. After this training he returned to the family workshop. He used
the gō „Tōjō“ (東乗) and „Tōjōsai“ (東乗斎), as well as „Ryūjō“
(柳乗) and „Ryūjōsai“ (柳乗斎).

– 259 –
 After the ban on swords in the year 1876, he and his father also
made flower vases and non-sword related metal ornaments for
Yokohama´s Minoda family (蓑田). He was employed by the Imperial
Household Agency (Kunai-shō, 宮内省) in Meiji 20 (1887) and died on
May 22nd 1926 at the age of 78.
Nobuhisa´s third son Nobuaki (信明) was born on the 22nd day of
the tenth month of Meiji 21 (1888). His first name was „Kikuo“ (菊雄).
He studied under his father and was one of the last kinkō artists of the
Taishō and early Shōwa era who had their roots in the production of
sword fittings. Nobuaki died in January 1968.
Students of Nobukiyo were Nobutoshi (信寿. 1835-?) and
Nobumasa (信政). Nobutoshi´s civilian name was „Takeda Heizō“
(武田平蔵) and he used the gō Jukakusai“ (寿鶴斎), „Ryūjō“ (竜乗),
„Tōdaishi“ (東台子)*81 and „Tōko“ (桃湖). Nobumasa came from the
Harushima family (春島) but not much is known about this artist.

30.13 Tobari Tomihisa (戸張富久)

Tomihisa – whose first name was „Kisōji“ (喜惣次) – was one of

the best and most influental students of Gotō Enjō (後藤延乗), the 13th
gen. of the Gotō mainline. He was also allowed to make daisaku works
for his master. A transmission says that he ended his relationship with
the Gotō for unknown reasons and retreated to Zōshigaya (雑司ヶ谷),
part of Edo´s outskirt in Toyoshima (豊島). The validity of this
transmission is doubted but fact is that the Tobari family was located in
Zōshigaya and that Tomihisa opened his own business at the height of
his career. Kuwahara Yōjirō (桑原羊次郎) assumes in his „Nihon-
sōken-kinkō-shi“ that he maybe wasn´t treated or paid in accordance
with his talent. Tomihisa used the gō „Shōseisai“ (松盛斎) and
„Kōsōken“ (貢僧軒) and he was active around Kansei (1789-1801) and
Bunka (1801-1804) and died in the eighth year of Bunsei (1825).

*81
Haynes reads this gō as „Tōishi“.

– 260 –
 In the „Kinkō-tanki“ we read about Tomihisa: „Gotō student, highly
skilled, [first name] Kisōji (喜惣次), ended for whatever reason his
connection with the Gotō family and moved to [Edo´s] Zōshigaya
(雑司ヶ谷), after some years he returned to Kyōbashi (京橋), did
amongst others preparatory works of dragons and shishi lions [for the
Gotō family], designed himself a kozuka motif of a morning glory
which winds around a bamboo, the back side bears the haiku ´asagao ya
kurikara-ryū no yasa-sugata´ (蕣やくりから龍のやさ姿, „The morning
glory – of the elegant appearance of a winding dragon“).“
Tomohisa was succeeded by his son Yoshihisa (喜久) who was
called „Seishichirō“ (青七郎) and who ran his own kinkō workshop in
Suidō-chō (水道町) in the vicinity of Zōshigaya. Yoshihisa was active
around Bunsei (1818-1830) and Tenpō (1830-1844) and it is said that
he had also studied under Gotō Renjō. However, his extant works are
very similar to works of Gotō Shinjō (後藤真乗), the 15th gen. of the
Gotō mainline, it is assumed that he made daisaku or at least
preparative works for the latter.

30.14 The Tanaka and Sonobe school (田中・薗部)

The founder of the Tanaka school (which had nothing to do with the
Tanaka school introduced in chapter 25) was Tanaka Masayoshi
(田中政芳) who first name was „Bun´emon“ (文右衛門). He was born
in Kyōto and studied first under Naemura Shichirō´emon (苗村
七郎右衛門),*82 before he went to Edo to refine his craft under the
guidance of Gotō Etsujō (後藤悦乗), the 3rd gen. of the Ribei line. At
that time he changed his first name to „Gozaemon“ (五左衛門).

*82
The Haynes-Index lists this kinkō artists with the reading „Nawamura Shichirō´emon“, whereas
the character for „mura“ is quoted with the variant (邑).

– 261 –
 Masayoshi´s successor and 2nd gen. of the Tanaka school was his son
Gozaemon Masafusa (政房) who studied under Gotō Ranjō
(後藤闌乗), the son of Etsujō. Also a Ranjō-student was Masafusa´s
son Gonshichirō (権七郎) who followed him as 3rd gen. Tanaka under
the name „Nobuyoshi“ (信芳). Nobuyoshi also used the gō „Sōkyo“
(巣許) and his son Yoshiaki (芳章) was the 4th gen. of this school.
Yoshiaki´s first name was „Etsunosuke“ (悦之助) but he took later the
hereditary name „Gozaemon“. During his early years he signed with the
name „Masaaki“ (政章). As it was a custom in this family, he learned
first from his father but was then sent to a Gotō for further training, in
his case to Zenjō (後藤全乗), the 5th gen. of the Ribei line. Yoshiaki
was the great-grandson of the 1st gen. Masayoshi and is listed under his
great-grandfather´s name in the Haynes-Index (H 4883.0). The
„Nihontō-kōza“, in its genealogy of the Tanaka school, lists Yoshinaga
(芳修 or 芳脩) between Nobuyoshi and Yoshiaki. Yoshinaga was
Nobuyoshi´s son and bore the first name „Shunzō“ (俊蔵). The
„Nihontō-kōza“ states in this entry without further explanation that the
Sonobe branch goes back to him.
However, the „official“ founder of the Sonobe branch (whose artists
used also the character [園] for „Sono“ [薗]) was Sonobe Yoshitsugu
(薗部芳継). He was born in the fourth year of An´ei (1775) and bore
the first name „Denzō“ (伝蔵). He studied under Yoshiaki (芳章) and
because of his great talent he was eventually adopted by the Tanaka
family as their successor. But he went into business for himself in
Bunka ten (1813) and returned to his original family name „Sonobe“.
His gō was „Tansō“ (澹窓). Yoshitsugu trained many students who
used, as his sons, „Yoshi“ (芳) as the first character of their craftsman
names. He died on the 20th day of the first month of Tenpō 13 (1842) at
the age of 68.
Yoshitsugu´s successor as 2nd gen. Sonobe was his son Yoshihide
(芳英). Yoshihide was born in the second year of Bunka (1805) and
bore the first names „Denzō“ (伝蔵) and „Dengorō“ (伝五郎). His gō
was „Taisen“ (胎仙) and he died on the 19th day of the fourth month of
Genji one (1864).

– 262 –
Genealogy of the Tanaka/Sonobe school:

Masayoshi (政芳), 1st gen.

Tanaka fam. (田中), studied under Gotō Etsujō

Masafusa (政房), 2nd gen.

studied under Gotō Ranjō

Nobuyoshi (信芳), 3rd gen.

studied under Gotō Ranjō

Yoshinaga (芳修) Yoshiyuki (芳幸) Yoshiaki (芳章), 4th gen. Nobumori (信盛)
son of Nobuyoshi son of Nobuyoshi son of Nobuyoshi student of Nobuyoshi
studied under Gotō studied under Gotō Hayakawa fam. (早川)
Zenjō Zenjō

Yoshitane (芳種) Yoshitsura (義連) Yoshitsugu (芳継), 1st gen. Sonobe

student of Yoshiaki student of Yoshiaki Sonobe fam. (薗部), student and adopted son of
Uchida fam. (内田) Hirazawa fam. (平沢) Yoshiaki, therefore also „Tanaka Yoshitsugu“

Yoshihide (芳英) Yoshinatsu (芳夏) Yoshihiko (芳彦) Yoshiharu (芳春)

son of Yoshitsugu son of Yoshitsugu student of Yoshitsugu student of Yoshitsugu
Saitō fam. (斎藤), 1809-82 Miura fam. (三浦)
lived in Echigo province

Yoshitada (芳忠) Yoshioki (芳興) Yoshihisa (芳久) Yoshitomo (芳知)

eldest son of Yoshihide 2nd son of Yoshihide student of Yoshitsugu student of Yoshitsugu
Ōsawa fam. (大沢) Hara fam. (原), student
of Ogawa Yoshitsune
Hidemasa (英正) Hidenaga (英永) (小川芳恒), Tosa province
student of Yoshihide student of Yoshihide
Yamaguchi fam. (山口) Tsuji fam. (辻)
Yoshitsune (芳恒) Yoshimasa (芳正)
student of Yoshitsugu student of Yoshitsugu
Ogawa fam. (小川), Tosa Kawamura fam. (川村)

– 263 –
30.15 Fukawa Kazunori (府川一則)

The 1st gen. Kazunori was born in Edo on the 18th day of the fourth
month of Bunsei seven (1824) as the third son of Fukawa Shigejirō
(府川重次郎). His youth name was „Shigesaburō“ (重三郎).*83 His
father Shigejirō was an author of gesaku (戯作) under the pseudonym
„Gohensha Hanku“ (五返舎半九), an alternative and playful genre
which was very popular. He had studied under the famous writer
Ippensha Ikku (十返舎一九, 1765-1831).*84 Kazunori in turn first
studied painting, which was his actual métier, and entered at the age of
twelve an apprenticeship with the great master Katsushika Hokusai
(葛飾北斎, 1760-1849).
As a painter, Kazunori used among others the pseudonyms
„Kyogaishi“ (巨外史), „Kukushin“ (九々蜃, also read „Kyūkyūshin“),
„Hokushin“ (北岑), „Hokurei“ (北嶺, also read „Hokuryō“), and „Ryūsai“
(竜斎), which he sometimes signed later as a kinkō in the variant
„Kōryūsai“ (蛟竜斎). Three years after Hokusai´s death, in the fifth
year of Kaei (1849), he began to study at the age of 29 under the kinkō
artist and friend Tō Masutsune (東益常) for whom he had previously
made sketches for his motifs on sword fittings. Masutsune in turn was a
student of Gotō Shinjō (後藤真乗), the 15th gen. Gotō mainline.
Kazunori´s first kinkō artist craftsman name was „Tsuneyuki“ (常行)
which he changed in the first year of Ansei (1854) to „Kazunori“. His
debut work, a pair of menuki which he made in the second month of
Kaei six (i.e. only after one year of training), earned excellent critics
and so it came that he switched profession and was henceforth active as
a kinkō artist. At the beginning he influenced by his master, that means
the Gotō style, but was soon influenced by his famous contemporaries
Ichijō and Tōryūsai.

*83
Haynes reads this name as „Jūsanrō“ and the later hereditary name „Shigejirō“ (重次郎) as
„Jūjirō“.
*84
Ikku’s civilian name was Shigeta Sadakazu (重田貞一).

– 264 –
 Kazunori also maintained regular contact with the Arisugawa-no-
miya line (有栖川宮) of successors to the throne, from who he received
in the second year of Meiji (1869) the gō „Ryū´a-shi“ (柳蛙子). He
died on the ninth day of the fifth month of Meiji nine (1876) at the
rather young age of 53.
His successor and 2nd gen. Kazunori was his eldest son Keisaburō
(慶三郎) who later changed his first name to „Keinosuke“ (慶之助).
Kazunori studied under his father but was also active as a painter and a
cloisonne artist. He was born on the eleventh day of the eighth month of
Ansei two (1855) in Edo´s Fukagawa (深川). At the age of only 18 he
made tantō fittings with a dragonfly motif for the Arisugawa-no-miya
family. His gō were among others „Kikyōken“ (徽敬軒), „Kyogaishi“
(巨外史), and „Bunsan“ (文山), and before he succeeded as 2nd gen.
Kazunori he had signed with the name „Norishige“ (則重). But he also
made many non-sword related metal objects like vases, incense trays,
belt buckles, tobacco cases and the like. He died on January 23rd 1919 at
the age of 65.
The 3rd gen. Kazunori was the fourth son of the 1st gen. He was born
on the eighth day of the first month of Meiji three (1870), that means
six years before the death of his father. Therefore he also received later
some training from his older brother, the 2nd gen. His first name was
„Shungorō“ (俊五郎). He signed at the beginning of his career with
„Kazuo“ (一雄) and used the gō „Ichinen´an“ (一念庵), „Ichinenkan“
(一念貫), „Ichiyūshi“ (一雄子), „Ichiyūshi“ (一勇子), „Senshinken“
(洗心子) and „Kyogaishi“ (巨外史). Like his older brother, he mostly
made non-sword related objects and also repaired and restorated sword
fittings. He died in October 1934 at the age of 65.

– 265 –
30.16 Okada Setsuga (岡田雪峨)

Setsuga´s civilian name was „Hashimoto Katsusaburō“ (橋本

勝三郎). He was born in Edo in the ninth month of Ansei one (1854) as
the third son of the then very popular, and much asked for, scabbard
lacquer artist (sayanuri-shi, 鞘塗師) Hashimoto Kyūsaburō
(橋本久三郎). His father died when he was 13 years old and so the
family sent him for an apprenticeship with Takahashi Yoshitsugu
(高橋良次, see chapter 30.10 and also „Genealogy of the Tanaka-
Tōryūsai school“). His first name as a kinkō artist was „Terutsugu“
(英次). When his master Yoshitsugu died, he was only 20 years old and
so he was adopted by the family on his mother´s side, the Okada. In the
seventh year of Meiji (1874), after some years of independent work, he
was employed by the Imperial Household agency (Kunai-shō, 宮内省)
and specialized in the production of tantō fittings. He changed his
craftsman name in Meiji twelve (1879) from „Hidetsugu“ to „Setsuga“
and used also the gō Tōkōsai“ (東光斎), „Chikushidō“ (竹芝堂, Haynes
reads this name „Takeshidō“) and „Tōunsai“ (東雲斎). His year of death is
unknown but we know that he was at least active until the last years of
the Taishō era (1912-1926).

30.17 Toyokawa Mitsunaga (豊川光長)

Toyokawa Mitsunaga was born on the 15th day of the eleventh

month of Tenpō two (1831). He studied under Kikuoka/Watanabe
Mitsushige (菊岡/渡辺光重), the 3rd gen. of the Kikuoka school. His gō
were „Koryūsai“ (古柳斎) and „Shinryūsai“ (真柳斎). He handed over
the administration of the school to his adopted son Saitō Yūkichi
(斎藤勇吉) in the first year of Meiji (1868) and changed his name to
„Mitsuhiro“ (光弘). He opened up a sake store and turned to his great
passion, the kabuki play. He died in the 13th year of Meiji (1880).

– 266 –
 The 2nd gen. Mitsunaga, the aforementioned Saitō Yūkichi, was the
son of the Matsudaira-retainer Saitō Kisaburō (斎藤喜三郎). He was
born in Edo on the eleventh day of the first month of Kaei three (1850).
He was at first a page at his father’s lord, but when the latter had to
retire from his post for unknown resons, he was sent to Toyokawa
Mitsunaga for an apprenticeship as a kinkō artist. This took place in the
second year of Bunkyū (1862) when Yūkichi was 16 years old. Three
years later he married Haru (春), the daughter of his master, and was
adopted into the Toyokawa family. He surpassed his master and father-
in-law and died in the great Kantō earthquake in 1923. His gō were
„Hakusanshi“ (白山子), „Shinryūsai“ (真柳斎), „Bōchū-sanjin“ (夢中
山人, also read „Muchū-sanjin“) and „Uryūsai“ (右柳斎).
The nominal successor and 3rd gen. of the Toyokawa school was
Fukase Mitsutsugu (深瀬光次) but no kinkō works are known from
him. The most outstanding student of the 2nd gen. Mitsunaga was
Katsura Mitsuharu (桂光春) whose first name was „Yonejirō“
(米次郎). He was born in Tōkyō in the ninth month of Meiji four
(1871) and entered his apprenticeship with Mitsunaga the second at the
young age of twelve, i.e. in the 15th year of Meiji (1882). He became
independent in 1898 and used the gō „Furō´an“ (不老庵), „Kōryūsai“
(弘柳斎), „Sei´unsai“ (青雲斎) and „Tōhoku-sanjin“ (東北山人). He
was one of the most active kinkō artists of the Shōwa era and trained
many students, of whom most used the character „Haru“ (春) in their
names. He died on July 31st 1962 at the age of 93. He was succeeded by
his son Nobuharu (信春, 1898-1979).
Other students of the 2nd gen. Mitsunaga were, for example,
Yoshioka Mitsushige (吉岡光重, ?-1923), gō „Shōo“ (照雄) and son
of Sōunsai (see also chapter 15 and „Genealogy of the Yoshioka
school“), and Yanagawa Morihira (柳川守平, 1899-1971) who had
studied first under Yoshioka Mitsushige. Morihira´s gō were „Ichiryū-
shi“ (一柳子), „Furōsō“ (不老叟) and „Shinryūsō“ (真柳叟).

– 267 –
31. The kinkō artists around Kanō Natsuo

31.1 Kanō Natsuo (加納夏雄)

Kanō Natsuo, the greatest tōsō-kinkō artist of the bakumatsu and

Meiji era, was born on the 14th day of the fourth month of Bunsei eleven
(1828) as the son of the Kyōto rice trader Fushimi Jisuke (伏見治助).
His youth name was „Jisaburō“ (治三郎) and he was adopted at the age
of seven by the sword dealer Kanō Jisuke (加納治助, ?-1838). At
twelve he started an apprenticeship with the kinkō artist Okumura
Shōhachi (奥村庄八) and from Tenpō twelve (1841) he also studied
under Ikeda Takatoshi (池田孝寿) from the Ōtsuki school (see also
chaoter 7.7). He learned under the latter for five years and became
independent in the third year of Kōka (1845), one year after his master
had retired. Upon starting his own business he took the name „Natsuo“.
Before, he had signed with „Toshiaki“ (寿朗).
Besides that he studied painting under Nakajima Raishō (中島来章,
1796-1871), from the Maruyama-Shijō school (円山四条), and classical
Chinese under Tanimori Shigematsu (谷森重松) in the old cultural
capital Kyōto. Shinkichi Hara writes about this in his „Die Meister der
japanischen Schwertzieraten“: „The last famous master of sword
fittings was Natsuo who had transmitted this art from the old to the new
Japan and saved it from Europeanization. Natuo´s works are naturalistic
and are entirely influenced by the Maruyama and the Shijō school of
painting. Like his master Raishō, who had distinguished himself with
the depiction of carps, Natuo´s carps belong to the best of his works.“
At 27, or to be more precise in the tenth month of the first year of Ansei
(1854), Natsuo went to Edo where he moved several times in the
subsequent years.

– 268 –
 In Meiji two, the Meiji Restoration was in full progress and Natsuo
was entrusted with carving the models for the new Japanese currency.
This connection of Natsuo to the Ōsaka mint, which printed the bank
notes, lasted until Meiji ten (1877) but in the meanwhile (in 1871)
Natsuo had been employed by the Imperial Household Agency (Kunai-
chō, 宮内省). In Meiji 22 (1889) he became professor at the Tōkyō
School of Fine Arts (Tōkyō-bijutsu-gakkō, 東京美術 学校) which had
been founded two years before. The latter was finally unified in 1949
with other faculties to the present-day Tokyo National University of
fine arts and music (Tōkyō Geijutsu Daigaku, 東京藝術大学). In the
tenth month of 1889, Natsuo was appointed to the rank of teishitsu-
gigei´in (帝室技芸員, lit. „Imperial craftsman“), the forerunner of the
later ningen-kokuhō.
Regarding Natsuo´s artistic approach, he displayed a unique fusion
of styles from the Nara and Yokoya schools represented by their famous
representatives Toshinaga and Sōmin with Ichinomiya Nagatsune and
Tsuchiya Yasuchika, but it goes without saying that he perfectly
mastered all the techniques of his models.
Natsuo had three sons and two daughters. His eldest son Kinekichi
(甲子吉), who used the craftsman name „Fuyuo“ (冬雄), died in the
eleventh month of Meiji 20 (1887) at the young age of 25. His second
son Tatsuyoshi (辰吉), who was a wood carver under the name
„Haruo“ (春雄), also died at the age of 20. So his third son Tetsuzō
(鉄三) – who used the craftsman name Akio“ (秋雄, ?-1950)*85 –
became the official successor of the Kanō school. Natsuo died on the
third day of the second month of Meiji 31 (1898) at the age of 71. One
day before his death he received the Order of merit of the sixth grade
(kun-gōtō, 勲六等), accompanied nominally by the fifth court rank
second grade (jūgo´i, 従五位).

*85
The „Tōsō-kodōgu-kōza“ says that Akio died on September 3rd 1945. The year 1950 comes from
the Haynes-Index.

– 269 –
31.2 Ikeda Takao (池田隆雄)

Takao was born in the third year of Kaei (1850). His first name was
„Yoshitarō“ (芳太郎) and he was the nephew of Natsuo´s master Ikeda
Takatoshi, that means the son of Takatoshi´s brother Ikeda Takanori
(池田孝則). He first studied under his uncle Takatoshi but later entered
the Tōkyō School of Fine Arts where he graduated in the second year of
Meiji (1869) and became Natsuo´s assistant. At the beginning of his
career he was active under the name „Takanori“ (隆則). Together with
Natsuo he worked at the Ōsaka mint but quit the job and returned to
Tōkyō. Takao used the gō „Ittōsai“ (一到斎), „Tōunkyo“ (東雲居) and
„Yomoshōshi“ (四方樵子) and died in 1934 of illness. Some sources
say that Takao was the son of Takatoshi and the Haynes-Index lists his
former craftsman name with the characters (孝則). Both the „Nihontō-
kōza“ and the „Tōsō-kodōgu-kōza“ say that he was the nephew of
Takatoshi.

31.3 Tsukada Hideaki (塚田秀鏡)

Hideaki´s first name was „Renzaburō“ (錬三郎). He was born in

Edo on the 14th day of the ninth month of Kaei one (1848) as the son of
the scabbard maker Dohi Yoshichika (土肥義周). Yoshichika worked
for the Akimoto family (秋元), the daimyō of Kōzuke´s Tatebayashi
fief (館林藩). In Ansei six (1859) Hideaki was adopted by Hata Naoaki
(畑直鏡), who was in turn a swordsmith and the son of the 1st gen.
Shōji Naokatsu (荘司直勝, 1805-1858). At the age of 15 he learned the
kinkō craft under Katsumi Kansai (勝見完斎, 1831-1896), a student of
Iwama Nobuyoshi (岩間信慮, see also chapter 13.5 and „Genealogy of
the Hamano school“). Apart from that he studied painting under Shibata
Zeshin (柴田是真, 1807-1891). His natural father died when he was 20
and he became a preparatory carver for Natsuo that same year. But he
shared a master-student rather than an employee-employer relationship
with the latter.

– 270 –
 As a tribute to his two masters Zeshin and Natsuo, Hideaki took one
character from each of them and combined it to the gō „Shin´yūsai“
(真雄斎). Other pseudonyms of Hideaki were „Kitsusensai“ (橘選斎),
„Shin´isai“ (真惟斎) and „Kōsai“ (香斎). After the ban on swords he
received orders from the then Ministry of Interior (Naimu-shō, 内務省),
took the family name „Tsukada“, and even had the honour of
demonstrating his craft in front of Emperor Meiji in 1886. Upon that he
was appointed to the rank of teishitsu-gigei´in. Hideaki died on
December 29th 1918 at the age of 71.

31.4 Kagawa Katsuhiro (香川勝広)

Katsuhiro was born in the sixth year of Kaei (1853). His first name
was „Kōjirō“ (幸次郎). His grandfather was a fishmonger from Ōmi
province who went later to Edo. His father was also active as a
fishmonger and his mother was the daughter of a sword dealer. Already
at an early age he studied painting under Shibata Zenshin and started an
apprenticeship as a Nō mask carver under Ariyoshi Yoshinaga when he
was twelve (see also chapter 30.8). He learned the kinkō craft from
Nomura Katsumori (野村勝守, 1835-1917) who was a student of
Natsuo. Upon then, in the fifth month of Meiji 31 (1898, according to some
sources in Meiji 33, 1900), Katsuhiro entered the Tōkyō School of Fine Arts
and became a direct student of Natsuo. Together with Unno Shōmin he
is considered as one of the best Meiji-era kinkō artists from the school
of Natsuo. His eldest son pursued another profession and died rather
young at the age of 42. Therefore his second son Katsukiyo (勝清,
1894-1967) took over the workshop of his father. Kagawa Katsuhiro
died on January 15th 1917.

– 271 –
31.5 Nomura Katsumori (野村勝守)

Katsumori was born in the tenth month of Tenpō six (1835) in Aizu-
Wakamatsu in Iwashiro province. There he started an apprenticeship to
be a kinkō artist with the local craftsman Iwazawa Ryōe (岩沢了恵). At
that time he signed with the name „Mitsunori“ (光則). At the age of 26,
i.e. in the first year of Man´en (1860), he went to Edo to refine his craft,
changed his name to „Katsumori“ and became a student of Natsuo in
the second year of Bunkyū (1861). From the middle Meiji era onwards
he worked mostly for the Imperial Household Agency. His gō was
„Fusōken“ (不争軒) and he died on January 24th 1917 at the age of 84.

31.6 Unno Shōmin (海野勝珉)

Shōmin was born in Mito, in Hitachi province, in the fifth month of

the first year of Kōka (1844), the son of Unno Den´emon
(海野伝右衛門). He bore the first names „Takejirō“ (竹次郎) and
„Yagorō“ (弥五郎). At the very young age of nine, in Kaei five (1852),
he started his apprenticeship as a kinkō artist with his uncle, the local
master Unno Yoshimori (海野美盛, also read „Unno Bisei“). Later he
also learned from Hagiya Katsuhira (萩谷勝平), who was also active in
Mito, painting from Adachi Umetani (安達梅渓) and calligraphy from
Take Shōjirō (武庄次郎). In Meiji four (1871) – other transmissions
say in Meiji one (1868) – he went to Edo to give his craft the final
touch. At that time he signed with „Motohira“ (基平). It is said that his
later name „Shōmin“ was created by the fact that he set himself the
target to surpass (Jap. „masaru/shō“, 勝る) the great master Yokoya
Sōmin (宗珉).
In the eleventh and fourteenth year of Meiji (1878 and 1881), at the
first and second „Exhibition for the Industrial Promotion of the
Country“ (kokunai-kangyō-hakurankai, 国内勧業博覧会), he won
prizes for his metalworks. And for the fourth exhibition held in Meiji 28
(1895), he was already appointed as a judge. Five years earlier Unno

– 272 –
Shōmin had entered the Tōkyō School of Fine Arts and studied there
under Kanō Natsuo. One year later he became assistant professor and in
November 1894 he was a regular professor with the rank of kōtōkan
(高等官, „higher official“) in the then Meiji hierarchy of civil servants.
And in 1896, he finally became a teishitsu-gigei´in.
He used the gō „Sōsetsuken“ (藻梲軒) in combination with his
former name „Motohira“, or just „Sōsetsu“ (藻梲) in combination with
„Shōmin“. Other known pseudonyms were „Teigetsu´an“ (貞月庵),
„Kyokutō“ (旭登), „Hōshū“ (芳洲), „Tōkasai“ (東華斎) and
„Seiryūken“ (生龍軒). Unno Shōmin died on October 6th at the age of
73. His first son Toyotarō (豊太郎) – his craftsman name was „Minjō“
(珉乗) – died before him, namely in 1910. His second son*86 Kiyoshi
(清, 1884-1956) took the name „Shūmin“ (秀珉), was a professor at the
new Tōkyō University of the Arts, and was appointed ningen-kokuhō in
1955.

31.7 2nd gen. Unno Yoshimori (二代海野美盛)

The 2nd gen. Yoshimori – his first name was „Shinokichi“ (子之吉,
also read „Nenokichi“) – was the son of Unno Moritoshi (海野盛寿),
the student and nephew of the 1st gen. Yoshimori. Yoshimori the first
(1785-1862) – his first name was „Tasaburō“ (太三郎) – was as
mentioned in the previous chapter a kinkō artist from Mito and
according to transmission the master of the 3rd gen. Tamagawa
Yoshihisa (三代玉川美久), the 1st gen. Ōyama Motozane (泰山元孚),
and of Hagiya Katsuhira. But exact details regarding his master-student
relationship are unclear.
Üler

*86
He is also listed as third or fourth son of Shōmin.

– 273 –
 Moritoshi was born in the fifth year of Tenpō (1834) in Mito. His
first name was „Dentarō“ (伝太郎) and he used the gō „Kiryūsai“
(起龍斎), „Ryōsai“ (凌斎), „Ryō´unsai“ (凌雲斎) and „Ryō´untei“
(凌雲亭). Moritoshi went to Edo sometime between the third and the
eighth year of Meiji (1870-1875) and died there on the first day of the
tenth month of Meiji 29 (1898).
The 2nd gen. Yoshimori was born in the eleventh month of the first
year of Genji (1864), supposively in Edo. But if that is correct then
Moritoshi must have gone to the capital earlier. Anyway, because the 1st
gen. Yoshimori died in the second year of Bunkyū (1862), Yoshimori
the second must had succeeded as 2nd gen. posthumously. The Nihontō-
kōza“ quotes the year of death of the 1st gen. Yoshimori with the first
year of Genji (1864), i.e. the year in which the 2nd gen. was born. So
either he deciced shortly before he died that the son of his nephew
should be his successor, or – which is more likely – Yoshimori the
second declared himself as 2nd gen. Yoshimori later.
However, Yoshimori the second studied later under Shōmin who
was according to the „Tōsō-kodōgu-kōza“ his uncle. If this is correct,
then Moritoshi and Shōmin must have been brothers. Besides his kinkō
studies he learned painting from Sakai Dōitsu (酒井道一, 1846-1913)
and Kawanabe Kyōsai (河鍋暁斎, 1831-1889), and went to Kyōto at
the age of 22 to broaden his style under the instructions of Imao Keinen
(今尾景年, 1845-1924) from the Shijō-Maruyama school (円山四条).
In Meiji 31 (1898) he became professor at the Tōkyō School of Fine
Arts and was also appointed to the rank of teishitsu-gigei´in. He used
the gō „Hōryūken“ (宝龍軒), „Hōryūsai“ (宝龍斎), „Ryō´un“
(淩雲),*87 „Tekkotsu-dōnin“ (鉄骨同人) and „Kiryūken“ (起龍軒). The
2nd gen. Yoshimori died on September 22nd 1919 at the age of 56.

*87
In the „Shinsen Kinkō-meikan“ (新撰金工銘鑑) and other sources, this gō is listed with the
same characters (凌雲) as his fathers. The „Tōsō-kodōgu-kōza“ on the other hand uses always the
variant with the different left radical (compare 冫+ 氵).

– 274 –
– 275 –
– 276 –
 Other
Provinces

– 277 –
– 278 –
32. The northern Mutsu region (陸奥)

32.1 Sendai´s Shibuya school (渋谷)

Mata´emon Toshiyoshi (又右衛門俊芳) who was active between

Jōō (1652-1655) and Genroku (1688-1704) is considered the ancestor of
the Shibuya school but not much is known about him. Therefore
Yasuyoshi (安福) is counted today as the actual 1st gen. of the school.
Yasuyoshi´s civilian name was „Shibuya Ihei“ (渋谷伊兵衛) and he
was born in the third year of An´ei (1774). There exists basically two
theories about his education. One says that he studied under the 2nd gen.
Yokoya Terukiyo (横谷英精) and the other one that he became a
student of Katsura Eiju (桂永寿) in the twelfth year of Bunkyū (1815).
Due to the fact that several Shibuya artists were trained later under
Katsura masters, the latter approach seems to be more likely. Yasuyoshi
worked for the Date family (伊達), the daimyō of the Sendai fief. He
died in the eleventh year of Bunsei (1828) at the age of 55.
He was succeeded by his adopted son Yasufusa (安房) whose first
name was „Zenbei“ (善兵衛). Yasufusa was born in the fifth year of
Bunka (1808) and studied under Toshimasa (利政), the second Katsura
generation, i.e. the successor of Eiju. His gō were „Keirinsai“ (桂林斎),
„Keisōrin“ (桂宗隣) and „Keirinshi“ (桂林子). He also worked for the
Date family like his father and received a salary of five ryō. Yasufusa
died on the 13th day of the fourth month of Bunkyū three (1863).
The 3rd gen. of the Shibuya school was Yasutoshi (安寿), the son of
Tsunefusa (序房) who is described later. Yasutoshi´s first name was
„Tomonojō“ (友之丞) and he studied under Katsura Eiju. His gō was
„Keirinsai“ (桂隣斎 and 桂林斎). Haynes notes that he later changed
his craftsman name to „Yasutomo“ (安儔). His son Gonnojō (権之丞)
followed him as 2nd gen. Yasutoshi and 4th gen. Shibuya. Gonnojō too
refined his craft at the Katsura school and it is said that he also studied
under Iwamoto Kanri (岩本寛利).

– 279 –
 The aforementioned Tsunefusa (序房) was the second son of the 1st
gen. Yasuyoshi. His first name was „Isaburō“ (伊三郎) and worked for
the Date family too, but was never sent to the Katsura school for further
training. He belonged namely to the group of Shibuya artists who also
studied under the Kikuchi school (菊池). Accordingly, Tsunefusa
learned from the first Kikuchi generation Tsunekatsu (序克).
Tsunefusa´s gō were „Gidōken“ (蟻洞軒), which he received from
Tsunekatsu, and „Tōdōshi“ (東洞子).
Other Shibuya artists who belonged to the group of Kikuchi students
were Tsunetomo (序朝) and Tsunesada (序定). They were already
introduced in chapter 24.4.

32.2 Sendai´s Oguma school (小熊)

There existed a family relationship between the Oguma and the

Shibuya school. Representative Oguma-kinkō were Tsunetoshi (常寿),
Toshioki (寿興), Tsuneyuki (序行) and Tsunesato (序郷). Tsunetoshi
worked for the Date family and his gō were „Tōkōsai“ (東藁斎) and
„Tōdōshi“ (東洞子). Toshioki – whose first name was „Kizō“ (喜蔵,
also read „Yoshizō“) – was the son of Tsunetoshi. He studied under Tanaka
Kiyotoshi, was active around Kaei (1848-1854) and Genji (1864-1865),
and used among others the gō „Tōyōsai“ (東洋斎), „Kigen“ (亀眼),
„Setsusai“ (拙斎, also read „Sessai“) and „Setsubunsai“ (拙文斎).
Tsuneyuki´s first name was „Zenkichi“ (善吉). He was born in the
first year of Meiwa (1764) and studied in Edo under Tsunekatsu and
also under the 2nd Kikuchi generation Tsuneoki (序沖). His gō was
„Jūkokuken“ (渋谷軒) and he died in the seventh month of Bunsei
seven (1824). Tsunesato was the son of Tsuneyuki. He also studied
under Tsunekatsu and Tsuneoki and from extant signatures we learn
that he belonged to the Morikawa family (守川). He used the gō
„Takegisha“ (竹宜舎) and settled permanently in Edo. Tsunesato was
active around Bunsei (1818-1830).

– 280 –
 Another son of Tsuneyuki was Masatsugu (政継) whose first name
was „Kikichi“ (喜吉, also read „Kiyoshi“). Masatsugu studied in Edo under
Ishiguro Masatsune (石黒政常) and he was allowed to use the family
name „Ishiguro“. His gō was „Tōgakusai“ (東岳斎). After his return to
Sendai he was hired by the Date family. He died on the twelfth day of
the seventh month of Bunsei seven (1824) at the age of 60.

32.3 Sendai´s Kusakari school (草刈)

According to transmission, a certain Chōsaburō (長三郎) was the

founder of the Kusakari family but who was not a kinkō artist. Relevant
to us are the craftsmen from the sixth generation Kiyosada onwards but
for the sake of completeness the generations in between should also be
listed here. The 2nd gen. Kusakari after Chōsaburō was Hachirōbei
(八郎兵衛). There exist records stating that he worked as a „horimono-
saiku“ (彫物細工, „carver“ in general) or „horimono´ya“ (彫物屋,
ibid.) respectively, and that he received a salary of two ryō and a
stipend for the support of three persons. The name of the 3rd gen. is
unknown but the 4th gen. was called Gonzaburō (権三郎). The 5th gen.
was again called Hachirōbei (八郎兵衛).
But all these records are somewhat inaccurate because in between
appear names like „Kyū´emon“ (久右衛門), „Saburō´emon“ (三郎
右衛門) and „Jirō´emon“ (次郎右衛門) whose affiliation or
relationship with the other generations of the Kusakari family remain
uncommented.
The 6th gen. was Kiyosada (清定). He bore the first name „Hachi-
saburō“ (八三郎) and ran a workshop in Sendai called „Kusakari´ya“
(草刈屋). He studied under the local silversmith Masamura
Shichi´emon (正村七右衛門), but the Honchō kokon-sankō-furyaku“
(本朝古今鏨工譜略) published in the 15th year of Shōhō (1844) says
that he was a student of the Ōmori school. Haynes says that Kiyosada´s
painting teacher was Masamura Shichi´emon.

– 281 –
 But in an old document from the fifth year of Kansei (1792),
Masamura is clearly listed as „gin´ya“ (銀屋, silversmith). From the
point of view of workmanship, Kiyosada was connected to the
Yoshioka rather than the Ōmori school. However, he returned to Sendai
during the Tenmei era (1781-1789) and we know that he carved in the
fourth year of that era (1784) the embossed stamp for the coins minted
by the Sendai fief. Apart from that he was hired by the Date family.
Kiyosada the sixth died in Tenmei five (1785).
The 7th gen. was Monzō Kiyonori (紋蔵清則), the son of Kiyosada.
He died on the second day of the first month of Tenpō twelve (1841) at
the age of 63. He was succeeded by the 8th gen. Kizō Kiyosada
(喜蔵清定). According to the „Tōsō-kodōgu-kōza“, he was the son of
Kiyonori but Haynes lists him as the son of the later mentioned
Kiyoyuki. Kiyosada the eight was born in the second year of Bunka
(1803) and studied in Edo under Ōmori Terumitsu (大森英満). But he
died at the young age of 27 on the fifth day of the ninth month of Tenpō
three (1832).
The 9th gen. Kusakari was Kiyoyoshi (清良) who changed his first
name „Yūnosuke“ (勇之丞) to „Monzō“ (紋蔵) after the succession.
Kiyoyoshi died on the 25th day of the ninth month of Meiji nine (1876)
at the age of 51. Kiyonori and Kiyoyoshi worked also for the Katakura
family (片倉), who were in turn retainers of the Date and castellans of
Shiroishi (白石城) which was located in the Sendai fief. In the Haynes-
Index we read that they received a salary of 800 koku from the Katakura
family but 800 mon (文, 1 ryō = 4.000 mon) is more correct.
Kiyoyuki (清随) – his first name was „Hachisaburō“ (八三郎) –
was the second son of the 1st gen. Kiyosada, i.e. the 6th gen. Kusakari.
He studied in Edo under Ōmori Terumitsu and used the gō „Seiyōken“
(青葉軒), which was probably an allusion to his home Sendai because
„Aoba-jō“ (青葉城) was a pseudonym for Sendai Castle which was
located on Mt. Aoba (青葉) of the same name.

– 282 –
Genealogy of the Kusakari school:

Chōsaburō (長三郎), 1st gen.

no kinkō artist

Hachirōbei (八郎兵衛), 2nd gen.

horimono-saiku (彫物細工)

?, 3rd gen.
name and craftsman name unknown

Gonzaburō (権三郎), 4th gen.

Hachirōbei (八郎兵衛), 5th gen.

Kiyosada (清定), 6th gen.

Hachisaburō (八三郎)

Kiyoyuki (清随) Kiyonori (清則), 7th gen.

2nd son of Kiyosada
Kiyosada (清定), 8th gen.
Kizō (喜蔵)

Kiyoyoshi (清良), 9th gen.

32.4 The craftsmen from Aizu-Wakamatsu (会津若松)

The craftsmen from that region were at the beginning, that means
during the early Edo period, under the influence of the Aizu-Shōami
line but later developed their own style. Because most of them worked
in iron I want to focus on the few who also made kinkō.
First of all, Katō Shigemitsu (加藤重光) has to be mentioned who
was, according to transmission, the grandson of the painter and student
of Kanō Tan´yū (狩野探幽, 1602-1674) Katō Entaku (加藤遠沢, 1643-
1730). Shigemitsu was born in the first year of Kan´en (1748) and it is
said that he studied under the 2nd gen. Yokoya Sōyo. He died on the 21st
day of the second month of Bunsei seven (1824) at the age of 77.

– 283 –
 A later kinkō artist from Aizu was Masamitsu (正光) from the
Kobayashi family (小林). He also occasionally signed with „Hayashi“
(林) or his craftsman name with the characters (政光) and with the
supplement „Shōami“. His first name was „Eizaburō“ (英三郎 or
栄三郎) and he used the gō „Ichiryūsai“ (一柳斎). Masamitsu died on
the seventh day of the seventh month of Meiji 14 (1881). One of the
numerous Aizu-Shōami artists who used „Masa“ (正) as their first
character was Sugawara Masatoshi (菅原正寿). His gō was
„Jakushōken“ (若松軒) and we know from him a dated signature from
the third year of Keiō (1866). Other Aizu-Shōami representative artists
who also worked in softmetal, besides iron, were Ikkō (一光, also read
„Kazumitsu“) and Kanesuke (兼祐). As with the „Masa group“, several
other groups of artists used either „Ichi“ (一) or „Kane“ (兼) as the first
character of their craftsman name. Iwata Bennosuke (岩田弁之助) –
who signed with „Kaneyasu“ (包考, also read „Kanetaka“) – studied first in
Edo under Tanaka Kiyotoshi before he worked in Aizu in the Aizu-
Shōami style. His gō was „Tōyōsai“ (東洋斎) and he also signed in
some rare cases the second character for „yasu“ (考) in the variant (孝).
From Kaneyasu we know a dated signature of the fourth year of Kōka
(1847).
Also belonging to the Aizu-Shōami was the Matsumura school
(松村) of which Katsufusa (勝房), Chū´emon Katsukata
(忠右衛門勝方) and Chū´emon Katsushige (忠右衛門勝成) should be
mentioned. A student of Katsushige was Yatsuji Kisaburō (八辻
喜三郎) who later worked in Edo (see also chapter 34.6). His craftsman
name was „Katsutomi“ (勝肥) and his gō were „An´yōsai“ (安養斎)
and „Kyūsuitei“ (吸水亭). Active around Kōka (1844-1848) was
Katsutomi. His student and adopted son was Katsusada (勝貞) who
worked in Edo too. Katsusada´s civilian name was Yatsuji Rokusaburō“
(八辻六三郎) and he used the gō „Tōkōsai“ (東光斎). Another student
of Katsutomi was the Mito-retainer Yamamoto Kinnosuke
(山本金之助) who signed with „Katsuyuki“ (勝幸). Katsuyuki studied
also under the local Mito Hagiya school.

– 284 –
33. The northern Dewa region (出羽)

33.1 Dewa´s Akita-Shōami group (秋田正阿弥)

The settlement of Shōami artists in that area started when Satake

Yoshinobu (佐竹義宣, 1570-1633) was installed in the seventh year of
Keichō (1602) as the lord of Dewa´s Kubota Castle (久保田城) and the
fief of the same name – which had an income of 20.000 koku. Prior to
that, the area had been under the control of the Akita family (秋田). The
Shōami artists in the service of the Satake followed Yoshinobu whereas
their later representative Shōami Denbei (正阿弥伝兵衛) is counted as
the actual 1st gen. of that line. His civilian name was „Suzuki
Shigeyoshi“ (鈴木重吉). He was born in Shōnai (庄内), in Dewa
province, in the fourth year of Kei´an (1651) as the son of a certain
Genpei (源平衛, ?-1686). In the eighth year of Kanbun (1668) he went
to Edo to study under an unspecified Shōami master. In the first year of
Enpō (1673) he went to Akita where he was financially supported by
the local Funao (舟尾) samurai family which had an annual income of
300 koku. Two years later he was officially hired by Satake Yoshizumi
(佐竹義処, 1637-1703), the third lord of the Kobota fief, and received a
salary of 20 ryō accompanied by a stipend for the support of three
persons and an additional payment of 50 silver coins. In Enpō four
(1676) Shōami Yoshinaga (正阿弥吉長) granted him the craftsman
name „Denbei“ and gave also him permission to use the name
„Shōami“. Denbei retired in Kyōhō eight (1723) at the age of 73. He
was succeeded by his son-in-law Dennai and died on the twelfth day of
the third month of Kyōhō twelve (1727) at the age of 77. His older
brother was Kiyonari (清成, see also chapter 1.8) and his younger
brother Hisakuni (久国, ?-1732).

– 285 –
 Dennai Shigetaka (伝内重高) was the adopted son-in-law of
Denbei and worked for the Kubota fief too, namely from the eleventh
year of Genroku (1698) – the year Denbei officially handed him over
the administration of the school – to his death in the third year of
Hōreki (1753). That means he was for more than 56 years in the service
of the fief. However, the transmissions are somewhat unclear because it
is also possible that he became head of the school only in Kyōhō twelve
(1727) when his father-in-law died. Others assume that he did not take
over the school in Genroku eight but was born in that year. That would
mean he took over the school in Kyōhō twelve at the age of 30 and died
in Hōreki three at the age of 56. Hardly any signed works are extant by
him, in contrary to Denbei. This might be explained by the assumption
that he worked mostly as a daisaku artist for his father-in-law.
The 3rd gen. was Dennai´s adopted son-in-law and former student
Denshichi Shigetsune (伝七重常). Shigetsune went to Edo in Genbun
five (1740) and studied there four three years under Tsuchiya
Yasuchika. When he returned to Akita, he became the student of Dennai
and succeeded as head of the school in Hōreki three (1753). He was
awarded by the fief in the twelfth month of An´ei six (安永, 1777) for
his excellent achievements. After Denbei he is considered the greatest
master of this school.
Denshichi´s successor was his son Kakichi Shigenaka (嘉吉重央)
who studied from An´ei two (1773) in Edo for one year, under the tsuba
craftsman Itō Masakata (伊藤正方). In the third month of An´ei seven
(1778) the then lord of the fief Satake Yoshiatsu (佐竹義敦, 1748-
1785) granted him a stipend for the support of three persons. It is
assumed that he succeeded as head of the school somewhere during the
An´ei era (安永, 1772-1781) but no details are known. His year of death
is also unknown.

– 286 –
 The 5th gen. Akita-Shōami was Shigenaka´s son Rokuya*88
Shigetsune (六弥重恒). It is assumed that Shigenaka died towards the
end of the An´ei era (1772-1781) and that Shigetsune mainly acted as
head during the subsequent Tenmei era (1781-1789).
Other than the Suzuki family, there was another lineage of the Akita-
Shōami group, namely that of the Ishikawa family (石川) which was
roughly contemporary with Denbei, founded by Shigehiro (重広).
Shigehiro was according to transmission a student of the 11th Gōtō-gen.
Tsūjō (後藤通乗) but his year of birth and death are unknown. There is
among others a work extant with the dated signature of the twelfth year
of Genroku (1699) on the basis of which we can roughly determine his
artistic period. Unfortunately, the exact succession of generations of the
Ishikawa line is unknown too. The „Tōsō-kodōgu-kōza“ lists for
example Tōbei Shigesada (藤兵衛重定) – who use the gō „Jusan“
(寿山) and „Juryūsai“ (寿龍斎) and who was also a student of Tsūjō –
as Shigehiro´s successor. In the entry we read also that he was the son
of Tōzaemon Shigetsugu (藤左衛門重次) and was active between
Kyōhō (1716-1736) and Hōreki (1751-1764). The Haynes-Index lists
the same Shigesada (H 08441.0) around 1875 and states: „Son of
Shigemasa. There is also an artist of this family with the same name
listed as a student of Gotō Tsūjō, who has become very mixed up with
this artist. How they are related does not seem to be known.“ The above
mentioned Shigemasa (重政) was in turn the son of Masateru (政照).
Masateru was a samurai with the civilian name „Ishikawa Sanai“
(石川左内). He had studied in Edo under Sano Naoteru (佐野直照, see
also chapter 20.2). A student of Masateru was Masanori (政乗) who
used the gō „Jukokusai“ (寿国斎),*89 „Juryūsai“ (寿柳斎) und „Jumei“
(寿命, also read „Jumyō“).

*88
Haynes reads this pseudonym as „Rokumi“.
*89
Haynes reads this pseudonym as „Jukunisai“.

– 287 –
Genealogy of the Akita-Shōami group:

Denbei Shigeyoshi (伝兵衛重吉), 1st gen.

Suzuki fam. (鈴木), 1686-1727

Dennai Shigetaka (伝内重高), 2 .Gen.

Suzuki fam. (鈴木), adopted son in law of
Shigeyoshi, 1698-1753

Shigetomo (重具) Denshichi Shigetsune (伝七重常), 3rd gen.

Karoku (嘉六), 2nd son of Suzuki fam. (鈴木), adopted son in law of
Shigetaka Shigetaka, also studied under Tsuchiya Yasuchika

Shigenaka (重央), 4th gen.

son of Shigetsune, Kakichi (嘉吉),
studied under Itō Masakata

Shigetsune (重恒), 5th gen.

son of Shigenaka, Rokuya (六弥)

– 288 –
33.2 Mototane (元胤)

Mototane´s civilian name was „Chiba Zensuke“ (千葉善助). He was

born in Dewa province in the tenth year of Bunsei (1827) and went to
Edo during the Ansei era (1854-1860) to enter apprenticeship with
Ishiguro Masatsune (石黒政常). Later he also visited Mito to refine his
craft under Ōkawa Motosada (大川元貞, also read „Gantei“). Haynes says
that he studied there under Ōkawa Teikan (大川貞幹), the son of
Motosada. But the former transmission is supportet by Mototane´s use
of the character „Moto“ (元). Later he returned to Dewa, to his home
fief Honjō (本荘藩), and was hired by the Rokugō family (六郷), the
daimyō of this fief. He was also supported financially, i.e. also from
orders, from the Ikoma family (生駒), the daimyō of the neighbouring
Yashima fief (矢島藩). He was allowed to use the family name „Taira“
(平) and his gō were „Ippōken“ (一芳軒), „Issai“ (一斎), „Zōsekisai“
(象潟斎), „Tōō“ (東翁), „Sen´yō-Issai“ (千葉一斎) and „Sen´yōken“
(千葉軒). Later Mototane too faced difficulties after the ban on swords
and also made other metal ornaments, tobacco cases and the like. He
was succeeded by his son Tanemoto (胤元, civilian name „Chiba
Sankūrō“, 千葉三九郎). Mototane died in the 33rd year of Meiji (1900)
at the age of 73.

33.3 Watanabe Arichika (渡辺在哉)*90

The 1st gen. Arichika was born in Tsuruoka (鶴岡), in Dewa´s

Shōnai fief (庄内藩), in the first year of Kanbun (1661) as the son of
Watanabe Gihei (渡辺儀平, ?-1733). His first name was „Gihei“
(儀兵衛) and he started his apprenticeship with Chinkyū. Later he also
studied under his fellow student Tsuchiya Yasuchika.

d
*90
The family name „Watanabe“ can also be written with the characters (渡部).

– 289 –
 Arichika the first died on the fourth day of the fourth month of
Kanpō two (1742) at the age of 82. Like Chinkyū, Yasuchika and most
of the other Shōnai-kinkō artists, he combined the styles of the Shōami
and the Nara school. Up until the Meiji era five other Watanabe
Arichika were active, but their exact succession of generations is
somewhat unclear. Fact is that all of them adopted the hereditary name
„Gihei“ (儀兵衛). The supposed 2nd gen. Arichika – who used also the
name „Arinobu“ (在布, also read „Zaifu“) – was the son of the 1st gen. He
was born in the second year of Shōtoku (1712) and died on the 21st day
of the seventh month of Hōreki twelve (1762). He was followed by two
Arichika of which one was the 3rd and the other the 4th generation.
The supposed 3rd gen. Arichika also bore the name Taketaka“
(武君). He was born in the fourth year of Genbun (1739). The 4th gen.
Arichika was also called „Masayoshi“ (雅珍, also read „Gachin“ or „Masachin“)
and was the second son of the 2nd gen. He was born in the second year
of Hōreki (1752) and died on the 23rd day of the tenth month of Kansei
twelve (1800). His successor as 5th gen. Arichika was probably the
Arichika who was born in the seventh year of An´ei (1778) who also
used the name „Masaoku“ (雅息, also read „Gasoku“) and the gō „Jiundō“
(治雲堂). He died on the seventh day of the seventh month of Tenpō
seven (1836).
The supposed 6th and last gen. Arichika was the son of Jiundō
Arichika. From him we also know the name „Ariyoshi“ (在珍) and the
gō „Jiunsai“ (治雲斎). He died on the 22nd day of the eighth month
Keiō two (1866).
The second son of the 4th gen. Arichika continued the craftsman
name „Masachika“ (雅哉). His first name was „Zenta“ (善太) and he
also bore the family name „Okada“ (岡田). He was born in the sixth
year of Kansei (1794) and used the gō „Hatsushinsai“ (発心斎 or
發心斎), „Sui´unsai“ (翠雲斎), „Chikuzandō“ (竹山堂, also read
„Takesandō“) and „Tōzandō“ (東山堂).

– 290 –
33.4 Shōnai´s Washida school (鷲田)

According to the genealogy of the Washida family („Washida-ke-

keifushō“, 鷲田家系譜抄), the ancestor of the family was a certain
Masakiyo (正清) who was a retainer of the Matsudaira family, the
daimyō of Echizen´s Fukui fief. Due to an incident, which is not
explained in detail in the genealogy, he was dismissed from service and
wandered around as a rōnin and finally settled in Shōnai. The 1st kinkō
gen. Mitsutoki (光時) – whose first name was „Chōgorō“ (長五郎) –
was the fourth son of Washida Seizaemon Motomasa (鷲田清左衛門
元督) and was born in the third year of Kanpō (1743). He succeeded
under the name „Jinshō“ (尋従) and went to Edo to study under
Yanagawa Naomitsu (柳川直光). Form the latter he received the
craftsman name „Mitsutoki“. After returning to his home fief he was
hired by the Sakai family (酒井) and received a stipend for the support
of three persons. Mitsutoki used the gō Shinkodō“ (信古堂),
„Kangyokutei“ (寒玉亭)*91 and „Yūchikutei“ (有竹亭). He died on the
15th day of the twelfth month of Kyōwa three (1803) at the age of 61.
His successor and the 2nd gen. Washida was his adopted son-in-law
Miura Rinsuke (三浦林助) who took the first name „Chōsaku“ (長作)
after his adoption. He signed first with „Mitsuhiro“ (光弘) and later as
head of the family with „Tokitaka“ (時孝). According to the Haynes-
Index, he studied in Edo under Yanagawa Naotoki (柳川直時), but on
the basis of his craftsman name, a master-relationship with Naotoki´s
successor Naotaka (直孝) is also conceivable. However, Toshitaka used
the gō „Kōkodō“ (好古堂) and died on the eighth day of the ninth
month of Tenpō four (1833) at the age of 58.

*91
Listed as „Kangyokudō“ (寒玉堂) in the Haynes-Index.

– 291 –
 The 3rd gen. was Tokitaka´s son Chōhei (長平) who signed first with
„Mitsunari“ (光成). Later he changed his first name to „Seizō“ (清蔵)
and his craftsman name to „Mitsutoki“ (光時), therefore he is counted
by some as the nominal 2nd gen. Mitsutoki. He was born in the first year
of Kyōwa (1801) and studied for a while in Edo under Yanagawa
Naotsura (柳川直連), who also granted him the craftsman name
„Tsurachika“ (連親). Mitsutoki´s gō was „Kyūkodō“ (求古堂). He died
on the 25th day of the eleventh month of Bunkyū two (1862) at the age
of 62.
He was succeeded by his eldest son Mitsuchika (光親) who was
first called „Gōnosuke“ (剛之助) and later „Chōgorō“ (長五郎).
Because of his great skill Mitsuchika was one of the most influental
Shōnai-kinkō of his time. He married the daughter of Katsura Sekibun
(桂赤文) and died on the 14th day of the second month of Meiji 35
(1902) at the age of 79. His gō were among others „Shōkodō“ (尚古堂),
„Yūzenkyo“ (悠然居), „Yūzensō“ (悠然叟), „Shigen“ (思玄),
„Kamei´an“ (華明庵), „Kōzensha“ (浩然舎), „Tō´en“ (東園) and
„Tō´en-shujin“ (東園主人).
Mitsutoki´s second son, i.e. Mitsuchika´s younger brother
Mitsunaka (光中), was born in the first year of Tenpō (1830). His first
name was „Shinkichi“ (慎吉). Mitsunaka also signed his name in rare
cases with the characters (光仲). He married later into the Washida
family and therefore also signed with that name. He used the gō
„Kōzenkyo“ (浩然居),*92 „Kyōzan“ (嚮山) and „Kyōzandō“
(嚮山堂).*93 Mitsunaka died in the twelfth month of Meiji 22 (1889) at
the age of 69.

*92
He also signed this name in the variant „Kitsuzenkyo“ (詰然居).
*93
This pseudonym is listed in the Haynes-Index as „Hibikisan“ or „Hibikisandō“ (響山・響山堂)
respectively. „Hibikisan“ can also be read „Kyōzan“ but the first character is different. And the
„Tōsō-kodōgu-kōza“ notes explicitely that he always used the variant (嚮) and never (響).

– 292 –
Genealogy of the Washida school:

Masakiyo (正清)
Matsudaira retainer of
the Fukui fief

Motomasa (元督)
Seizaemon (清左衛門)

Jinsei (尋征) Mitsutoki (光時), 1st gen.

elder brother of Mitsutoki son of Motomasa, 1743-1803
Jinshō (尋従), studied under
Yanagawa Naomitsu

Toshitaka (時孝), 2nd gen.

adopted son of Mitsutoki, 1776-1833
Miura Rinsuke (三浦林助)

Mitsutoki (光時), 3rd gen.

son of Toshitaka, 1801-1862
studied under Yanagawa Naotsura

Mitsuchika (光親) Mitsunaka (光中)

1st son of Mitsutoki 2nd son of Mitsutoki
married into the Katsurano 1830-1889
family, 1824-1902

– 293 –
33.5 Shōnai´s Katsurano school (桂野)

The 1st gen. Sekibun (赤文) – his first name was „Shōzō“ (正蔵) –
was born in the village of Murakami (村上), in Echigo province, on the
third day of the third month of Kansei two (1790) as the second son of a
certain kinkō artist called Unken“ (雲軒). It is said that the family name
was first just „Katsura“ (桂). Already in his youth he went to Edo to
study under the Hamano school but his master is unknown. In between
he also refined his craft in Kyōto. He alludes on that with his gō
„Yūrakusai“ (遊洛斎) because „yūraku“ (遊洛) means „journey to
Kyōto“ or „study trip to Kyōto“. In the seventh year of Bunsei (1824),
when he was 35 years old, Sekibun was hired by the Sakai family as a
craftsman of the Shōnai fief but did not settled there in Tsurugaoka
before he was 56 (in the second year of Kōka, 1845). For his signatures
in grass script he even took lessons from the Echigo calligrapher
Kameda Bōsai (亀田鵬斎, 1752-1826). But the various interpretations
of the hard-to-read signatures of his gō „Yūrakusai“ resulted in different
meikan entries. Other pseudonyms of Sekibun were „Tōō“ (東翁) and
„Tōbō“ (東鵬), and often he added the suffix „Sanjin“ (山人) or
„Rōjin“ (老人) to the name „Sekibun“. He was well versed in various
styles and techniques and trained many students. He died on the 14th
day of the first month of Meiji eight (1875) at the age of 86.
The 2nd gen. Sekibun was born on the first day of the eleventh
month of Tenpō nine (1838) when his father,*94 the 1st gen., was in Edo.
He accompanied his father to Shōnai and took over there the school as
second generation Sekibun. Before, he signed with the name „Bunju“
(文寿) and besides „Yūrakusai“ also used later the gō „Keigetsudō“
(桂月堂). He had no sons and so he adopted in Meiji nine (1876) – the
year the ban on swords was passed – the son of his student Honma
Aritake (本間有武), whose craftsman name was „Masatoshi“ (政寿).
Sekibun the second died on February 19th 1912 at the age of 75.

*94
He was his second son. The first name of Sekibun the second was „Yaheita“ (弥平太).

– 294 –
 The civilian name of the 3rd gen. Sekibun was „Honma Fumio“
(本間文雄). He was born in Tsuruoka on the 19th day of the second
month of Meiji two (1869), that means his adoption by the 2nd gen.
Sekibun took place – according to the Japanese way of counting years –
when he was eight years old. At 13 he went to Tōkyō for three years to
study there but had to return to Shōnai to take over the Katsurano
family. Before he used the name „Sekinori“ (赤則, also read „Sekisoku“). At
the age of 22 he went once again to Tōkyō and became there a student
of Kanō Natsuo. He used the gō „Kansai“ (寛斎), „Mui“ (無意) and
„Kaien“ (魁園) and died on May 16th 1940. The 4th and last gen.
Sekibun was Fumikatsu (文克) who studied at the Tōkyō School of
Fine Arts. He was according to transmission the son of the 2nd gen.
Sekibun.
Katsurano Mitsunaga (光長) was the older brother of the 1st gen.
Sekibun. He stayed in Echigo province and worked there from the home
village of Murakami. Mitsunaga used the gō „Kōchō“ (晄長) and
„Roshū“ (鷺洲) and his first name was „Eiji“ (栄治). Mitsuyasu (光保)
was the younger brother of Sekibun the first. His civilian name was
„Katsurano Chūgo“ (忠吾) and, like Mitsunaga, he worked throughout
his life in Murakami. Mitsuyasu´s gō were „Nansan“ (南山) and
„Nansan-Hokushi“ (南山北子). He had a son called Kunimatsu (国松)
who took later the craftsman name „Kazuaki“ (一明). Transmission
says that Kazuaki had studied in Edo but moved to the Shōnai fief after
returning to Echigo. He used the gō „Tōyūsai“ (東遊斎), „Ichigansai“
(一眼斎)*95 and „Itchōdō“ (一眺堂).*96 Katsuaki also signed with
„Roshū-nidai“ (鷺洲二代), i.e. „2nd gen. Roshū“.

*95
Listed „Ichiganshi“ (一眼子) in the Haynes-Index.
*96
The Haynes-Index reads this name „Ichichōdō“.

– 295 –
Genealogy of the Katsurano school:

Unken (雲軒)
Murakami, Echigo province

Mitsunaga (光長) Sekibun (赤文), 1st gen. Mitsuyasu (光保)

1st son of Unken 2nd son of Unken, 1790-1875 3rd son of Unken
Murakami, Echigo province Yūrakusai (遊洛斎) Murakami

Kazuaki (一明) Sekibun (赤文), 2nd gen.

son of Mitsunaga son of Sekibun, 1838-1912
2nd gen. Roshū Bunju (文寿), Yūrakusai (遊洛斎)

Masatoshi (政寿) Sekibun (赤文), 3rd gen.

Honma Aritake (本間有武) adopted son of Sekibun
student of Sekibun natural son of Honma Aritake
1869-1940, student of Kanō Natsuo

Sekibun (赤文), 3rd gen.

Fumikatsu (文克)

33.6 Tsurugaoka´s Kimura school (木村)

Yasusada (安定), whose first name was Yasō“ (弥想), is regarded

as the founder of the Kimura school. He was born in the third year of
Genbun (1738), worked in Tsurugaoka, and died in the seventh year of
Kansei (1795). His son Yasuhide (安秀) followed him as 2nd gen. and
his student and later adopted son Yasutomo (安倫) – his first name was
„Kisōji“ (喜惣治) – opened up his own branch of the Kimura family.
Yasutomo died in the first year of Tenpō (1830) at the age of 66.
Yasuhide was succeeded by Yasumitsu (安光). Yasumitsu´s first name
was „Yasaku“ (弥作) and he also studied in Edo under Sano Tokinobu
(佐野時信).

– 296 –
 Yasumitsu´s successor was his son Tōsaku (東作) who used the
craftsman names „Yasuyuki“ (安如) and „Kazunobu“ (一信). He also
studied under Funada Ikkin. Regarding the Yasutomo branch of the
Kimura family, Yasutomo´s son Yasusada (安貞) succeeded as 2nd gen.
Yasusada was born in the twelfth year of Kansei (1800). He was
subsequently followed by Mohei Yasutaka (茂兵衛安孝) and
Yasuyoshi (安義). Yasutomo had, apart from Yasusada, two more
sons, namely Yasutsugu (安続) and Yasunori (安則).

Genealogy of the Kimura school:

Yasusada (安定)
Tsurugaoka, 1738-1795

Yasutomo (安倫) Yasuhide (安秀)

student and adopted son of Yasusada
son of Yasusada

Yasusada (安貞) Yasutsugu (安続) Yasunori (安則) Yasumitsu (安光)

3rd son of Yasutomo 2nd son of Yasutomo 1st son of Yasutomo

Yasutaka (安孝) Yasuyuki (安如)

son of Yasumitsu
also „Kazunobu“ (一信)
Yasuyoshi (安義)

33.7 Other Shōnai-kinkō artists

Also to be mentioned are Horiguchi Tsuneharu (堀口常春) and

Andō Nobutoki (安藤宜時). Tsuneharu´s first name was „Jirōsuke“
(次郎助). His father was according to transmission Tsunekata (常方),
who was active around Genroku (1688-1704). Nobutoki´s first name
was „Hanbei“ (半兵衛) and he studied under the 1st gen. Tsuchiya
Yasuchika.

– 297 –
34. Mito (水戸)

34.1 Gunji Yogorō and Akashi Yodayū (軍地与五郎・明石与太夫)

In chapter 33.1 we read that the Satake family was transferred to

Dewa´s Kubota fief in the seventh year of Keichō (1602). The Kubota
fief was also colloquially known by the name of their former rulers, the
Akita family (i.e. Akita fief, 秋田藩). Most of craftsmen working for
the Satake family – many of them having their origins in Kyōto´s
Shōami school – followed to Dewa province. This resulted in the
founding of the Akita-Shōami group. Before their transfer, the Satake
ruled large parts of Hitachi province in which the later established Mito
fief was located. The mentioned transfer to Kubota took place because
Satake Yoshinobu did not side with Tokugawa Ieyasu in the Battle of
Sekigahara. Such a transfer to a fief of much lower income was a
common sanction by the bakufu for whatever reason. The Mito fief was
given to a Tokugawa branch, namely to Yorifusa (頼房, 1603-1661),
Ieyasu´s eleventh son, who ruled it from the 14th year of Keichō (1609)
onwards. For comparison, the Hitachi province had an income of
540.000 koku, the Kobuta fief 200.000, and the Mito fief 350.000 koku.
Regarding the local artists Gunji Yogorō and Akashi Yodayū, it is
assumed that they emerged from those who were „left behind“ after the
transfer of the Satake and who were later taken care of by Tokugawa
Yorifusa. This approach is supported by the fact that Yogorō bore the
Shōami name „Kōami“ (巧阿弥), that means it is likely that there was a
certain connection with the Shōami artist from Kyōto who had worked
for the Satake family before.

– 298 –
 Unfortunately not much is known about Akashi Yodayū. There
were two generations Yodayū active whose first bore the craftsman
name „Yasukiyo“ (安清) and the second „Michiyasu“ (道安). The first
Yodayū was hired by the Mito fief in the second month of Genroku 16
(1703), and the second Yodayū on the 25th day of the twelfth month of
Genbun five (1740). The 2nd gen. Yodayū died on the 26th day of the
eighth month of Enkyō three (1746). We know from extant documents
that the two artists received nicknames to distinguish them, namely
„Ko-Akashi“ (古明石, lit „the old Akashi“) for the first, and „Kon-
Akashi“ (今明石, lit. „the present Akashi“) for the second generation.
Gunji Yogorō, who also bore the family name „Kikuchi“ (菊池),
was born according to transmission in the 17th year of Kan´ei (1640).
Records say that he returned after to Mito his training in the seventh
year of Kanbun (1667), at the age of 28. But the extant sources differ on
Yogorō´s education. The „Sōken-kishō“ (装剣奇賞) from the first year
of Tenmei (1781) says that he studied under the 10th Gotō-gen. Renjō
(後藤廉乗, 1627-1708). The later „Kinkō-tanki“ (金工鐔寄, 1839) and
„Edo-kinkō-meifu“ (江都金工名譜, 1810) on the other hand say that his
master was Sekijō (後藤石乗, 1609-1660), the 3rd gen. of the Gotō-
Kibei line.
As mentioned in chapter 2.10, the Gotō mainline was transferred
from Kyōto to Edo at the time of Renjō, or to be more precise, in the
second year of Kanbun (1662). If we believe the latter approach, i.e.
that he studied under Sekijō, then of course these studies did not last
longer than Manji three (1660), the year when Sekijō died. And as there
are no records extant which would indicate that Yogorō went to Edo, he
must have ended his supposed studies under Renjō in 1662. But this
leaves unanswered the question regarding what Yogorō did during the
five years until he returned to Mito. There is also the current and more
accepted theory that two generations Yogorō existed because when he
died on the 20th day of the tenth month of Tenna one (1681), at the age
of 41, he could not haven been the master of the later mentioned Yatabe
Michitoshi (谷田部通寿) who was born in Genroku ten (1697).

– 299 –
 Another kinkō craftsman from the Gunji family was Masatada
(正忠). His first name was „Heishirō“ (平四郎) and, according to an
extant gravestone in Mito´s Jōzenji (定善寺), his grandfather died on
the 20th day of the tenth month of Tenna one (1681) and his father in
Genroku twelve (1699). As the Gunji family of kinkō artists was not
that big it can be assumed, on the basis of the identical date of death,
that it was the 1st gen. Yogorō who was his grandfather and further, that
there was a 2nd gen. Yogorō who died in Genroku twelve. By the way,
Haynes also lists this Masatada with the first name „Yogorō“ which is
another strong indication for two – or if you want with Masatada three
generations – of that name.

34.2 Yatabe Michitoshi (谷田部通寿)

Yatabe Michitoshi – his first name was „Hiroroku“ (彦六) – was

born in the tenth year of Genroku (1697). He studied first under the
local master Gunji Yogorō and went later to Edo to study under Nara
Toshinaga (奈良利寿), Tsūjō (通乗) and Jujō (寿乗), the 11th and 12th
generation Gotō respectively. It is said that his craftsman name goes
back to the master-student relationship with the latter two. „Michi“ is
namely the Japanese reading of „tsū“ (通) and „toshi“ of „ju“ (寿). But
there are also records that he signed his name in earlier years with the
characters (道寿). Later he also used the name „Tanetoshi“ (胤寿, also
read „Inju“). Together with Gunji Yogorō and Shinozaki Yasuhira
(篠崎保平), Yatabe Michitoshi is regarded as one of the ancestors of
the later very successful Mito-kinkō. He was for example the master of
Tamagawa Yoshihisa (玉川美久) and Tsugutoshi (承寿) and died on
the 30th day of the sixth month of Meiwa five (1768) at the age of 72.

– 300 –
 Incidentally, the family name „Yatabe“ is usually quoted today with
the characters (谷田部). But old sources like the „Edo-kinkō-meifu“ and
„Kinkō-tanki“ write „Yatabe“ with (矢田部). Until recent years this was
dismissed as a transcription error but then a tsuba was discovered which
is signed „Suifu-jū Yatabe Hikoroku“ (水府住矢田部彦六, „Suifu“ means
the seat of government of Mito province). That means the latter way of writing
should be considered as the correct one. But to avoid confusion, the
current common variant (谷田部) is used in this publication.

Genealogy of the early Mito-kinkō:

Akashi Yasukiyo (明石安清) Gunji Yogorō (軍地与五郎), 1st gen.

1st gen. Yodayū (与太夫) Kōami (巧阿弥), 1640-1681
Ko-Akashi

Akashi Michiyasu (明石道安) Gunji Yogorō (軍地与五郎), 2nd gen.

2nd gen. Yodayū (与太夫)
Kon-Akashi

Michitoshi (通寿) Yasuhira (保平)

Yatabe fam. (谷田部) Shinozaki fam. (篠崎)
student of Gunji Yogorō student of Gunji Yogorō

Yoshihisa (美久) Tsugutoshi (承寿)

Tamagawa fam. (玉川) Tamagawa fam. (玉川)
student of Michitoshi student of Michitoshi
see separate chapter see separate chapter

– 301 –
34.3 The Shinozaki school (篠崎)

The founder of the Shinozaki school was Shō´emon Yasuhira

(庄右衛門保平) who studied under Yatabe Michitoshi and later under
the 1st gen. Tsuchiya Yasuchika. The Edo-kinkō-meifu“ says that he also
learned from a certain „Kikuchi San´emon“ (菊池三右衛門, his first name
is also read „Mitsu´emon“) who was according to transmission a student of
Gunji Yogorō. Unfortunately, the year of birth and death of Yasuhira
are unknown but he was mainly active around Kan´en (1748-1751).
His successor and 2nd gen. Shinozaki was his son Katsukuni (勝国)
who bore the first name „Tōkurō“ (藤九郎). It is said that he also
studied under Michitoshi, but because his father died when he was
rather young, he ended his training under his father´s student Ichiryū
Tomoyoshi (一柳友善). Katsukuni used the gō „Hōryūdō“ (峯龍堂)
and it is transmitted that he spend most of his career forging works for
the Nara school.
The 3rd gen. Shinozaki was Katsukuni´s son Shōsaburō (庄三郎)
who used the craftsman name „Katsushige“ (勝茂). He studied first
under Katsuteru (勝照) – first name „Matakichi“ (又吉) and gō
„Tōeiken“ (東栄軒) – who was in turn a student of his father. Later he
went to Edo where he refined his craft with the Yokoya-student Miyake
Terumitsu (三宅英充). Katsushige used the gō „Hōryūdō“ (峯龍堂),
„Garyūdō“ (雅龍堂) and „Kōsetsuken“ (後雪軒) and in later years also
the craftsman name „Tsuneyuki“ (常勧).
The main students of Katsushige were the later described Hagiya
Katsuhira, Katsufusa (勝房), Katsuhisa (勝久) and Katsusane (勝威,
also read „Katsutake“). The latter is sometimes also quoted with the
characters (勝咸) and was from the Watanabe family (渡辺). His gō
was „Takubuntei“ (琢文亭). Katsuhisa´s civilian name was „Yamazaki
Chōsuke“ (山崎長助) and his gō „Taikyū´an“ (退休庵). Katsufusa
belonged to the Hagiya family and was the older brother of Katsuhira.
He bore the first name „Isaburō“ (伊三郎) and signed also with the gō
„Shōkōtei“ (尚簧亭).

– 302 –
Genealogy of the Shinozaki school:

Yasuhira (保平), 1st gen.

around Kan´en (1748-1751)

Tomoyoshi (友善) Katsukuni (勝国), 2nd gen.

student of Yasuhira son of Yasuhira
1st gen. Ichiryū (一柳)
see separate chapter

Katsuteru (勝照) Katsushige (勝茂). 3rd gen.

student of Katsukuni son of Katsukuni

Katsusane (勝威) Katsuhisa (勝久) Katsuhira (勝平) Katsufusa (勝房)

student of Katsushige student of Katsushige student of Katsushige student of Katsushige
Watanabe fam. (渡辺) Yamazaki (山崎) and Hagiya fam. ( 萩谷) Hagiya fam. ( 萩谷)
Hagiya fam. ( 萩谷) see separate chapter

34.4 Hagiya Katsuhira (萩谷勝平)

Katsuhira´s first name was „Yasuke“ (弥介). He was born in Mito

on the 20th day of the tenth month of Bunka one (1804) as the second
son of Terakado Yojū (寺門与重)*97. He was later adopted by Hagiya
Nibei (萩谷仁兵衛) and learned the basics of the kinkō craft from his
older brother Katsufusa who first bore the name „Terakado Yosaburō“
(寺門与三郎). He then studied under Shinozaki Katsushige and Ōyama
Motozane (泰山元孚), played an important role among the Mito-kinkō
of the late Edo period, and was the master of the famous Unno Shōmin.

*97
Haynes reads the first name as „Yogi“.

– 303 –
 Katsuhira´s gō was „Seiryōken“ (生涼軒) and he was hired by the
Mito fief in the first year of Kōka (1844). His two sons were Katsuhiro
(勝容) and Katsuyasu (勝保). Katsuhira died on the sixth day of the
ninth month of Meiji 19 (1886) at the age of 83. The eldst son
Katsuhiro, who was called „Denbei“ (伝兵衛), was born in Mito on
the fifth day of the ninth month of Bunsei ten (1827). He married Ikuyo
(イクヨ), the daughter of Suzuki Yahei (鈴木弥平)*98 and later took
over the Suzuki family. Together with his eldest son Kintarō (金太郎,
1854-1901), the later 2nd gen. Katsuhiro (勝容), he moved to Edo after
the ban on swords in 1876. Besides „Seiryōken“ Katsuhiro the first also
used the gō „Takugyokusai“ (琢玉斎). He died on the 20th day of the
eighth month of Meiji 18 (1886).
Because Katsuhiro took over the Suzuki family, his younger brother
Katsuyasu became the successor of Katsuhira. His first name was
„Sōsuke“ (宗介) and he was born in Mito in the third year of Tenpō
(1832). Besides „Chikutōken“ (筑涛軒) he also used the gō
„Seiryōken“ of his lineage. It is said that he later changed his craftsman
name to „Katsutoshi“ (勝寿) but Fukushi Shigeo doubts that they were
the same artist. He assumes that Katsutoshi was maybe a student of
Katsuhira who had an executive function in the Hagiya workshop. The
„Tōsō-kodōgu-kōza“ also lists Katsutoshi as a different, individual kinkō
artist but with the note „apparently from the family of Katsuhira, used
also the gō ´Seiryōken´“. However Katsuyasu married Asa (アサ), a
daughter of the Fujisaki family (藤咲)*99 from Hitachi´s Aga district
(多賀). He had no successor and so he adopted Tetsunosuke (鉄助, later
Kikunosuke, 喜久之助), the third son of his older brother Katsuhiro.
Katsuyasu died on the fifth day of the fourth month of Meiji 13 (1880)
at the age of 49.

*98
Haynes reads the first name as „Mibei“.
*99
Fukushi Shigeo quotes the family name with the characters (藤崎).

– 304 –
 Tetsunosuke was born on the 25th day of the ninth month of Ansei
six (1859). After the death of Katsuyasu he took over the Hagiya family
as 2nd gen. Katsuhira. But after the rather early death of his adoptive
father and the death of his father and the 1st gen. Katsuhira six years
later, the adoption was cancelled and he had to return to the Suzuki
family. He too used the gō „Seiryōken“.

Genealogy of the Hagiya Katsuhira line:

Katsuhira (勝平), 1st gen.

origin. Terakado fam. (寺門), 1804-1886
student of Shinozaki Katsushige and
of Taizen Motozane

Sadakatsu (貞勝) Shōmin (勝珉) Katsuyasu (勝保), 2nd gen. Katsuhiro (勝容)
student of Katsuhira student of Katsuhira 2nd son of Katsuhira 1st son of Katsuhira
Namekawa fam. (滑川) see chapter31.6

Katsuhira (勝平), 3rd gen. Katsuhiro (勝容)

3rd son of Katsuhiro son of Katsuhiro
adopted son of Katsuyasu 2nd gen. Katsuhiro
2nd gen. Katsuhira

Katsuhide (勝栄) Katsushige (勝重) Katsuyoshi (勝良) Katsutoshi (勝俊)

student of Katsuhira student of Katsuhira student of Katsuhira student of Katsuhira
Ōmori fam. (大森) Suzuki fam. (鈴木) Hirose fam. (広瀬) Kawakami fam. (川上)

Katsuchika (勝親) Katsunao (勝直) Katsumasa (勝正) Shōgen (勝彦)

student of Katsuhira student of Katsuhira student of Katsuhira student of Katsuhira
Koizumi fam. (小泉) Hashimoto fam. (橋本) Shōji fam. (庄司) Unno fam. (海野)
nephew of Shōmin, the
name can also be read
„Katsuhiko“

– 305 –
34.5 The Ichiryū school (一柳)

The Ichiryū school was founded by Hirano Ryōsuke (平野良助)

who was born in the first year of Kyōhō (1716) and who used the
pseudonym „Ichiryū Tomoyoshi“ (一柳友善). The latter name, as well
as „Ryōsuke“,*100 and his later first name „Izaemon“ (伊左衛門) was
successively inherited within his family. He called his workshop
„Nagasaki´ya“ (長崎屋) which alluded to Nagasaki, his place of origin.
When he eventually moved to Mito he entered apprenticeship with
Shinozaki Yasuhira. Tomoyoshi died on the 16th day of the seventh
month of An´ei seven (1778) at the age of 63, but there is also the date
of the 16th day of the eleventh month of Tenmei seven (1787)
transmitted for his death. But the former date is also found on his
gravestone and in the death register of Mito´s Kō´enji (光円寺). That
means it can be considered as correct. Incidentally, Fukushi Shigeo
reads the name of the school as „Hitotsuyanagi“, to be found in the
series „Tōsō-tōsōgu shogaku-kyōshitsu 131“ („Tōken-Bijutsu“ 585,
October 2005).
The 2nd gen. Tomoyoshi was the son of Tomoyoshi the first and was
born in Mito in the first year of Enkyō (1744). According to
transmission he also studied in Edo under the 2nd Tsuji generation
Masachika (辻政近) who worked, as mentioned in chapter 30.6, for the
Mito-Tokugawa family but from their Edo facilities. The 2nd gen.
Tomoyoshi died on the 14th day of the twelfth month of Tenmei three
(1783) at the young age of 40.
The 3rd gen. was the student and later adopted son of the second
generation. He bore first the first name „Sō´emon“ (惣右衛門) before
he took over the hereditary name „Izaemon“. He retired during the
Bunsei era (1818-1830) and died on the 27th day of the fourth month of
Tenpō eight (1837).

*100
Whereas the character for „Ryōsuke“ can differ, for example with (猟助) or (龍介).

– 306 –
 His successor as 4th gen. Tomoyoshi was his son who was born in
the eighth year of Tenmei (1788). He died on the third day of the sixth
month of Ansei five (1858) at the age of 71. He was followed by his
son, the 5th gen., who signed in his early years with the name
„Tomotsugu“ (友次). Tomoyoshi the fifth died on the 27th day of the
ninth month of Keiō one (1865). The 6th gen. Tomoyoshi was the eldest
son of the fifth generation and was born in Mito on the 19th day of the
eighth month of Kōka three (1846). He went later to Edo and died on
October 5th 1922 at the age of 77.
Hasegawa Takeshi (長谷川武) supports a „seven-generation theory“
which is also followed by Fukushi Shigeo. In the following I would like
to introduce their counting which differs somewhat from the handed-
down succession of generations. According to them, the 3rd gen. was the
son of the 2nd gen. but died young, namely on the 16th day of the
eleventh month of Tenmei seven (1787) at around the age of 23. His
successor as 4th gen. was Sō´emon, the adopted son of the 2nd gen., who
died on the 27th day of the fourth month of Tenpō eight (1837) at
around the age of 70. The 5th gen. was the Tomoyoshi who is commonly
counted as the 4th gen. who died in Ansei five (1858). The 6th gen. was
the Tomoyoshi who signed in his early years with „Tomotsugu“ and the
7th gen. accordingly his son who died in 1922. To make a long story
short, Hasegawa and Fukushi count the Tomoyoshi who died young,
and only four years after the 2nd gen., as the 3rd gen. and not the adopted
son of Tomoyoshi the second. In their opinion the latter followed later
as the 4th gen. This results in a shift of one generation.
Hirano Tomomichi (平野友道) was the second son of the 1st gen.
Tomoyoshi. His first name was „Sanzaemon“ (三左衛門),*101 he used
the gō „Chō´entei“ (長莚亭), and died according to transmission at the
age of 58.

*101
The „Sōken-kishō“ and the „Edo-kinkō-meifu“ list his first name as „San´emon“ (三右衛門).

– 307 –
 The successor of Tomomichi as 2nd gen. of this Ichiryū line was his
son Tomomitsu (友光), whose civilian name was „Hirano
Tomosaburō“ (平野友三郎).*102 Tomomitsu used the gō Ichiryūsai“
(一柳斎), „Senryūken“ (川柳軒) and „Tōkaken“ (桃下軒) and was
active from about Bunsei (1818-1830) to Kōka (1844-1848).
Tomomichi had an outstanding student called „Yoshiaki“ (善明).
Yoshiaki´s civilian name was „Ōsaki Tōkichi“ (大崎藤吉) and he
originally came from Ōmi province. He also studied later under the 3rd
gen. Tomoyoshi (or under the 4th gen. according to Hasegawa/Fukushi).
His gō was „Kogetsutei“ (孤月亭) and he was active from about Bunsei
(1818-1830) to Kōka (1844-1848).
Ichiryū Tomotoshi (一柳友寿) was the son of the 4th gen.
Tomoyoshi (i.e. or the 5th gen. according to Hasegawa/ Fukushi). He
was born in Mito in the second year of Tenpō (1831) as „Hirano
Unosuke“ (平野卯之助). He was very talented and went later to Edo
but after the ban on swords and the strong decreasing orders for sword
fittings he also made ornaments for the growing consumer and collector
class from Europe and the USA which were exported from Yokohama.
Tomotoshi used the gō „Ichiryūken“ (一柳軒) and „Kōkakudō“
(皐鶴堂) and died on the 30th day of the twelfth month of Meiji 22
(1889) at the age of 59.
Another student of the 4th gen. (or the 5th gen. according to
Hasegawa/Fukushi) was Tomoyuki (友随). His civilian name was
„Koizumi Sōsuke“ (小泉宗助) and he used the gō „Ranjutei“ (蘭寿亭)
and „Ranrantei“ (蘭々亭). Tomoyuki also bore the family name
„Ōyama“ (泰山).

*102
He also bore the first name „Kumazō“ (熊蔵).

– 308 –
Genealogy of the Ichiryū school (according to Hasegawa/Fukushi):

Tomoyoshi (友善), 1st gen.

Hirano fam. (平野)

Tomomichi (友道) Tomoyoshi (友善), 2nd gen.

2nd son of Tomoyoshi

Toshimasa (利政) Yoshiaki (善明) Tomomitsu (友光)

student of Tomomichi student of Tomomichi son of Tomomichi
2nd gen. Egawa (江川) Ōsaki fam. (大崎) 2nd gen. of this line

Tomonao (友直)
student of Tomomitsu
Kageyama fam. (蔭山)

Yukiyoshi (行善) Tomoyuki (友行) Tomoaki (友章) Tomoyoshi (友善), 3rd gen.
student of the 2nd gen. student of the 2nd gen. student of the 2nd gen.
Sawabatake fam. (沢畑) Mineshima fam. (峰島) Yamada fam. (山田)

Tomoyoshi (友善), 4th gen.

Sō´emon, adopted son of the 3rd gen.

Tomonao (友直) Tomonori (友徳) Tomoyoshi (友善), 5th gen.

student of the 4th gen. student of the 4th gen.
Kurihara fam. (栗原) Takase fam. (高瀬)

Tomotoshi (友寿) Tomoyuki (友随) Tomoyoshi (友善), 6th gen.

son of the 5th gen. student of the 5th gen. also „Tomotsugu“ (友次)
Koizumi fam. (小泉)

Tomoyoshi (友善), 7th gen.

– 309 –
34.6 The Tamagawa school (玉川)

The Tamagawa school was founded by Tsugutoshi (承寿) who was

the student of Yatabe Michitoshi. His first name was „Saburōshirō“
(三郎四郎) but the „Kinkō-tanki“ lists him with „Saburōbei“
(三郎兵衛). Tsugutoshi worked for the Mito-Tokugawa family and
went later to Edo to study there under the Yoshioka family which
worked for the bakufu. His year of birth and death are unknown but on
the basis of his master-student relationship with Michitoshi, Fukushi
Shigeo calculates his year of birth around Kyōhō nine (1724) and his
year of death around Tenmei four (1784). Tsugutoshi´s gō were
„Hōbōshi“ (芳萌子) and „Tōyōken“ (東洋軒 or 東養軒).
The 2nd gen. of the school was his son Yoshinaga (吉長). Fukushi
calculates his year of birth around Enkyō four (1747). Before he
adopted „Saburōshirō“, the first name of his father, he was called
„Bunpei“ (文平). Yoshinaga too studied under Michitoshi and signed in
his early years with „Masatoshi“ (正寿). One of his students was
Hirotoshi (弘寿), the founder of the Uchikoshi school (打越, see
chapter 34.7). Yoshinaga continued the gō Hōbōshi“ (芳萌子) and
received from the Mito fief a stipend for the support of three persons.
Fukushi assumes that he died around Kyōwa four (1804) and his artistic
period is generally dated around Meiwa (1764-1772) and Kansei (1789-
1801). Yoshinaga´s son Masaharu (政春) was the 3rd gen. Tamagawa.
He was first called „Yūzō“ (勇蔵) and later „Jūgorō“ (重五郎, also read
„Shigegorō“). But the old records list more than one craftsman with the
name „Masaharu“. For example, the „Kinkō-jiten“ (金工事典) writes
that Masaharu belonged first to the Tamagawa and later to the Shōji
family (庄司) and that he was born the eldest son of Yoshinaga in Mito.
Later he studied under Shōji Yoshimasa (庄司美政), a student of the 1st
gen. Tamagawa Yoshihisa, and even went to Edo to study under
Ishiguro Masatsune from which he received the character for „Masa“
(政). He signed with „Ishiguro Masaharu“, used the gō „Genshōsai“
(玄松斎), „Shōsai“ (松斎) and „Kensendō“ (堅鐫斎), and commuted
between Mito and Edo.

– 310 –
 The second „Masaharu“ listed in the „Kinkō-jiten“ belonged to the
Onuki family (小貫). He was also a student of Ishiguro Masatsune and
had studied earlier in Mito under Tamagawa Yoshinari (玉川義成),
who was in turn a student of the 1st gen. Yoshihisa. The gō of this
Masaharu was „Jukakusai“ (寿鶴斎). But Fukushi assumes that the two
entries of the „Kinkō-jiten“ refer to the same artist who studied first
under Yoshinari and later in Edo under Ishiguro Masatsune, and who
also bore, besides „Tamagawa“, the family names „Shōji“ and „Onuki“.
Another theory says that Masaharu did not study under Yoshinari but
the other way round. And some speculate that Masaharu himself
sometimes signed with „Yoshinari“ during his career.
Another line of the Tamagawa school was founded by Tashichi
Yoshihisa (太七美久), the son of Tsugutoshi´s younger brother
Yoshinori (美則). Yoshihisa was born in Mito in the tenth year of
Kyōhō (1725) and studied first under Tsugutoshi and later also under
Tsugutoshi´s master Yatabe Michitoshi. His older brother Zensuke
(善助) was according to tradition a scabbard maker and both worked for
the Mito fief. There exist some entries which say that Yoshihisa also
worked temporarily in the Edo residence of the Mito-Tokugawa family
in Koishikawa (小石川). He used the gō „Joeiken“ (如英軒),
„Kukuken“ (九々軒) and „Tō´un“ (騰雲) and died on the 18th day of
the eleventh month of Kaei one (1789) at the age of 65.
The 2nd gen. of the Yoshihisa line was Yoshihisa´s adopted son
Bunsuke (文助) who adopted later the craftsman name „Yoshihisa“ and
the first name „Tashichi“. Before he had signed with „Yoshinori“
(美則), but this could also be a transcription error and a mix-up with the
above mentioned Yoshinori, the younger brother of Tsugutoshi.
Yoshihisa the second was born in the eighth year of An´ei (1779) and
died on the 28th day of the third month of Tenpō six (1835).

– 311 –
 The 3rd gen. Yoshihisa was the son of the second generation. He
was called „Bunsuke“ and later took over the name „Tashichi“: First he
signed with „Yoshiyuki“ (美敬) and he used the gō „Joeiken“ (如英軒)
and „Sei´yōken“ (青葉軒). He died only four years after his father in
Edo where he had lived in Fukagawa (深川), on the eighth day of the
fouth month of Tenpō ten (1839). From this generation on, the
Tamagawa-Yoshihisa line worked permamently from Edo.
His successor as 4th gen. Yoshihisa was the adopted Katsutomi
(勝肥, see chapter 32.4). The 5th gen. Yoshihisa was Eikichi (栄吉), the
son of the fourth generation. He was born in the third year of Tenpō
(1832) and died in the fourth month of Meiji 15 (1882). The 6th and
last gen. Yoshihisa was Eikichi´s son Kumatarō (熊太郎) who was
born in the first year of Ansei (1854).
More well-known students of the 1st gen. Yoshihisa were Yoshiyuki
(義随) and Yoshiaki (美明). Yoshiyuki´s civilian name was „Hiyama
Genshichi“ (桧山*103 源七). He was born in the third year of Hōreki
(1754) but his year of death is unknown. He had also studied under the
1st gen. Hamano Noriyuki (浜野矩随), used the gō „Denryūsai“
(田龍斎) and „Ryūsai“ (龍斎), and in the meikan records we also find
for him the craftsman name „Toshiyuki“ (寿随) and the characters
(美随) for „Yoshiyuki“. Yoshiaki´s civilian name was „Kurosawa
Shinshichi“ (黒沢新七). He later also studied in Edo under Ishiguro
Masatsune (石黒政常) and used the gō „Ichijōken“ (一城軒),
„Ichijōsai“ (一城斎), „Kōroken“ (香廬軒), „Kōsekidō“ (光石堂),
„Sekijōken“ (石常軒) and „Sekijōsai“ (石常斎). Yoshiaki was active
around Bunka (1804-1818).

*103
Also often quoted with the old characters (檜山).

– 312 –
Genealogy of the Tamagawa school:

Michitoshi (通寿)
Yatabe fam. (谷田部)

Yoshihisa (美久), 1st gen. Tsugutoshi (承寿), 1st gen.

student of Michitoshi student of Michitoshi
Tamagawa fam. (玉川) Tamagawa fam. (玉川)

Yoshihisa (美久), 2nd gen. Yoshiyuki (義随) Yoshiaki (美明)

adopted son of the 1st gen. student of Yoshihisa and student of Yoshihisa
of Hamano Noriyuki Kurosawa fam. (黒沢)
Hiyama fam. (桧山)
Yoshihisa (美久), 3rd gen. Yoshikatsu (美勝)
son of the 2nd gen. student of Yoshiaki
Yonemoto fam. (米本)
Yoshihisa (美久), 4th gen.
= Katsutomi (勝肥)
Tomiyuki (富随) Tsuguyuki (次随)
Yoshihisa (美久), 5th gen. student of Yoshiyuki student of Yoshiyuki
son of the 4th gen. Aoyagi fam. (青柳) Uchiki fam. (内木)

Yoshihisa (美久), 6th gen. Yoshikiyo (美清) Yoshinaga (吉長), 2nd gen.
son of the 5th gen. student of the 4th gen., studied son of Tsugutoshi
also under Ishiguro Masayoshi

Hirotoshi (弘寿) Yasunori (保則) Masakazu (政員) Masaharu (政春), 3rd gen.
student of Yoshinaga student of Yoshinaga student of Yoshinaga son of Yoshinaga, also Shoji (庄司)
Uchikoshi fam. (打越) Nukagawa fam. (額川) Morikawa fam. (森川) and Onuki family (小貫), studied
see separate chaoter also under Ishiguro Masatsune

Hirochika (弘親) Hiroyoshi (弘義) Hironao (弘直) Hiromasa (弘政)

student of Hirotoshi student of Hirotoshi student of Hirotoshi student of Hirotoshi
Kondō fam. (近藤) Marukawa fam. (丸川)

Hirosada (弘貞) Hiroyasu (弘泰) Hironobu (弘信)

student of Hirotoshi student of Hirotoshi student of Hirotoshi
Ishikawa fam. (石河)

– 313 –
34.7 The Uchikoshi school (打越)

The Uchikoshi school was founded by Konishi Bunshichi

(小西文七) who also studied under Tamagawa Yoshinaga. He later
changed his name to „Uchikoshi Enzō“ (打越円蔵) and took the
craftsman name „Hirotoshi“ (弘寿). According to transmission, he also
studied under Yatabe Michitoshi. He went later to Edo and settled there
in the Kanda district (神田). It is unclear if or under which master he
had studied in Edo. Hirotoshi used the gō „Ichijōsai“ (一乗斎) and
„Jounsai“ (如雲斎). His year of birth and death are unknown but he was
active sometime around Kyōwa (1801-1804) and Bunsei (1818-1830).
Hirotoshi trained many students. The most famous of them are
introduced in the following. Kondō Zentarō (近藤善太郎) used the
craftsman name „Hirochika“ (弘親) and the gō „Shiunsai“ (紫雲斎),
„Kan´haitei“ (堪佩亭), „Shigetsudō“ (紫月堂), „Ichijusai“ (一寿斎)
and „Hōjusai“ (宝寿斎). Hiroyoshi´s (弘義) civilian name was
„Marukawa Gensuke“ (丸川源助) and he used the gō „Jogetsusai“
(如月斎). Regarding Hironao (弘直), only his first name „Sahei“
(佐平) and the gō „Ichiyōsai“ (一葉斎) are known. And from
Hiromasa (弘政) we only know several pseudonyms like
„Gyokujōken“ (玉乗軒), „Gyokuyōken“ (玉葉軒), „Tenzuidō“
(天随堂) and „Tōju“ (桃寿). Hirosada (弘貞) was from the Ishikawa
family (石河) but also signed with the family name „Taira“ (平). His gō
were among others „Myōchin“ (妙珍), „Kingyokudō“ (金玉堂),
„Shūgensai“ (秀現斎), „Gofūsai“ (護風斎) and „Shū´u“ (秀宇).
Hiroyasu´s (弘泰) first name was „Jinzō“ (甚蔵) and he used the gō
„Hakuryūsai“ (白龍斎), „Kokuryūsai“ (国龍斎), „Shō´insai“ (松韻斎)
and „Unryūsai“ (雲龍斎). And Hironobu´s (弘信) civilian name was
„Uchikoshi Heikichi“ (打越平吉).
For the genealogy of the Uchikoshi school see „Genealogy of the
Tamagawa school“.

– 314 –
34.8 The Nukagawa school (額川)

Yasunori (保則), the founder of the Nukagawa school, was a

student of Tamagawa Yoshinaga. His first name was „Sei´emon“
(清右衛門) and in his earlier years he signed his name „Yasunori“ with
the characters (安則). He used the gō „Kikokusai“ (亀谷斎) and
„Sei´undō“ (晴雲堂). Yasunori’s year of birth and death are unknown
but he was primarily active around Kyōwa (1801-1804).
His successor as 2nd gen. Nakagawa was his adopted son Yasutomo
(保與).*104 Yasutomo was the son of the gokenin (御家人)*105 Sakurai
Chikahira (桜井周平). Chikahira in turn had studied painting under the
Kanō school and his pictures and sketches served Yasutomo and
Yasunori as models and inspiration for their kinkō works. Yasutomo´s
gō was „Joryūken“ (如柳軒). He adopted the first name „Sei´emon“
and the gō „Kikokusai“ from his adoptive father.
The younger brother of Yasutomo was Yasuchika (保隣). He also
studied under Yasunori and was called „Yosaku“ (与作). Besides
„Yasuchika“ we also know from him the craftsman names „Nobutoshi“
(信利), „Nobutaka“ (信孝) and „Norichika“ (則親). Yasuchika bore
also the family names „Tamagawa“ (玉川) and „Narukawa“ (成川).
Other students of Yasunori were, for example, Yasukuni (保国),
Yasuteru (保照) and Yasutoshi (保利). Yasukuni´s civilian name was
„Tanabe Genjirō“ (田辺源次郎) and he used the gō „Ki´unsai“ (亀運斎
or 亀雲斎). Yasuteru´s first name was „Tami´emon“ (民右衛門) and
Yasutoshi´s civilian name „Narikawa Ihei“ (成川伊兵衛). Yasutoshi
used the gō „Hōjuken“ (保寿軒).

*104
Also written with the simplified characters (保与). The characters for the name „Yasutomo“
can also be read „Yasuyo“.
*105
Gokenin, lit. „house person“, were during the Edo period the lowest-ranking vasssals of the
bakufu, next to the hatamoto. Unlike the latter, a gokenin was not allowed to have an audience with
the shōgun.

– 315 –
34.9 The Ōyama/Sekijōken school (泰山・赤城軒)

The Ōyama school was founded by Motonori (元教), whose

craftsman name is read by Fukushi Shigeo as „Motoyoshi“. His civilian
name was „Ōyama Shinsuke“ (泰山新助). He went to Edu during the
Kyōhō era (1716-1736) and studied there under the 1st gen. Kikugawa
Muneyoshi (菊川宗吉). Because he specialized in the carvings of
chrysanthemum during this phase of his career, he called himself
Kikubori Shinsuke“ (菊彫新助, lit. „the chrysanthemum-carver
Shinsuke“). Later he refined his craft under the 2nd gen. Sōyo who
allowed him to use the family name „Yokoya“. Accordingly he also
signed with „Yokoya Motonori“ (横谷元教). Motonori used the gō
„Hōsanken“ (鳳山軒). Towards the end of the Kyōhō or in the
subsequent Genbun (1736-1741) era he moved to Mito where,
according to transmission, he ran a dyeworks (kon´ya, 紺屋). He had
the latter registered under the characters (大山) for „Ōyama“ in the
official family register of the bakufu. Therefore the name of the school
can be quoted in both variants, i.e. (泰山) and (大山). The former
writing is often read „Taizan“ but which is not correct. Motonori died
on the 15th day of the sixth month of An´ei two (1773).
The successor of Motonori and the 2nd gen. Ōyama was his son
Motozane (元孚) whose craftsman name can also be read „Genpu“.
Motozane was born in Mito in the first year of pō (1741) and bore the
first name „Shin´emon“ (新右衛門), which he later changed to „Jibei“
(治兵衛). His gō, which was subsequently used by his successors, was
„Sekijōken“ (赤城軒), and so he is also counted as 1st gen. Sekijōken.
Early in his career he studied in Edo at the Nara school and signed at
that time with „Motoharu“ (元春). He took the name „Motozane“ after
returning to Mito. His nyūdō-gō was „Tōgu“ (東愚) and he died on the
15th day of the firsth month of Bunsei 13 (1830) at the age of 88.

– 316 –
 Motozane´s son followed him as 2nd gen. Sekijōken Motozane or as
3rd gen. of the Ōyama school respectively. He was born in the ninth year
of An´ei (1780) and was called „Chōsaburō“ (長三郎) before he took
over the hereditary name „Shin´emon“. His craftsman name during his
early years was „Motoyasu“ (元易). It is said that he had already
succeeded as head of the family at the young age of 20 but, as his father
enjoyed a long life, he worked independently and on his own for the
thirty years until the death of the latter before he acted as actual head of
the family. He died on the fifth day of the third month of Kaei four
(1854).
The 3rd gen. Sekijōken Motozane was Kinjirō (金次郎, later
„Shin´emon“), the third son of the second generation. He signed first
with the name „Motomichi“ (元道) and died on the twelfth day of the
fourth month of Keiō one (1865).
His son followed as 4th and last gen. Generation Sekijōken
Motozane. As his successors he bore the first name „Shin´emon“ and
the gō „Sekijōken“. He was born on the 29th day of the first month of
Kōka three (1846) and died on September 26th 1916. Because his career
coincided with the ban on swords, he was not able to do a lot of work
and so he also turned to the production of koshirae and the carving of
horimono on sword blades.
The 4th gen. Ōyama was not Kinjirō, the successor of the 2nd gen
Motozane in the Sekijōken order, but Mototeru (元輝), the first-born
sun of Motozane the second. His first name was „Eisuke“ (瑛輔)*106 and
he also used the gō „Sekijōken“.
A student of the 1st gen. Sekijōken Motozane was Eiju (栄寿). His
civilian name was „Takase Izaemon“ (高瀬伊左衛門) and he was by
the way probably the only Motozane-student who did not adopt the
character for „Moto“ (元) for his craftsman name. Eiju used the gō
„Fūryūken“ (風柳軒) and went later to Edo to buy himself into the
gokenin rank. His year of birth and death are unknown but he is
traditionally dated around An´ei (1772-1781) and Kansei (1789-1801).

*106
This name is read in the Haynes-Index as „Eiho“.

– 317 –
 Eiju´s successor was his son Tetsugorō (鉄五郎) who used the
craftsman name „Eizui“ (栄随). Besides „Fūryūken“, he also used the
gō „Shunshōken“ (春松軒) and „Suiryūken“ (水柳軒). The 3rd gen. of
this line was Ichiryūken Eimin (一柳軒栄珉). Students of Eizui were
among others Juri (寿利),*107 his civilian name was „Yokoyama Sōbei“
(横山惣兵衛), Jushū (寿秀),*108 who was called „Hirashima Tokujirō“
(平島徳次郎), and Juchō (寿朝),*109 who used the gō „Chōryūshi“
(蝶竜子) and „Setsudō“ (雪堂).
Another sideline of the Ōyama/Sekijōken school was opened up by
Motosada (元貞, also read „Gantei“), a student of the 1st gen. Motozane. His
civilian name was „Ōkawa Shingorō“ (大川新五郎), so his line is also
called „Ōkawa line“. Motosada worked for the Mito-Tokugawa family
and used the gō „Chikusanken“ (筑山軒) which alludes to Mt. Tsukuba
(筑波山), his place of residence. Motosada was succeeded by his son
Teikan (貞幹) whose first name was „Yasusuke“ (安介). Teikan was
born in Mito in the eleventh year of Bunsei (1828). After the death of
his father he went to Edo and also bore the family names „Minamoto“
(源) and „Tachibana“ (橘), whereas he also signed the latter with the
characters (多知花). Towards the end of his career he changed his
craftsman name to „Kanju“ (幹寿). He used among others the gō
„Chikusanken“ (筑山軒), „Shihō“ (紫峰), „Tensho“ (天雎),*110
„Usetsu“ (迂拙) and „Rōsetsu“ (老拙). He was followed by his son
Teiju (貞寿).

*107
Juri´s craftsman name can also be read „Nagatoshi“.
*108
Jushū´s craftsman name can also be read „Toshihide“.
*109
Juchō´s craftsman name can also be read „Toshitomo“.
*110
Listed in the Haynes-Index with the reading „Tenki“.

– 318 –
 Motosada also trained his two younger brothers Motoshige (元茂)
and Motonaga (元長). Motoshige´s first name was „Genji“ (源次) and
his gō was „Chikusanken“. He also studied under Hiyama Motochika
(桧山元隣) who was in turn a student and adopted-son of the 1st gen.
Motozane. Motochika´s first name was „Heiroku“ (平六) and his gō
„Kaisantei“ (會山亭). Motonaga´s civilian name was „Ōkawa
Chūgorō“ (大川忠五郎) and his gō „Ni´chikuken“ (二筑軒).
Other students of Sekijōken Motosada the first, who also trained
many kinkō artists were, besides of the above mentioned Motochika,
Mototomo (元儔) and Motoaki (元章). Mototomo´s civilian name was
„Saitō Ichisaburō“ (斎藤市三郎) and he signed in early years with
„Sadachika“ (貞親). His gō were Ikkansai“ (一貫斎), „Jushōsai“
(寿松斎), „Sekijōken“ (赤城軒), „Seishinken“ (清真軒), and his
nyūdō-gō was „Tōi“ (東意). Besides „Saitō“ and „Ōyama“ (泰山) he
also bore the family name „Fujiwara“. An outstanding student of
Mototomo was his younger brother Mimura Jūsaburō“
(三邨重三郎)*111 who signed with „Motoshige“ (元重). Motoshige also
used the family name „Saitō“ and, besides „Seishinken“ (清真軒) the
gō „Sei´unsai“ (清雲斎). Motoaki was the nephew of the 1st gen.
Sekijōken Motozane. His civilian name was „Suzuki Shinsuke“
(鈴木新助) and his gō were „Sekijōken“ and „Tankasai“ (丹霞斎).

*111
The family name „Mimura“ is in some sources listed with the characters (三村).

– 319 –
Genealogy of the Ōyama/Sekijōken school:

Motonori (元教), 1st gen.

Ōyama fam. (泰山)
student of Kikugawa Muneyoshi
and the 2nd gen. Yokoya Sōyo

Motozane (元孚), 2nd gen.

son of Motonori, 1st gen. Sekijōken
(赤城軒), 1741-1830

Motosada (元貞) Mototomo (元儔) Motochika (元隣) Motoaki (元章)

student of Motozane student of Motozane student and adopted son of student of Motozane
Ōkawa fam. (大川) Saitō fam. (斎藤) Motozane, Hiyama fam.
(桧山)

Motoshige (元重) Motokazu (元籌)

student and younger student of Motozane
brother of Mototomo Onose fam. (小野瀬)
Mimura fam. (三邨)

Motonaga (元長)
student of Motozane
Teikan (貞幹) Motonaga (元長) Motoshige (元茂) Nanjō fam. (南條)
son of Motosada younger brother of younger brother of
Ōkawa fam. (大川) Motosada Motosada

Teiju (貞寿) Eiju (栄寿)

son of Teikan student of Motozane
Ōkawa fam. (大川) Takase fam. (高瀬)

Juchō (寿朝) Jushū (寿秀) Juri (寿利) Eizui (栄随)

student of Eiju student of Eiju student of Eiju son of Eiju

Motozane (元孚), 3rd gen.

son of Motozane, 2nd gen. Sekijōken

Mototeru (元輝), 4th gen. Motozane (元孚)

1st son of the 2nd gen. Motozane son of Motozane, 3rd gen.
Sekijōken

Motozane (元孚)
son of Motozane, 4th gen.
Sekijōken, 1846-1916

– 320 –
35. The eastern Kantō era (関東)

35.1 Munemichi (致道)

Munemichi was actually a samurai of Shimotsuke´s Utsunomiya fief

(宇都宮藩) called Kamiyama Hanzō“ (神山半蔵). He was born in the
sixth year of Tenmei (1768) into the Asano family (浅野) who were the
daimyō of the mentioned fief and in turn retainers of the Matsudaira
family. Later he married into the Kamiyama family which he later took
over as the 10th generation. The Kamiyama family held the hereditary
post of master builder for works on Shimotsuke´s Nikkō-Tōshōgū
(日光東照宮). Munemichi learned the kinkō craft from a later, probably
the 4th gen., Tsuchiya Yasuchika whilst the latter spent some time in
Shimotsuke. It is said that he also studied under Someya Tomonobu
(染谷知信). He used the gō „Kōrei“ (光嶺), „Shōrōsai“ (昌瀧斎),*112
„Nirōsai“ (日滝斎), and in later years also „Kashō“ (可笑). Munemichi
died on the twelfth day of the eleventh month of Anse four (1857) at the
age of 72.
His son Matsubei (松兵衛) took over the Kasuya family (粕谷) of
his wife but the kinkō craft was continued by his two daughters Sada
(サダ) and Mitsu (ミツ). The older Sada was adopted by Munemichi´s
younger brother Tokusai (得斎). His civilian name was „Kamiyama
Chōzō“ (神山長蔵) and he was a retainer of Echigo´s Honma family
(本間). Sada´s craftsman name was „Keigyoku“ (渓玉). Tokusai´s son
Takusai (琢斎) was born in Bunka six (1809) in Echigo. He continued
the family name „Honma“ and was a master caster of sword fittings. He
died in Meiji 24 (1891) at the age of 83. Mitsu, the youngest daugher of
Munemichi, signed with „Sangyoku“ (三玉) and used the gō
„Jitokusai“ (自得斎). She was born in Bunka 14 (1817) and died on the
27th day of the second month of Kaei four (1851).

*112
Haynes lists this gō as „Shōryūsai“ (昌龍斎).

– 321 –
36. The Echigo and Etchū (越後・越中) provinces

36.1 Echigo´s Oguri school (小栗)

The Oguri school, which was an offshoot of the Hamano line, was
founded by Oguri Tokunojō (小栗徳之丞) who used the craftsman
name „Yoshinao“ (良直). He had studied under Hamano Naoyuki
(浜野直随) whilst the latter was staying in Echigo (see also chapter
13.5). Yoshinao´s gō were among others „Itteisai“ (一鼎斎), „Ichirisai“
(一鯉斎), „Teigensai“ (鼎拳斎), „Issōsai“ (一宗斎), „Kyokushōdō“
(旭松堂), „Teiōsai“ (啼鴬斎) and „Kōyōken“ (巧陽軒), and his master
allowed him to use the family name „Hamano“. We also know joint
works (gassaku, 合作) of Yoshinao and Naoyuki.
Yoshinao´s eldest son Hikosaburō (彦三郎), who bore the craftsman
name „Yoshimasa“ (良政), died in the first month of Kaei six (1853),
that means before his father. Unfortunately, the year of death of
Yoshinao is unnown but we know of signatures mentioning the ages 68,
69 and 71. Yoshimasa´s gō was „Moshōken“ (茂松軒). That means
Yoshinao´s second son Hamakichi (浜吉) succeeded him as 2nd gen.
Yoshinao. Before that Hamakichi had signed with „Yoshinori“ (良則)
and he spent some time in Edo to study under the Hamano family. His
gō were „Kōyōken“ (巧陽軒), and „Geisai“ (鯨斎). Shōhachi (庄八),
the third son of the 1st gen. Yoshinao, signed with „Masanao“ (政直).
He died in the fifth month of Ansei five (1858).
Another son of Yoshinao was Naochika (直近) who used the gō
„Ichiyōsai“ (一葉斎). Naochika is also listed with the family name
„Ōgata“ (大方) but it is unclear if he actually signed with that name. It
is namely more associated with his son Naoyuki (直敬) who was a
student of Ōgata Yoshichika. Yoshichika´s (良近) civilian name was
„Ōgata Risōji“ (大方利惣治). He studied under Yoshinao and is in turn
also listed with the family name „Oguri“. He used the gō „Kansuidō“
(圜水堂) and „Ryū´inken“ (柳陰軒) and died in Anei six (1859).

– 322 –
 Another student of Yoshinao was Naonobu (直信) whose civilian
name was „Kashino Naozō“ (樫野直蔵). He was the adopted son of
Naoharu (柳川直春), the 4th gen. of the Yanagawa school and worked
for Ise´s Kuwana fief (桑名藩) which was ruled by the Matsudaira
family (松平) before he came to Echigo´s Takada fief (高田藩) where
the Oguri school was active. Matsudaira Sadashige (松平定重, 1644-
1717), the 3rd lord of the Kuwana fief, fell into disfavour with the
bakufu because of the repeated uprisings and his lax rule. In
consequence, he was transferred from Kuwana to Takada for
disciplinary reasons in Hōei seven (1710). Naonobu´s gō were
„Seisendō“ (盛泉堂) and „Seisentei“ (盛泉亭). He also worked
temporarily in Echigo´s Kashiwazaki (柏崎).
A student of Yoshinao who probably had contact with Naonobu too,
due to his place of residence in Kashiwazaki, was Toda Naokazu
(戸田直和), who used the gō „Shōgetsuken“ (勝月軒) and „Tekisai“
(的斎).

36.2 Etchū´s Yasukawa school (安川) and Chikayuki (親随)

The Yasukawa school was active in Etchū´s Takaoka (高岡). Their

kinkō artists used the first name „San´emon“ (三右衛門) and the
craftsman name „Kensei“ (乾清) for many generations. The 1st gen.
Kensei worked for Maeda Toshinaga (前田利長, 1562-1614) who had
retired to his castle Takaoka in the 14th year of Keichō (1614) – i.e.
shortly before he died – when his actual retirement site, the castle of
Toyama (富山城), was destroyed by a fire earlier that the same year.
Toshinaga had been the first lord of the Kaga fief (加賀藩) and so the
Yasukawa craftsmen also worked partially in the typical Kaga hira-
zōgan. An ornamented carriage used for festivals (danjiri or dashi,
山車) which bears metal ornaments from the 7th gen. Yasukawa
San´emon is designated an important cultural property of Toyama
Prefecture.

– 323 –
 Hiraishi Chikayuki (平石親随), who also signed with the family
names „Hamano“ and „Nara“ and worked also in those styles, lived in
Takaoka and Toyama (富山). He also studied in Edo under the Hamano
school and used the gō „Chōryūken“ (長龍軒), „Tamehōsai“ (為宝斎)
and „Yoyūken“ (予有軒). Chikayuki was active towards the end of the
Edo and in the subsequent Meiji period. He was succeeded by his son
Moritsugu (守次) who lived permanently in Edo. Moritsugu signed
with „Nara“ too and also with the pseudonym „Tōai“ (董愛, also read
„Tadanari“).

37. Shinano (信濃)

37.1 The Ho group (甫)

Shinano´s Matsumoto fief (松本藩) was successively ruled from the

Edo period onwards by the Toda-Matsudaira (戸田松平), the Echizen-
Matsudaira (越前松平), the Hotta (堀田), the Mizuno (水野), and again
by the Toda-Matsudaira family. In that fief a group of tsuba craftsmen
was also active who made other sword fittings and whose
representatives always used the character for „Ho“ (甫) in their names.
The most well-known artists of the Ho group were Hosō (甫宗), Hosō
(甫掃), his civilian name was „Matsumoto Kibei“ (松本喜兵衛) and he
also studied in Edo under Tsu Jinpo, Hochū (甫住), Hokyū (甫救)
from the Asagai family (浅貝) and student of Hosō (甫掃), Hosei
(甫清), Hotei (甫諦) who was also a student of Hosō, and Hokyō
(甫橋). Hokyō´s civilian name was „Ōsawa Inaba“ (大沢因幡). He also
signed his craftsman name in his early years with the characters (甫喬)
and used the gō „Kitsusōshi“ (橘窓子).

– 324 –
38. Kaga (加賀)

38.1 The Kuwamura school (桑村)

The Kuwamura school was founded by Moriyoshi (盛良), a former

bushi from Echizen´s Toyohara (豊原) with the name „Miyoshi
Yoshirō“ (三好与四郎). The Toyohara-dera (豊原寺), ran by the
Tendai school, was an important pilgrimage centre during the
Muromachi period becase from there, that means from the Echizen side,
the Hakusan (白山) – a holy mountain like Fuji – was climbed. The
militant and very dominating Ikkō sect (一向) in northern Japan were
even able to gain control over the entire Echizen province in the second
year of Tenshō (1574). They made Shimotsuma Hokke Raishō
(下間法橋頼照, 1516-1575) the military governor (shugo, 守護) of
Echizen, who in turn made the Toyohara-dera his headquarter. But Oda
Nobunaga destroyed the temple in his campaigns against the Ikkō so
many bushi from that region became rōnin. This fate was also shared by
Moriyoshi but who, with luck, was invited by Maeda Toshitsune
(前田利常, 1594-1658) to work for him. Moriyoshi was the second lord
of the Kaga fief and had chosen Kaga´s Komatsu Castle (小松城) as his
place of retirement. That was also the place where Moriyoshi worked
and was sent for his apprenticeship with Gotō Kenjō (後藤顕乗). Kenjō
worked as mentioned on a bi-annual basis in Kyōto for the bakufu and
in Kanazawa for the Maeda family. Moriyoshi died in the first year of
Shōtoku (1711).
Also hired by the Maeda family were Moriyoshi´s younger brothers
Morikatsu (盛勝) and Morihiro (盛弘). Morikatsu´s first name was
„Matashirō“ (又四郎) which he changed later to „Chō´emon“
(長右衛門). He studied under Gotō Kakujō (後藤覚乗) and used the gō
„Sōjun“ (宗順). Records say that he also died in the first year of
Shōtoku but it is likely that this is an error in transcription.

– 325 –
 Morihiro´s first name was „Jihei“ (治平) and he used the gō
„Ryōyu“ (了由). Morihiro too studied under Gotō Kakujō. He was
succeeded by his son – who had the same first name „Jihei – who
signed with „Moriaki“ (盛明).
Hirokatsu (弘克) is once listed in the sources as the younger
brother of Moriyoshi and another time as the son of Morihiro, which
would make him the nephew of Moriyoshi. He bore the first names
„Yosaburō“ (与三郎) and „Sasaburōemon“ (佐三郎衛門) and used in
his later years the nyūdō-gō „Jōkū“ (浄空). Also listed as younger
brother of Moriyoshi and with the nyūdō-gō „Jōkū“ is Hiroyoshi
(弘良). His first name was according to transmission „Sa´emon“
(左右衛門 or 佐右衛門), he studied under Gotō Kenjō´s son Teijō
(後藤程乗), and worked for the Kaga branch fief Daishōji (大聖寺藩)
for a salary of 100 koku. As a branch fief, the latter was also under the
control of the Maeda family. Hiroyoshi also used in his later years the
pseudonym Kokō“ (古工). It is possible that Hirokatsu and Hiroyoshji
were the same craftsman and that the meikan records made two out of
them by later transcription errors.
Katsuhisa (克久) and Yoshihiro (良弘) were the sons of Morikatsu.
The older Katsuhisa was called „Genzaemon“ (源左衛門) and was born
in the seventh year of Genroku (1694). His gō was „Jokyū“ (序休). We
don´t know his year of death but there is a work extant which is dated
Hōreki eight (1758) and Kuwamura Jokyū, at the age of 65“.
Yoshihiro´s first name was „Yosabei“ (与三兵衛, read „Yosōbei“ in the
Haynes-Index). It is said that he was later adopted by Hiroyoshi.
Regarding Kuwamura Koshirō (桑村小四郎) who signed with
Tomihisa“ (富久), it is unclear if he was Moriyoshi´s son or his
younger brother. It is said that he studied under Gotō Teijō. Other
students of the Kuwamura school were among others Yoshiharu
(好春), Umetada Seinosuke (埋忠清之丞, read „Seinojō“ in the Haynes-Index)
who signed with „Nobufusa“ (信房), and Kamimura Genzaemon
(上村源左衛門), who used the craftsman names „Tomokiyo“ (友清)
and „Tomoharu“ (友晴).

– 326 –
38.2 The Mizuno school (水野)

The craftsmen of the Mizuno school worked as silversmiths

(shirogane-shi, 白銀師) for the Kaga-Maeda family. The school split up
into two lineages (later more). The Mizuno founder was Yoshihide
(良栄) whose civilian name was „Mizuno Genji“ (水野源次). He was
once a retainer of Toyotomi Hideyoshi from Ōsaka but became a rōnin
after the death of the latter. He decided to go to Kyōto to become a
kinkō artist and entered an apprenticeship with Kōjō (後藤光乗), the 4th
gen. of the Gotō mainline. Other transmissions say that he studied under
Kōjō´s son Chōjō (長乗) or under Enjō (演乗), the 2nd gen. of the
Kanbei line. Sometime during the Keichō era (1596-1615) he was hired
as silversmith by Maeda Toshinaga (前田利長, 1562-1614) and
received a stipend for the support of five persons. During the Genna era
(1615-1624) the Mizuno family moved to Kanazawa in the Kaga fief.
Yoshihide died in the second year of Keian (1649).
The mainline of the Mizuno family was succeeded by Yoshihide´s
eldest son. He and his successors all used the hereditary first name
„Genji“ (源次) and it has to be mentioned that, apart from some
exceptions, no craftsman names were used or are known respectively.
The 2nd gen. died in Kanbun seven (1667), the 3rd in Genroku six
(1693), the 4th in Kyōhō 13 (1728), and the 5th in Kan´en three (1750).
The year of death of the 6th gen. is unknown but it is said that he died
young and that his younger brother succeeded as the 7th gen. The latter
died in the seventh year of An´ei (1778). It seems that the succession of
generations was interrupted at this point because a student of the 4 th
gen. of the Genroku like (which is described in the following) was
adopted as the 8th gen. to revive the Genji line. It seems that he was
successfull because he received a salary in the amount of 35 hyō (~ 14
koku) from the fief. The 8th gen. Genji died in Tenpō three (1832).

– 327 –
 From the 9th gen. onwards, craftsman names are known. The ninth
generation of the Genji line was Katsuhiro (克弘). He died in the fifth
year of Kaei (1852) and was succeeded by Katsumasa (克正), who
died in Genji one (1864), and the the 11th and last gen. Katsunori
(克則) who died in the year 1909.
The second line of the Mizuno family was founded by Yoshihide´s
second son Yoshifusa (良房) whose first name „Genroku“ (源六)
served as the hereditary name of the line. Yoshifusa was born in the
eleventh year of Keichō (1606) and accompanied his father to
Kanazawa. The Genroku line of the Mizuno family was founded by him
in the first year of Kan´ei (1624) and he and his successors worked as
silversmiths for the Kaga-Maeda family too. The stipend was also
identical to the Genji line, i.e. a support for five persons. Yoshifusa died
on the third day of the eleventh month of Jōkyō four (1687) at the age
of 82.
Here we know the individual craftsman names of the Genroku line.
The 2nd gen. Mizuno-Genroku was Yoshifusa´s son Teruyoshi (昭喜)
who died in Genbun two (1737). His name is also quoted in some
sources with the characters (照喜) and the former variant (昭喜) is on
the other hand read „Akiyoshi“ in some publications. The 3rd Genroku-
gen. was Masamitsu (多光) who died in Hōreki ten (1760). As 4th gen.
followed Mitsumasa (光政), who died in Kansei twelve (1800), and as
5th gen. Mitsumasu (光益) who died in Bunka 13 (1816). The 6th gen.
Mitsunori (光則) died in Tenpō nine (1838) and was the son of the
Mito-kinkō Kitagawa Genzō (北川源蔵). He was adopted into the
Genroku line of the Mizuno family. Before – at the young age of 15 –
he went to Edo to study under the Nomura school.
The 7th gen. Genroku signed with the name „Mitsukazu“ (光和) and
was also adopted into the Mizuno family. Before he was called „Takao
Gengo“ (高尾源吾) and had also used the craftsman name „Mitsutada“
(光忠). Mitsukazu died in the second year of Keiō (1866).

– 328 –
 Mitsuharu (光春) who was adopted from the Tani family (谷)
followed as 8th gen. of the Genroku line. He used the gō „Kaishundō“
(魁春堂) and died in the 28th year of Meiji (1895) at the age of 58. The
9th gen. was Mitsuyoshi (光美) who died on March 21st 1938 at the age
of 71. The 10th and last generation of the Mizuno-Genroku line was
Mitsuyoshi´s son Akira (朗).

38.3 The Katsuki and Kaneko school (勝木・金子)

The Katsuki school consisted of two lineages, like the Mizuno

school, namely of the Morisada-Hanjirō line (盛定半次郎) founded by
the 1st gen. Morisada (盛定), and of the Ujiie-Gondayū line
(氏家権太夫) founded by the 1st gen. Ujiie (氏家). The names of the
lines go back to the first names of their founders. Both kinkō artists
lived first in Kyōto´s Fushimi (伏見) but were hired by the Maeda
family and moved during the Kan´ei era (1624-1644) to Kanazawa in
Kaga province. The 1st gen. Morisada received a salary of 50 hyō (~ 20
koku) whereas Ujiie the first received, according to transmission, a
stipend for the support of 15 persons.
The 2nd gen. Morisada continued as indicated the first name
„Hanjirō“, but the 3rd gen. Morisada used the first name „Yoshirō“
(与四郎). The latter was active by the way around Genroku (1688-
1704). The first name of the 4th gen. was „Kan´emon“ (勘右衛門)
before he took over the hereditary name „Hanjirō“. He worked for the
Etchū-Toyama branch of the Maeda family. Morimitsu (盛光), who
opened up his own branch of the Katsuki school, was the younger
brother of the 2nd gen. Morisada. His first name was „Hachibei“
(八兵衛) and some sources list him as the same artist as the 4th gen.
Morisada, namely with the assumption that he had later changed his
craftsman name from „Morisada“ to „Morimitsu“.

– 329 –
 However, the Morimitsu line was successively continued by
Morimitsu´s son Sōzaemon Moriyoshi (惣左衛門守良), Moriyoshi´s
son Genzaemon Moritsugu (源左衛門盛次), Moritsugu´s younger
brother Jibei Moriaki (治兵衛盛明), Moritsugu´s son I´emon
Morihira (伊右衛門盛平), Morihira´s son Tōzaemon Morikuni
(藤左衛門盛国), and Morikuni´s son Tōzaemon Morikuni
(藤左衛門盛国) of the same name. The Morisada line of the Katsuki
school was primarily specialized in the application of zōgan inlay, for
example, and also on stirrups (abumi, 鐙).
The 1st gen. Ujiie studied according to transmission under Gotō
Kenjō. He took the gō „Sōkei“ (宗慶) in his later years and died on the
sixth day of the eighth month of Jōō two (1653). He was succeeded by
his son Ichibei (市兵衛) who was also called „Ujiie“ and who died on
the eleventh day of the ninth month of Manji one (1658). The 3rd gen. of
that line was Ujishige (氏重) who died on the ninth day of the seventh
month of Enpō five (1677). He was followed by Ujimasa (氏政) who
died in the eighth year of Genroku (1695). The 5th gen. of the Ujiie-
Gondayū line was Ujimasa´s son who continued the craftsman name
„Ujimasa“ (氏政). Accordingly, he is listed as 2nd gen. Katsuki
Ujimasa. He died in Kyōhō five 1720 at the age of 82. Ujimasa´s
successor was Ujioku (氏屋, also read „Ujiie“ or „Ujiya“) who was according
to transmission the son of the 1st gen. Ujimasa. Ujioku studied also
under Gotō Hisakiyo (後藤久清), the 6th head of the Kaga-Gotō school.
He died on the fourth day of the fourth month of An´ei two (1773) at
the age of 79. He was followed by his son Ujiyoshi (氏喜) who died on
the 28th day of the eighth month of Kyōwa two (1802). The 8th and last
gen. Gondayū was Ujinao (氏直) who died on the twelfth day of the
eighth month of Bunsei five (1822).

– 330 –
 From the 5th gen. Ujimasa onwards, the Kaneko branch succeeded
from the Katsuki school. The 1st gen. of that branch used the craftsman
name „Ujimasa“ (氏政) and was called „Ichibei“ (市兵衛). He died on
the ninth day of the tenth month of Meiwa six (1769). The 2nd gen.
Kaneko Ujimasa bore the first name „Jinzō“ (甚蔵). He died on the 14th
day of the ninth month of Kansei twelve (1800). The 1st gen. Kaneko
Ujimasa had an adopted son called „Takebei“ (武兵衛) who signed
with „Ujinaga“ (氏長). But the latter died before his adoptive father,
namely on the fifth day of the seventh month of Meiwa three (1766).
The 3rd gen. of the Kaneko branch was also called „Ujimasa“. His first
name was „Take´emon“ (武右衛門) and he died in the eleventh month
of Tenpō three (1832). The 4th gen. of that line was Jinzaemon Ujishige
(甚左衛門氏重) who died on the 13th day of the third month of Kaei
seven (1854).
In the meikan records we find two more generations Kaneko, namely
Gondayū (権太夫) who died in the third year of Keiō (1867), followed
by Saburō (三郎) who died in Meiji ten (1877).

– 331 –
Genealogy of the Katsuki/Kaneko school:

Morisada (盛定), 1st gen. Ujiie (氏家), 1st gen.

Hanjirō line (半次郎) Gondayū line (権太夫)

Morisada (盛定), 2nd gen. Morimitsu (盛光) Ujiie (氏家), 2nd gen.
Hanjirō (半次郎) younger brother of the
2nd gen. Morisada
Morisada (盛定), 3rd gen. Ujishige (氏重), 3rd.Gen.
Yoshirō (与四郎) Moriyoshi (守良)

Morisada (盛定), 4th gen. Moritsugu (盛次) Ujimasa (氏政), 4th gen.
Kan´emon (勘右衛門) 1st gen. Ujimasa
Morihira (盛平)

Morikuni (盛国) Ujimasa (氏政), 5th gen.

2nd gen. Ujimasa
Morikuni (盛国)

Nagakiyo (永清)
3rd son of Ujiie

Ujimasa (氏政) Ujioku (氏屋), 6th gen.

1st gen. Kaneko (金子)

Ujimasa (氏政) Ujiyoshi (氏喜), 7th gen.

2nd gen. Kaneko

Ujimasa (氏政) Ujinao (氏直), 8th gen.

3rd gen. Kaneko

Ujishige (氏重) Ujihira (氏平)

4th gen. Kaneko son of Ujiyoshi

Gondayū (権太夫) Ujitsugu (氏次)

5th gen. Kaneko? son of Ujihira

Saburō (三郎)
6th gen. Kaneko?

– 332 –
38.4 The Koichi and Katsuo school (小市・勝尾)

The founder and 1st gen. of the Koichi school, who had specialized
in Kanazawa in the application of zōgan inlay, was Nagayoshi (永良)
whose first name was „Kan´emon“ (勘右衛門). It is said that he came
to Kanazawa during the Kan´ei era (1624-1644) to work there for the
Maeda family. The 2nd gen. was Kanzaemon Nagayoshi
(勘左衛門永良),*113 the 3rd gen. Shichibei Nagahisa (七兵衛永久), the
4th gen. Genzaemon Nagahisa (源左衛門永久), the 5th gen. Roku´emon
Naganobu (六右衛門永信), the 6th gen. Kichidayū Naganobu
(吉太夫永信), the 7th Chōzaemon Nagayoshi (長左衛門 永吉), the 8th
Kinai Nagayoshi (喜内永吉), the 9th Kanroku Nagakiyo (勘六永清),
the 10th Jisuke Nagasada (次助永定),*114 the 11th Hanbei Nagamitsu
(半兵衛永光, ?-1707), the 12th Toyohei Nagamitsu (豊平永光, 1676-
1745), and the 13th gen. was Toyoji Nagatsugu (豊次永次 ?-1773). The
latter Nagatsugu was later adopted into the Katsuo family and changed
his family name accordingly from „Koichi“ to „Katsuo“ when he
succeeded as 6th gen. of this school.
The Katsuo school, which is listed with the characters (勝雄) in the
Haynes-Index, was founded by Nagamasa (永政) who was a student of
Katsuki Nagakiyo (see also „Genealogy of the Katsuki/Kaneko school).
His first name was „Kan´emon“ (勘右衛門),*115 he received a salary of
150 koku from the Maeda family, and died in the third year of Manji
(1660).

*113
Haynes also lists him with the first name „Kan´emon“.
*114
The „Tōsō-kodōgu-kōza“ lists him with the characters (永足) which can be also read
„Nagayuki“, „Nagamitsu“ or „Naganari“.
*115
In the Haynes-Index we also find the first name „Saburō´emon“ (三郎右衛門) and the
information that he belonged to the Fukiji family (藤木), a group of craftsmen who were also
specialized in zōgan inlay.

– 333 –
 Nagamasa was succeeded by Shirōsaburō Nagashige (四郎三郎
永重, ?-1682). The 3rd gen. Katsuo was Yazaemon Nagaharu
(弥左衛門永治, ?-1689), the 4th Yazaemon Nagakuni (弥左
衛門永国), and the 5th and 6th were both called Yazaemon Nagatsugu
(弥左衛門永次). The 5th gen. Nagatsugu died in Kyōhō eleven (1726)
and the 6th in An´ei two (1773). The latter was as mentioned the 13th
gen. of the Koichi school. He was followed by Bunji Nagatsugu
(文治永次, ?-1829) and the 8th gen. was Nagatsugu´s adopted son
Kanbei Nagahide (勘兵衛永秀, ?-1856). The 9th and last generation of
the Katsuo school was Nagahide´s adopted son Kisaburō Nagamasa
(喜三郎永政, 1821-1867).

38.5 The Kaga-Gotō line (加賀後藤)

The anecestor of the Kaga-Gotō line was Gotō Ichi´emon

(後藤市右衛門), a student of Kenjō (顕乗, 1586-1663), the 7th gen.
Gotō mainline who, with his cousin Kakujō (覚乗, 1589-1656),
commuted on a bi-annual basis between Kyōto and Kanazawa. The
meikan records and the extant documents of the Gotō family are in
disagreement on the succession of generations of the Kaga-Gotō line.
Anyway, Ichi´emon´s son Kiyonaga (清永) is regarded as 1st gen. of
the Shichibei (七兵衛), the „official“ name of the Kaga-Gotō line.
„Shichibei“ was namely the first name of Kiyonaga. His nyūdō-gō was
„Chōju“ (長寿) and he died in the twelfth month of Kan´ei five (1628).
His successor and 2nd gen. Kaga-Gotō was Seijirō Kiyoshige
(清二郎清重) who also studied under Kenjō. Kiyoshige died on the 25th
day of the second month of Kanbun four (1664). The 3rd gen. was
Kiyoshige´s son Hirokiyo (広清) who died on the 22nd day of the third
month of Kanbun ten (1670). He was followed by his son Seiin (清寅)
who died on the 27th day of the eleventh month of Genroku one (1688).

– 334 –
 Another approach counts Kiyonobu (清宣, 1661-?) instead of Seiin
as the 4th gen. of the Shichibei line. Kiyonobu is listed like Seiin with
the eleventh month of Genroku one (1688) as date of death but with the
information that he died at the young age of 27. This allows the
speculation that Kiyonobu and Seiin were actually the same artist.
The 5th gen. was according to this approach Seiin´s son Norikiyo
(詮清) who died on the 29th day of the first month of Kyōhō five
(1720). The 6th gen. was Norikiyo´s son Hisakiyo (久清) who died on
the 21st day of the eighth month of An´ei three (1774). A 7th gen.
followed Hisakiyo´s son Kiyoyoshi (清冷) who died on the 20th day of
the tenth month of Bunka eight (1811). The 8th and 9th gen. Kaga-Gotō
were Kiyoaki (清明, 1762-1820) and Kiyotsune (清恒, 1795-1850)
respectively.

– 335 –
Genealogy of the Kaga-Gotō line:

Gotō Ichi´emon (後藤市右衛門)

ancestor of this line, student of Gotō Kenjō

Yoshisada (吉定) Kiyonaga (清永), 1st gen.

Saijirō (才次郎), ?-1652 son of Ichi´emon, gō „Chōju“ (長寿)
2nd son of Ichi´emon first names „Ebei“ (右兵衛), Ichi´emon
(市右衛門) and „Shichibei“ (七兵衛)
Yoshitsugu (吉次)
maybe the son of Yoshisadas Kiyoshige (清重), 2nd gen.
around Kanbun (1661-1673) son of Kiyonaga, first names „Ichi´emon“
and „Seijirō“ (清二郎)

Tadakiyo (忠清) Hirokiyo (広清), 3rd gen.

Saijirō (才次郎), ?-1694 son of Kiyoshige, first names „Ichi´emon“,
2nd son of Kiyoshige „Shichibei“ and „Seijirō“ (清次郎)

Seiin (清寅), 4th gen.

son of Hirokiyo, first names „Ichi´emon“
and „Shichibei“

Norikiyo (詮清), 5th gen.

son of Seiin, first names „Ichi´emon“,
„Shichibei“ and „Seijirō“ (清次郎)

Kiyosada (清定) Hisakiyo (久清), 6th gen.

Seizaemon (清左衛門), ?-1768 son of Norikiyo, first names „Ichi´emon“
2nd son of Norikiyo and „Shichibei“

Kiyoyoshi (清冷), 7th gen.

son of Hisakiyo, first names „Ichi´emon“,
„Shichibei“, „Seijirō“ (清次郎) and „Saijirō“ (才次郎)

Kiyonaga (清永) Kiyoaki (清明), 8th gen.

3rd son of Kiyoyoshi, 1768-1851 son of Kiyoyoshi, first names „Seijirō“ and „Shichibei“
first names „Ichi´emon“ and „Sajirō“
Kiyotsune (清恒), 9th gen.
son of Kiyoaki, first names „Ichi´emon“ and „Shichibei“

– 336 –
38.6 Other kinkō artists from Kaga

A student of Mizuno Mitsumasa (水野光政), the 4th gen. of the

Mizuno-Genroku line, was Suzuki Mitsuhiro (鈴木光弘). His first
name was „Chōzaemon“ (長左衛門), he was born in the fourth year of
Enkyō (1747) and died on the 15th day of the eighth month of Bunka
five (1808) at the age of 61. The members of the Suzuki family worked
successively in Kanazawa as silversmiths (shirogane-shi) for the Maeda
family and records say that the received a hereditary stipend for the
support of two persons. The 2nd gen. after Mitsuhiro was Suzuki
Kanehiro (兼弘) who also bore the first name „Chōzaemon“. Kanehiro
was born in An´ei four (1775) and died on the 24th day of the ninth
month of Bunsei three (1820) at the age of 45. Because his son was too
young to become his successor, Mitsuhiro´s third son Kahei (嘉平), i.e.
the younger brother of Kanehiro took over the Suzuki family as 3rd
generation. Thereupon he changed his first name from „Kahei“ to
Chōzaemon“ and took the craftsman name „Mitsunobu“ (光宣). He
was born in Tenmei one (1781) and died on the 16h day of the fourth
month of Ansei one (1854) at the age of 73. Kanehiro´s eldest son
finally succeeded as 4th gen. of the Suzuki school and continued the
name of his father, i.e. he signed with „Kanehiro“ (兼弘) too. He was
born in the second year of Bunka (1805) and died on the 16th day of the
fifth month of Meiji two (1869). The younger brother of Kanehiro the
fourth bore the craftsman name „Yoshiyuki“ (義敬).*116 He was born in
Bunka eleven (1814), was called „Chōkichi“ (長吉), „Magoshichi“
(孫七) and „Kahei“ (嘉平), and left the family in Meiji nine (1876) to
start his own business. He died in the 17th year of Meiji (1884). A
student of Mitsunobu was Yonezawa Seizaemon (米沢清左衛門, 1849-
1922) who signed with „Hiromasa“ (弘正).

*116
He is listed in the Haynes-Indexs as the eldest son of Mitsuhiro but this is impossible because
Mitsuhiro died in 1808 and Yoshiyuki was born in 1814. Incidentally, Haynes also reads his first
name „Kahei“ as „Yoshihira“.

– 337 –
 Also employed by the Maeda family was Komai Jin´emon
Sadatsugu (駒井甚右衛門貞歴) who had studied under the 6th Kaga-
Gotō generation Hisakiyo (久清, ?-1774). Sadatsugu was succeeded by
his son Jinsuke Motonobu (甚助元申). The latter studied under
Hisakiyo, Katsuki Ujiyoshi (氏喜, ?-1802) and Gotō Kajō (可乗), the
7th gen. of the Kanbei line. Motonobu was followed by his adopted son
Kyūjirō Motosada (久次郎元貞) whose craftsman name is also listed
with the characters (元定).
The Yamao family (山尾) ran the dyeworks (kon´ya, 紺屋) in
Kanazawa for generations, but the two brothers Tomohisa (侶久) and
Tomonobu (侶延) switched profession and became kinkō artists. It is
said that they were trained by the Kuwamura family whereas Tomohisa
is counted as the first, and Tomonobu as the second generation of their
first name „Jiroku“ (次六). Tomohisa was born in Bunka twelve (1815)
and died relative young at only 42 in Ansei three (1856). Upon this,
Tomonobu took over the workshop. He was born in Bunsei four (1821)
and died in Meiji ten (1877) at the age of 57. A certain „ Yamao Jiroku
Tomochika“ (山尾次六侶近) is found in some sources as the supposed
father of the two. Tomonobu´s son Harumasa (春理) died very young,
namely in the second year of Keiō (1866) at the age of 18. So
Tomonobu´s son Jikichi Mitsutomo (次吉光侶) is listed as 3rd gen.
Yamao. He died in 1923 at the age of 62 and had studied under the 8th
Mizuno-gen. Mitsuharu (光春).
Yamagawa Yasokichi (山川八十吉) who was born in Bunsei eleven
(1828) studied under Yanagawa Harushige (柳川春重) who was in turn
a student of the 3rd Yanagawa-gen. Naoharu (直春). He went already in
young years to Kanazawa and was hired there by the Maeda family in
Bunkyū two (1862) as a shirogane-shi. Thereupon he changes his
craftsman name „Shigetaka“ (茂孝), which he had used since the
twelfth year of Tenpō (1841), to „Takatsugu“ (孝次). He died on the
28th day of the twelfth month of Meiji 15 (1882).

– 338 –
 His successor and 2nd gen. Yamagawa Takatsugu was his son who
was born in the first year of Man´en (1860). Takatsugu the second died
on November 5th 1930 at the age of 71. The 3rd gen. Takatsugu went to
Edo and entered there the Tōkyō School of Fine Arts. He died in
October 1938 at the age of 54.
In the „Sōken-kishō“ we find a genealoy of the lines of Kuninaga
(国永) and Yoshishige (吉重). They are listed with the comment:
„according to transmission the ancestors of the Kaga carvers/
metalworkers“ („Kashū-horimono no so to ifu“ 加州彫物ノ祖ト云フ ).
And further we read that their family name is unknown, that both
studied under Gotō Takujō (後藤琢乗, ?-1637), the 2nd gen. of the
Kibei line, and that Kuninaga and his younger brother Yoshishige were
hired by the Maeda family with a salary of 50 hyō (~ 20 koku). The
genealogy quoted in the „Sōken-kishō“ is listed below:

Yoshishige (吉重) Kuninaga (国永)

Gorōsaku (五郎作) Jirōsaku (次郎作), Kan´ei (1624-1644)

Yoshinori (吉則) Kuniyasu (国安) Kunihisa (国久)

Shōkurō (庄九郎) Yosa´emon (与三右衛門) Jūzaemon (十左衛門)

Yoshikuni (吉国) Hirakuni (平国) Kunihisa (国久)

Mago´emon (孫右衛門) San´emon (三右衛門) Jūzaemon (十左衛門)

Morikata (森方) Kunihira (国平) Kunihiro (国広)

Genshirō (源四郎) Kibei (喜兵衛) Yo´emon (与右衛門)

Yoshikuni (吉国) Kunihira (国平) Kunihisa (国久)

Chō´emon (長右衛門) Yosa´emon (与三右衛門) Yo´emon (与右衛門)

Yoshitsugu (吉次) Kunimasa (国政)

Hachidayū (八大夫) Yosa´emon (与三右衛門)

Yoshihira (吉平) Kuninaga (国長)

Zen´emon (善右衛門) Yazaemon (八左衛門)

Kunitada (国忠)
Gonzaemon (権左衛門)

– 339 –
39. Ōmi (近江)

39.1 The Sōten school (宗典)

The Sōten school is commonly classified as tankō (鐔工), that

means in the category of tsuba craftsmen who worked in iron. But
because they also made some softmetal works and were very
productive, I took the opportunity to introduce them here. Founder of
the Sōten school was Kitagawa Zengorō (喜多川善五郎) who lived in
Kyōto´s Hachiman district (八幡町). His family name „Kitagawa“ is
also written with the characters (喜多河). Old sources like the „Sōken-
kishō“ say that he first used the craftsman name „Shūten“ (秀典) before
he was active under the name of „Sōten“ (宗典) in Nakajiki (中敷) in
Ōmi´s Hikone (彦根). But it is unclear if Shūten and Sōten were really
the same artist. Today it is assumed that Sōten used the latter name first
as the „normal“craftsman name and so the Japanese reading
„Munenori“ was applied.*117 Later when he entered priesthood he kept
the name and read it as his nyūdō-gō as „Sōten“. The characteristic style
of Sōten, i.e. detailed figures accentuated with gold iroe on an iron
tsuba with or without sukashi, became famous throughout the country
under the name „Hikone-bori“ (彦根彫) and was very popular during
the Edo period.*118 As a result, many forgeries and „well-meant“ copies
were produced. This trend was joined by the fact that the works of later
generations and Sōten students lack more and more attention to detail
and so works from the Sōten school in general have been evaluated
rather low in more recent publications. Anyway, the gō „Sōheishi“
(藻柄子) which is also read „Mogarashi“ was probably used by the
direct mainline students or members of the Kitagawa family.

*117
Accordingly, the name „Shūten“ should be read „Hidenori“.
*118
This is proved by a Sōten-tsuba which received an evaluation of 3 ryō in Bunsei four (1821).

– 340 –
 The meikan records mostly list a 2nd gen. Sōten but works of the two
are virtually indistinguishable. There is a work extant which probably
goes back to the 1st gen. because it is dated Kan´en three (1750) in
combination with the information „made at the age of 72“. So his year
of birth may be calculated to Enpō seven (1679). The 2nd gen. is
traditionally dated after the Kan´en era, i.e. around Hōreki (1751-1764)
and Meiwa (1764-1772).
In the following I would like to introduce some of the more well-
known Sōten students. First, there were Munekata (宗賢, also read
„Sōken“), whose first name was „Zengorō“ (善五郎), Munehide (宗秀,
also read „Sōshū“), called „Zengorō“ too and with the gō „Ryūsōshi“
(竜藻子), Munehide´s son Zengorō Hidetsugu (善五郎秀次), and
Sō´un (宗運), who used the gō „Shusōshi“ (主藻子). All of them
belonged to the Kitagawa family. Kanenori (包教), whose civilian
name was „Nomura Saburōji“ (野村三郎次) and who is also listed with
the first name „Saburōbei“ (三郎兵衛), was a student of the 1st gen.
Sōten. He used the gō „Kan´eishi“ (干英子). By the way, it is said that
the craftsman name „Kanenori“ was read back then as „Masanori“. The
Sōten style was continued by Kanenori´s student Ōchi Sōkurō (大地
宗九郎) who used the craftsman name „Muneaki“ (宗顕, also read
„Sōken“) and the gō „Yūmeishi“ (幽明子). Muneaki also bore the family
name of his master, i.e. „Nomura“.
A Sōten branch was formed by the Tsutsui family (筒井). We know
Tsutsui craftsmen like Yoshihiro (吉広), first name „Yoshihiro“
(芳広), Yoshitake (吉武), according to transmission a student of the 2nd
gen. Sōten, and Yoshifusa (吉房), who bore the first name „Yoshifusa“
(芳房) and the gō „Sōheishi“ and „Kotōken“ (湖東軒).
Another Sōten student who worked in the style of the school but
who also displayed his own interpretations was Kanetane (兼胤).
Kanetane´s civilian name was „Yoshikawa Hei´emon“ (吉川平右衛門)
and he also signed with the gō „Sōheishi“.

– 341 –
 The Iriyama family (入山), another Sōten branch, used successively
the gō „Zaichōshi“ (財彫子). Representative craftsmen of the Iriyama
line were for example Yoshitomo (喜知), Munehide (宗英),
Yoshishige (義重), and Yoshichika (義近, also read „Gikin“), who also
signed besides „Zaichōshi“ with the pseudonym Nikuborishi“ (肉彫子)
and his craftsman name „Yoshichika“ also with the characters (義親).

39.2 Rinsendō Mitsumasa (臨川堂充昌)

Mitsumasa´s civilian name was „Tsuji Genzaemon“ (辻源左衛門).

He later changed his first name to „Tanji“ (丹次) and was born in the
sixth year of Kyōhō (1721). He lived in Kunitomo (国友), a gunsmith
centre located in the Sakata district (坂田) of Ōmi province. His older
brother Tsuji Mata´emon (辻又右衛門) was active as a gunsmith
(teppō-shi, 鉄砲師), and it is assumed that this was Mitsumasa´s
profession too until he switched to the production of sword fittings and
tsuba. It is said that he studied in Edo under the 2nd gen. Yokoya Sōyo
but also under the Nara school. His gō was „Rinsendō“ (臨川堂). A
peculiarity of Mitsumasa was to inlay his craftsman name „Mitsumasa“
in hira-zōgan as a seal signature (in-mei, 印銘), sometimes also with
the characters (充正). He died on the 19th day of the twelfth month of
An´ei five (1777) at the age of 56.
Tsuji Genjūrō (辻源重郎) is listed as the adopted son of Mitsumasa.
He also bore the first name „Kyūsaburō“ (丘三郎) and signed with
„Mitsuo“ (充雄). He continued to use the gō „Rinsendō“. A student of
Mitsumasa was Tsunenari (常成). His civilian name was „Tsuji
Magosuke“ (辻孫助) and he also bore the first name „Tanji“ (丹二). He
had specialized in the production of iron tsuba for the Kunitomo school
(国友).

– 342 –
 This school with artists like Shō´ei (正栄), Teiei (貞栄) and Nagaaki
(命明, also read „Myōmei“), applied a characteristic sahari-zōgan
(砂張象嵌) to their tsuba and is also known under the name „Hazama“
(間). Tsunenari´s gō was „Rakusuidō“ (楽水堂) and some sources list
him as the older brother of Mitsumasa.
The Mitsumasa-student Tsuji Heishirō (辻平四郎) used the
craftsman name „Norisuke“ (格亮) and the gō „Teisuidō“ (娣水堂)*119
and „Kan´eishi“ (干英子). He was primarily active as a teppō-shi.
Sadanori (完度) was the son or student of Norisuke. Sadanori´s
civilian name was „Tsuji Shinshirō“ (辻新四郎) and he used the gō
„Eisendō“ (永川堂). His son or student was Masayasu (昌安) – who
came according to a transmission from Mito so it is more likely that he
was his student – whose civilian name was „Ikagawa Genshichi“
(五十川源七) and who used the gō „Yōshōdō“ (養松堂) and
„Karyūdō“ (花竜堂) The meikan records also list a certain Sukeshige
(祐重), civlian name „Kunitomo Ichirōbei“ (国友市郎兵衛), who was
formerly a teppō-shi, came originally from Kyōto, and who worked
later in Edo in the style of Sugiura Jōi (杉浦乗意). Some sources say
that Sukeshige was born in Edo.

*119
Haynes lists the craftsman name „Norisuke“ as his gō and with the reading „Kakuryū“, and the
gō „Teisuidō“ with the characters (銕水堂) and the reading „Tetsusuidō“. In the entry of Sadanori
he refers to Norisuke but reads him there as „Tadasuke“ and states „who is not otherwise listed“.
And in the entry of Masayasu, Sadanori is referred to as „Munetaku“ and with the note „who is not
otherwise listed“.

– 343 –
40. Kii (紀伊)

40.1 Kanahara Naosada (金原直貞)

Naosada worked for the Kishū-Tokugawa-family (紀州徳川), the

daimyō of the Kishū fief (紀州藩) of the same name, for a stipend for
the support of two persons. He went to Edo to study, according to
transmission, under Naoharu (柳川直春, 1750-?), the 3rd gen. of the
Yanagawa school. According to his training he worked mostly in the
Yanagawa style, i.e. floral or picturesque motifs in shakudō-nanako and
takabori-iroe. His gō was „Ryūshiken“ (柳枝軒) whereas he signed the
character for „Ryū“ in the variant (桺). Naosada also bore the family
name „Fujiwara“.
The son of Naosada was Naomichi (直道) who also used besides
„Ryūshiken“ the gō „Seiryūtei“ (清柳亭). There exists a tsuba by him
with a dated signature of the Kaei era (1848-1854). Another artist from
the Kanahara family was Naoie (直家). Naomichi´s son Kanahara
Senzō (金原仙蔵) was born in the fifth year of Tenpō (1834) and was
later adopted by Kyōto´s Hashimoto Isshi (橋本一至, 1820-1896). But
he also went to Edo to study under Gotō Ichijō (後藤一乗, 1791-1876).
Senzō´s craftsman name was „Issō“ (一双).

40.2 Gotō Tsunemasa (後藤常正)

Tsunemasa´s civilian name was „Nakamura Shinsuke“ (中村

親介).*120 He worked actually in the style of the Bushū-Itō school
(武州伊藤), i.e. iron tsuba in maru-gata and nikubori ji-sukashi, but he
studied also in Edo under Gotō Seijō (後藤清乗) from whom he got the
permission to use the family name „Gotō“.

*120
Haynes reads his first name „Chikasuke“. But although the character „Chika“ (親) is used hear
instead of „Shin“ (新), the name is nevertheless read „Shinsuke“.

– 344 –
 After his training under Seijō, Tsunemasa also worked of course in
the Gotō style. Another artist from the Nakamura family was Nakamura
Juhachirō (中村寿八郎) who used the craftsman name Tsunechika“
(常親). Tsunechika studied under Gotō Ichijō and his gō „Ichigyō“
(一行) goes back to this master-student relationship.

41. Mimasaka (美作)

41.1 The Hisasuke line (久助)

The Hisasuke craftsmen worked successively from about the

Genroku era (1688-1704) onwards as silversmiths (shirogane-shi) for
Mimasaka´s Tsuyama fief (津山藩). The civilian name of Hisasuke –
which was also handed-down generation after generation – was „Chiyo
Kizaemon“ (千代喜左衛門). After the Battle of Sekigahara, Mimasaka
was controlled by Kobayakawa Hideaki (小早川秀秋, 1582-1602) but
who died young and without a heir. So the province was split-up and
Mori Tadamasa (森忠政, 1570-1634) – who had ruled Shinano´s
Kawanakajima fief (川中島藩) so far – was appointed by Ieyasu as the
first lord of the newly founded Tsuyama fief, which had an annual
income of 186.500 koku. In Genroku ten (1697), the fief was
confiscated because of the insaneness of the then lord Seki Atsutoshi
(関衆利)*121 and given to the Matsudaira family (松平) who ruled it
with an income of 100.000 koku until the end of the Edo period.
The handed-down genealogy of the Hisasuke line is presented on the
next page.

*121
The son of the second Mori-Tsuyama-gen. Nagatsugu (森長継, 1610-1698).

– 345 –
 Hisasuke (久助), 1st gen.

Saku´emon (作右衛門) Hisasuke (久助), 2nd gen.

student of Hisasuke

Saku´emon (作右衛門) Hisasuke (久助), 3rd gen. Kyūzaemon

son of Saku´emons, first (久左衛門)
„Kanbei“ (勘兵衛) student of Hisasuke

Chitomo Tadasuke (千友忠助)

son of Kyūzaemon

41.2 The Nakagawa school (中川)

The sources are in disagreement on some facts of the Nakagawa

school. Today, Katsushige (勝重) – whose first names were „Gosuke“
(五助) and „Gozaemon“ (五左衛門) – is counted as the 1st gen. of the
school. He worked for Mori Tadamasa, who was mentioned in the
previous chapter, in Tsuyama for a stipend for the support of 18
persons. Because the lords of the Tsuyama fief were directly related to
the Tokugawa family, the Nakagawa school was able to maintain a
lucrative source of income via orders from the bakufu. Katsushige died
on the eleventh day of the eighth month of Keian one (1648).
He was succeeded by his son Katsukazu (勝和), who also bore the
first names „Gosuke“ (五助) and „Gozaemon“ (五左衛門). Katsukazu
died on the 17th day of the fourth month of Enpō three (1675). The 3rd
gen. Nakagawa was Katsukazu´s adopted son Katsutsugu (勝次) who
was called „Sukesaburō“ (助三郎) and who used the gō „Ishinken“
(以心軒). Katsutsugu died young, namely on the 16th day of the sixth
month of Genroku seven (1694) at the age of 32. He was followed by
Katsuhisa (勝久) – first name „Katsusuke“ (勝助) – who died on the
seventh day of the eighth month of Hōei three (1706).

– 346 –
 The transfer of the fief´s rule to the Matsudaira family took place at
the time of Katsuhisa and his successor Katsumitsu (勝光), who
continued the first name „Katsusuke“ (勝助),. Katsumitsu died on the
15th day of the fifth month of Hōei four (1707). Because Katsumitsu
died only one year after Katsuhisa, Katsuhisa´s second son Katsuaki
(勝章) is counted by some as the actual 5th gen. of the Nakagawa
school. Katsuaki died in the tenth month of Kyōhō eleven (1726). The
6th gen. was Katsumitsu´s son Jinbei (甚兵衛) who signed with
„Yoshikatsu“ (義克) and who died on the 29th day of the tenth month
of Meiwa six (1769). Yoshikatsu is also listed under the name
„Katsuyoshi“ (勝克) whose characters can also be read „Katsukatsu“.
Because of the successive use of the character for „Katsu“, it is assumed
that Katsumitsu´s son used primarily the name „Katsuyoshi“ (勝克) and
not „Yoshikatsu“ (義克), or only in earlier or later years.
The 7th gen. was Katsumasa (勝正), the adopted son of Yoshikatsu
or rather Katsuyoshi. Katsumasa´s first name was „Yasubei“ (安兵衛)
which he changed later to „Gozaemon“ (五左衛門). He was born in the
second year of Hōreki (1752), used the gō „Hyakuseidō“ (百清堂), and
died on the eleventh day of the twelfth month of Bunsei two (1819). It
is said that Katsumasa had studied for two years under Sano Naoyoshi
(佐野直好). His successor and 8th gen. Nakagawa was his adopted son
Katsutsugu (勝継), who in turn was followed by Itteki (Katsuyuki),
Katsutsugu´s fourth son, who was introduced in chapter 3.4.
Katsutsugu´s civilian name before the adoption was „Doi Ikunosuke“
(土居幾之充) and he changed his name accordingly to „Nakagawa
Gozaemon“ when he became head of the Nakagawa family,. He used
the gō „Ishinken“ (以心軒) and died on the eleventh day of the sixth
month of Keiō two (1866), or according to other sources in Keiō one
(1865).

– 347 –
 His eldest son Katsuhisa (勝久), whose first name was „Masutarō“
(益太郎), died young, namely on the seventh day of the first month of
Kōka one (1844) at the age of 17. Katsutsugu´s second son was
Nakagawa Isshō who was introduced in chapter 3.4 For more
information on Katsutsugu´s third son Katsuyoshi see chapter 42.1.
The fifth and youngest son was Kunigorō (国五郎) who was adopted
into the local Akashi family (明石).
The successor of Itteki was – as mentioned in chapter 3.4 – Sōsaburō
Yoshisane (宗三郎義実, 1859-1915), the second son of Shōami
Katsuyoshi. Yoshisane used the gō „Bakuryōken“ (莫良軒) and
„Ikken“ (一堅). He was followed by his son Katsubumi (勝文). The
latter was born on the third year of the third month of Meiji 30 (1897),
graduated at the Tōkyō School of Fine Arts, and died on April 28th
1970.
Some sources list Katsumasa´s son Katsumata (勝全, also read
th
„Katsumasa“) as the 8 gen. of the Nakagawa school. It is said that
Katsumasa also used the name „Kameyoshi“ (亀吉) but he died before
his father, namely in the seventh month of Tenmei five (1785). And on
the other hand, Katsukazu´s son „Harukiyo“ (玄清, also read „Gensei“) is
counted by some as the 3rd gen. of the family.

– 348 –
Genealogy of the Nakagawa school:

Katsushige (勝重), 1st gen.

Gosuke (五助) and Gozaemon (五左衛門), ?-1648

Katsukazu (勝和), 2nd gen.

Gosuke (五助) and Gozaemon (五左衛門)
son of Katsushige, ?-1675

Harukiyo (玄清) Katsutsugu (勝次), 3rd gen.

Gosuke (五助), son of Katsukazu Sukesaburō (助三郎)
maybe the 3rd gen. Nakagawa adopted son of Katsukazu, ?-1694

Katsuhisa (勝久), 4th gen.

Katsusuke (勝助), ?-1706

Katsuaki (勝章) Katsumitsu (勝光), 5th gen.

2nd son of Katsuhisa, ?-1726 Katsusuke (勝助), ?-1707
maybe the 5th gen. Nakagawa son of Katsuhisa

Yoshikatsu (義克). 6th gen.

Jinbei (甚兵衛). ?-1769, son of Katsumitsu
probably „Katsuyoshi“ (勝克)

Katsumasa (勝正), 7th gen.

Gozaemon (五左衛門), before „Yasubei“ (安兵衛)
adopted son of Yoshikatsu, 1752-1819

Katsumata (勝全) Katsutsugu (勝継), 8th gen.

son of Katsumasa, ?-1785 Gozaemon (五左衛門), before „Doi Ikunosuke“
maybe the 8th gen. Nakagawa (土居幾之充), adopted son of Katsumasa, ?-1866

Katsuhisa (勝久) Isshō (一匠) Itteki (一的), 9th gen. Katsuyoshi (勝義)
1st son of Katsutsugu 2nd son of Katsutsugu Katsuyuki (勝敬) 3rd son of Katsutsugu
1828-1844 1829-1876 4th son of Katsutsugu 1832-1908
1835-1858 Kunigorō (国五郎)
5th son of Katsutsugu

Yoshisane (義実), 11th gen.

2nd son of Katsuyoshi, adopted
son-in-law of Itteki, 1859-1915

Katsubumi (勝文), 11th gen.

son of Yoshisane, 1897-1970

– 349 –
42. Bizen (備前)

42.1 Katsuyoshi and the Bizen-Shōami line (勝義・備前正阿弥)

Katsuyoshi was born on the 28th day of the third month of Tenpō
three (1832) as the third son of Nakagawa Katsutsugu (中川勝継) who
worked for the Matsudaira family in Tsuyama in Mimasaka province.
His first name was „Junzō“ (淳蔵). Katsuyoshi´s grandmother, mother
and eldest brother fell victim to the epidemic disease raging in
Mimasaka in the twelfth year of Tenpō (1841). At the age of 13 he
started his apprenticeship with his father but tried several times to visit
Edo to refine his craft but the financial situation of the family did not
allow this. Out of desperation he arranged to be adopted in the first year
of Kaei (1848) into the Kobayashi family (小林) who were teppō-shi
for the Tsuyama fief. They financed him – he was 17 years old at that
time – for his first study trip to Edo. But because of his lack of
experience he was not able to get an apprenticeship and returned one
year later to Tsuyama, in the fifth month of Kaei two (1849). At about
that time, an adoption suggested earlier by Tōshirō (藤四郎), the 8th
gen. of the Bizen-Shōami line working in Okayama (岡山), was
brought up again but Tōshirō had died some years before in Tenpō eight
(1837). So Katsuyoshi was married to the Shōami daughter Tomo
(とも) and adopted into the family. In Kaei three (1850) he made a „test
piece“ for the Shōami family in the form of a fuchigashira set with the
family crests of the Ikeda family (池田), the daimyō of the Okayama
fief. He was successful and was officially installed as 9th gen. Bizen-
Shōami. From the Ikeda family he received a salary of 20 hyō (~ 8
koku) and a stipend for the support of two persons.

– 350 –
 However, his new requests for a fief-financed study trip to Edo were
also not granted but he was at least able to manage a kind of
correspondence course with Gotō Ichijō via his older brother Nakagawa
Isshō. For these distance studies he received sketches and moulds
(yanigata, 脂形) from Ichijō which he worked into own pieces and sent
them back to Edo, and with the critics from the great master he made
considerable improvements.
With the ban on sword in Meiji nine (1876) there was almost no
market for newly made sword fittings and so he dedicated himself to the
making of ornaments, vases, incense receptacles and the like. He was
45 years old at that time. In Meiji eleven (1878) he submitted a shakudō
vase in an exhibition in Kyōto. Due to the quality of the work he was
allowed to participate in several exhibitions in Japan and abroad. He
received ten gold meals, a first prize in a special category, two times the
regular first prize, nine times the silver medal, 15 times the bronze
medal, as well as seven other special prizes. That means he was able to
work his way up to the crème de la crème of the then world of
softmetalwork. In Meiji 30 (1897), some say it was Meiji 26 (1893), he
went to Kyōto to further enchance his craft. He left the family business
to his son Katsuyuki (勝之), who remained in Edo. Katsuyoshi used
the gō „Sankōdō“ (山光堂) and „Sōsōsha“ (錚々舎) and died in Kyōto
in the twelfth month of Meiji 41 (1908) at the age of 77.
But let´s return to the Bizen-Shōami line. The founder was
according to transmission Michiyoshi (道喜) whose first name was
„Sukerokurō“ (助六郎). Some sources list his craftsman name
„Michiyoshi“ with the characters (道善). He worked from the 17th year
of Keichō (1612) onwards for the aforementioned Ikeda family which
was then in charge of Harima´s Himeji fief (姫路藩). When the second
Ikeda-daimyō of the fief Toshitaka (池田利隆, 1585-1616) died young,
it was handed-over to Mitsumasa (光政, 1609-1682). But Mitsumasa
was too young to rule a fief with an annual income of 420.000 koku and
so he was given Inaba´s Tottori fief (鳥取藩) which had an income of
„only“ 320.000 koku.

– 351 –
 When the young Mitsunaka (光仲, 1630-1693), the son and heir of
Mitsumasa´s uncle Ikeda Tadakatsu (池田忠雄, 1602-1632), was in
turn too young to succeed as head of the Okayama fief of Tadakatsu,
the Tokugawa-bakufu arranged an exchange: Mitsunaka became the
lord of the Tottori fief and Mitsumasa the lord of Okayama fief with an
income of 315.000 koku. Shōami Michiyoshi followed his lord from
Harima via Tottori to Okayama. In the eighth year of Genna (1622) –
the family was then still in Tottori – he handed-over the managament of
the family to his son Saburō´emon (三郎右衛門). Michiyoshi died
later in Okayaka in Keian three (1650). The 3rd gen. was Jūzaemon
(十左衛門). He was succeeded by Sukerokurō (助六郎) who was
adopted in the fourth year of Kanbun (1664). The 5th gen. Sannojō
(三之丞) took-over the family in Genroku ten (1697). He was followed
in the third year of Genbun (1738) by Tōshirō (藤四郎), who retired in
Tenmei four (1784) after spending 47 years at the head of the family.
The 7th gen. was then Yoshisuke (義介, also read „Gisuke“), who was
succeeded in Bunka twelve (1815) by the earlier mentioned Tōshirō
(藤四郎) – not to be mixed-up with the 6th gen. Tōshirō – and
Katsuyoshi.

42.2 The Inoue school (井上)

The Inoue school, also active in Okayama, was founded by

Munetsugu (宗次). His first name was „Ibei“ (猪兵衛) and he used the
gō „Kinkōdō“ (金光堂) which was successively used by all the later
generations. Munetsugu died in the eighth year of Bunka (1811). His
successor was his son Moriyuki (守行) whose first name was
„Hiroyuki“ (広行). Besides „Kinkōdō“ he also used the gō
„Chikurinken“ (竹林軒) and „Seigasai“ (青我斎 or 青莪斎). His son
Yūji (勇二) – who signed with „Morichika“ (守親) – followed as the
next generation. Morichika also bore the family name „Fujiwara“.

– 352 –
 He went to Edo to study for almost ten years under Tsuchiya
Masachika (土屋昌親), the 6th gen. Yasuchika. He returned to
Okayama but moved with the Meiji era to Ōsaka. Besides „Kinkōdō“,
Morichika´s gō were also „Ichiraku´an“ (一楽庵), „Shunkei“ (春慶),
„Sūsen“ (嵩仙, 嵩遷 or 嵩僊), „Tōrensha“ (東燕舎) and „Koshōshi“
(虎簫子 or 虎嘯子). A student of Moriyuki was Kikkawa Chiyokichi
(吉川千代吉) who took the craftsman name „Morisada“ (守定). And
Moritsune (守常), whose civilian name was „Ishimura Eijirō“
(石村栄次郎), studied under Morichika. Moritsune used the gō
„Bairinsai“ (梅林斎) and „Baishūsai“ (梅舟斎).

43. Izumo (出雲)

43.1 The Tani school (谷)

The Tani school worked primarily in iron but because some

craftsmen also made kozuka, fuchigashira and other sword fittings in
shakudō-nanako and takabori-iroe, they should be introduced here too.
The employer of the Tani school was the Matsudaira family (松平), the
daimyō of Izumo´s Matsue fief (松江藩) which had an income of
186.000 koku. Toyochika (豊親) is regarded as the founder and 1st gen.
of the school. His civilian name was „Tani Jirōsuke“ (谷次郎助). The
first name „Jirōsuke“, which was used as the hereditary name, was also
written by some artists with the characters (次良助). Toyochika died on
the 17th day of the twelfth month of Meiwa three (1766).
He was succeded by Toyoshige (豊重) who alos studied under
Ozaki Naomasa (尾崎直政) and Nara Shigeharu (奈良重治).
Toyoshige died on the eleventh day of the eleventh month of Kansei
four (1792). His son Toyomitsu (豊光) followed as 3rd gen. Tani and
died on the 26th day of the eleventh month of Bunka ten (1813).

– 353 –
 The 4th gen. was Toyomitsu´s son Toyotsugu (豊次) of whom no
year of death is transmitted. His successor was his son Toyohide (豊秀)
who also bore, besides „Jirōsuke“, the first name „Isogorō“ (磯五郎).
Some sources list Toyohide as the second son of Toyochika but this is
rather unlikely because of chronological reasons. The 6th and last
generation was Toyohide´s son Toyotaka (豊鷹) who was called
„Jirōsuke“ and „Hanroku“ (半六).
Toyohisa (豊久) was the son of a certain silversmith called „Hirose
U´emon“ (広瀬卯右衛門). He married the daughter of his master
Toyochika and was adopted into the Tani family. He died on the sixth
day of the first month of Kansei ten (1796). Toyochika´s third son
Keisuke (慶助) signed with the name „Toyotsura“ (豊貫). Toyoharu
(豊春) was the second son of Toyoshige, but he is also listed in some
sources as the student of the latter. Toyofusa (豊房), whose first name
was „Kihachi“ (喜八), was the student and later son-in-law of
Toyoshige.
Kanju (寛寿), who had studied under the 6th gen. Iwamoto Konkan
(岩本昆寛), opened-up his own branch of the Tani family whose artists
used the character „Kan“ (寛) in their names. Kanju was born in An´ei
eight (1779) and signed first with „Kanji“ (寛治). After his studies in
Edo he returned to his home fief and worked in Matsue. He died in the
sixth year of Tenpō (1835) at the age of 57. Kanju´s sons were Kanji
(寛二, ?-1876) and Kankō (寛孝, also read „Hirotaka“). But is is unclear if
the latter was probably „just“ his student. Kankyū (寛久, also read
„Hirohisa“) was the son of Kanji. His first name was „Kyūnosuke“
(久之助) and he died on August 22nd 1925 at the age of 82.

– 354 –
44. The island of Shikoku (四国)

44.1 The Awa-Shōami and Hirata line (阿波正阿弥・平田)

In Hideyoshi´s campaigns, the island of Shikoku also came under his

control in the 13th year of Tenshō (1585). He gained victory over
Chōsokabe Motochika (長宗我部元親, 1538-1599) who in turn was
able to gain control over the entire Shikoku at that time. Hideyoshi
drove him back to his original lands, the province of Tosa, but allowed
him to keep that province. The remaining provinces of Shikoku were
divided up amongst Hideyoshi´s generals. Awa was given to Hachisuka
Iemasa (蜂須賀家政, 1558-1639) whose family was not transferred
after Sekigahara. They were appointed lords of the newly founded
Tokushima fief (徳島藩) which had an income of 257.000 koku. The
Hachisuka successively ruled that fief until the end of the Edo period.
In Awa, the Awa-Shōami line which had its root in the Kyō-Shōami
school established itself. This line focused primarily on magnificent
interpretations in gold nunome-zōgan and the like. The characteristic
inlay of the line was soon known under the name „Awa-zōgan“
(阿波象嵌). Almost all Awa-Shōami works are unsigned and so it is
hard to provide details on individual artists. Tokushima´s Hirata
family (平田) is often associated with the Awa-Shōami line or at least
Tansai (丹斎), the founder of the Hirata family, is also listed as
„founder“ of the Awa-Shōami line. Tansai´s first name was
„Yohachirō“ (与八郎). He worked for the Hachisuka family and was
active between Genna (1615-1624) and Kan´ei (1624-1644). His son
Ichizaemon (市左衛門) followed as 2nd gen. Hirata/Awa-Shōami and
signed with „Ujinao“ (氏直). He in turn is regarded as the ancestor of
the mentioned Awa-zōgan. It is said that he had studied in Kyōto under
a non specified Kyō-Shōami master. Ujinao´s son Yohachirō Ujiyasu
(与八郎氏安) is counted as the 3rd gen. Hirata/Awa-Shōami and the 2nd
gen. Awa-zōgan. He was active around Genroku (1688-1704) and Hōei
(1704-1711).

– 355 –
 Ujiyasu was succeeded by his son Ichizaemon Yasufusa
(市左衛門安房), Yasufusa´s son Yohachirō Masayasu (与八郎正安),
and as 6th gen. Hirata/Awa-Shōami by Masayasu´s son Ichizaemon
Masachika (市左衛門正親). Masachika studied also in Edo under Tsu
Jinpo and received from the Hachisuka family a stipend for the support
of five persons. According to transmission, from Masachika onwards
the Hirata family started to produce sword fittings on their own – that
means not only the application of zōgan inlay.
The 7th gen. was Masachika´s son Ichizaemon Nagafusa
(市左衛門長房) who also studied under Nomura Masatsugu
(野村正次), the 6th gen. of the Nomura school. Nagafusa used the gō
„Chinchin“ (珍珍) and „Fūgetsudō“ (風月堂) and was active around
Meiwa (1764-1772) and An´ei (1772-1781). The 8th and last gen.
Hirata/Awa-Shōami was Nagafusa´s son Nagayoshi (長美), who is
dated around Bunka (1804-1818) and Bunsei (1818-1830).

44.2 Awa´s Kōno school (河野)

The Kōno school which worked from Tokushima too was founded
according to the „Sōken-kishō“ by the tachi-kanagu-shi Kōnō Hanbei
(半兵衛) who was the student of a certain Kuriyama Sagenta (栗山
佐源太). The „Sōken-kishō“ mentions that his year of birth and death
are unknown but it is nowadays assumed that Hanbei worked
somewhere around Kanbun (1661-1673) and Enpō (1673-1681). He
was succeeded by his son Gorōbei (五郎兵衛) and his son´s son Tōbei
(藤兵衛). The 4th gen. Kōno was Tōbei´s son Gozaemon Haruhide
(五左衛門治秀), and the 5th gen. Haruhide´s son Gozaemon Nobuhide
(五左衛門宣秀). Kōno Zensaku (河野善作), who is listed as the son of
Haruhide, succeeded as 6th gen. under the craftsman name Yoshihide“
(芳秀). But the most famous representative of this school was the 7th
gen. Yoshikuni (芳邦). His first name was „Zentarō“ (善太郎).

– 356 –
 He was the first son of Yoshihide and used the gō „Keiryūshi“
(桂流子), „Seikansai“ (清閑斎) and „Eiyūsai“ (英熊斎), whereas the
latter is also quoted with the characters (英能斎) and the resulting
reading „Einōsai“. It is said that Yoshikuni also studied under his friend
Oguri Yoshiyuki (小栗良随), who was in turn a student of the Hamano
school. Due to this friendship he was also allowed to use the family
name „Oguri“. He accompanied Yoshiyuki on his travels, presumably
between Echigo and Edo. The Oguri school was, as mentioned in
chapter 36.1, an „offshoot“ of the Hamano school. Yoshikuni was
active between Kan´en (1748-1751) and Meiwa (1764-1772).
Ryūzō (龍蔵), the second son of Yoshihide, used the craftsman
name „Yoshimitsu“ (芳光), and the third son Kyūkichi (久吉) the
name „Yoshinori“ (芳則), It is said that Yoshinori died on the 15th day
of the eighth month of Ansei six (1859). Haruzō (春蔵, also read „Shunzō“)
was the fourth son of Yoshihide. He signed with „Yoshiyuki“ (芳幸)
and the gō „Ichiryūken“ (一柳軒) and „Shōeiken“ (松影軒). He also
studied under Hamano Yasuyuki (浜野保随, 1763-1836) and also
signed his name „Yoshiyuki“ with the characters (芳随), quasi as a
tribute to his master. The meikan records also list him with the
craftsman name „Haruyuki“ (晴随).
Students of Yoshikuni were among others Yoshiyuki (芳行), his
civilian name was „Takabatake Motosaburō“ (高畠元三郎) and his gō
„Seisuiken“ (清水軒), Yoshitake (芳武), who was called „Chigusa
Wakichi“ (千草和吉), and Yoshitaka (芳孝), whose civilian name was
„Aono Kikuzō“ (青野喜久蔵).
Incidentally, there are some uncertainties regarding the succession of
generations of Nobuhide (宣秀) and Yoshihide (芳秀). A theory says
that Nobuhide´s craftsman name was also written with the characters
(宜秀), which on the other hand can be read „Yoshihide“. And so this
approach goes so far as to assume on this basis that Nobuhide and
Yoshihide were the same artist. This would also explain the entry that
thr 6th gen. Yoshihide was the son of Haruhide and also why Hansuke
and Hanzō are also listed as son or student respectively of Yoshihide.

– 357 –
Genealogy of Awa´s Kōno school (according to the „Sōken-kishō“):

Hanbei (半兵衛), 1st gen.

founder of the Kōno school
around Kanbun (1661-1673) and Enpō (1673-1681)

Gorōbei (五郎兵衛), 2nd gen.

son of Hanbei

Shichi´emon (七右衛門) Tōbei (藤兵衛), 3rd gen.

student of Gorōbei son of Gorōbei

Yabei (弥兵衛) Haruhide (治秀), 4th gen.

student of Shichi´emon Gozaemon (五左衛門)
son of Tōbei

Nobuhide (宣秀), 5th gen.

Gozaemon (五左衛門)
son of Haruhide

Hansuke (半助) Yoshihide (芳秀), 6th gen. Hanzō (半蔵)

son of Nobuhide Zensaku (善作), son of Haruhide? student of Nobuhide

Yoshiyuki (芳随) Yoshinori (芳則) Yoshikuni (芳邦), 7th gen. Yoshimitsu (芳光)
4th son of Yoshihide 3rd son of Yoshihide 1st son of Yoshihide 2nd son of Yoshihide
Haruzō (春蔵) Kyūkichi (久吉) Zentarō (善太郎) Ryūzō (龍蔵)

Yoshiyuki (芳行) Yoshitake (芳武) Yoshitaka (芳孝)

student of Yoshikuni student of Yoshikuni student of Yoshikuni
Takabatake fam. (高畠) Chigusa fam. (千草) Aono fam. (青野)

– 358 –
44.2 The Iyo-Shōami group (伊予正阿弥)

After the Battle of Sekigahara, Iyo province was divided up into

several fiefs. Those with the most income were the Matsuyama
(松山藩, 150.000 koku), the Imabari (今治藩, 35.000 koku) and the
Saijō fief (西条藩, 30.000 koku). The former two were ruled by the
Hisamatsu (久松) and the latter by the Matsudaira family (松平), both
branches of the Tokugawa family. Early Iyo-Shōami artists who had
their origins in the Kyō-Shōami school and who worked for the families
of the Matsudaira and Hisamatsu were Ietake (家武) and Morimine
(森峯). Both are dated to the time slightly before and around the
Genroku era (1688-1704). Subsequent Iyo-Shōami artists used either
the character „Ie“ (家), „Yoshi“ (吉), „Mori“ (森) or „Mori“ (盛) in
their names and are grouped according to these characters. The most
famous representative of the Mori group was Morikuni (盛国) of
whom we know dated signatures from the eras Kyōhō (1716-1736),
Kanpō (1741-1744) and Enpō (1744-1748).
Another famous artists from the Iyo-Shōami group was Nobushige
(信重). Besides „Shōami“ he also bore the family name „Fujiwara“ and
used the gō „Chōkaku“ (長鶴). His first name was „Tōji“ (藤治). He
came originally from northern Aizu but went via a stopover in Kyōto to
Matsuyama in Iyo province. Nobushige was active around Kanbun
(1661-1673).

– 359 –
44.3 Tosa (土佐)

At the Battle of Sekigahara the Chōsokabe (長曾我部) sided with

the anti-Tokugawa side and therefore their lands on the island of
Shikoku were later confiscated by the Tokugawa. Tosa province was
turned into a single fief, the Kōchi fief (高知藩), with an income of
202.600 koku named after the castle Kōchi (高知城) which was the
fief´s seat of government. The control of the fief was conferred to the
Yamauchi family (山内, also read „Yamanouchi“). Because the Kōchi fief
corresponded with the former Tosa province, it was also colloquially
called „Tosa fief“. Like Owari, the province of Tosa remained during
the entire Edo period a military stronghold and so the production of iron
tsuba and more simple and practical fittings were propagated. One of
the fief kinkō artists hired by the Kōchi fief was the silversmith
(shirogane-shi) Kimihiko (公彦, also read „Kinhiko“). His civilian name
was „Hanekata Sensaku“ (羽方銑作) and he later changed his first
name to „Rokuya“ (六弥). Kimihiko´s gō were Josui“ (如水) and
„Musen´an“ (無銭庵). He was born in Kan´en three (1750) but his year
of death is unknown.

45. The island of Kyūshū (九州)

45.1 Hizen´s Hirado Kunishige (平戸国重)

The Kunishige craftsmen – it is said that there were two or three

generations by that name – worked in the Hirado fief (平戸藩) which
had an income of 61.700 koku. Hirado was an island off the coast of
Hizen and it was ruled after Sekigahara by the Matsuura family (松浦).

– 360 –
 In Tenbun 19 (1550) the Portuguese landed on Hirado, followed by
the Spaniards in Tenshō twelve (1584). A trading house was erected
there during the Keichō era (1596-1615) which served throughout the
Edo period as an important trade post for Portugal, Spain and England.
It is said that via this port the Western craft of gold and silver wire
ornamentation was introduced to Japan. Kunishige was active around
Kyōhō (1716-1736). He worked primarily in brass and his works show
a noticeable influence of Nanban-tsuba (南蛮鐔). An extant tsuba bears
the signature „Hirado Nagasada + kaō“ (平戸永貞). It is now assumed
that Nagasada*122 was a student of Kunishige.
Jiryūsai Tomomitsu (自立斎友光 or 友充) from the Miyake family
(三宅) came to Hirado too to work for the Matsuura family. He had
studied before under Miyake Teruhide´s (英秀) son Tomohide (友英,
1778-1847). As mentioned in chapter 30.7, Teruhiro and Tomohide
worked in the relatively close Nagasaki for the Nabeshima family
(鍋島), the daimyō of the Saga fief (佐賀藩).*123

45.2 Hizen´s Sawa Eichin (沢永珍)

Eichin, whose craftsman name is also read „Nagataka“ or

„Nagayoshi“, was called „Sawa Akiyuki“ (沢詮之)*124 in civilian life.
He lived and worked in Nagasaki where he studied under Sawa
Yoshisato (沢美郷). Yoshisato used the gō „Jitekisai“ (自適斎),
„Juhōsai“ (寿苞斎) and „Meiryūken“ (鳴龍軒), and went to Edo to
study under Ishiguro Masayoshi (石黒政美, 1772-1862).

*122
Haynes lists this artist as „Nagasane“ (永真), H 06500.0.
*123
As described in the case of the Kōchi or Tosa fief in chapter 44.3, the Saga fief was also known
in the feudal era as „Hizen fief“. The Matsuura were retainers of the Nabeshima.
*124
Haynes reads this name as „Noriyuki“.

– 361 –
 Eichin in turn went in the first year of Meiji (1868) to Ōsaka where
he worked for the Ōsaka mint. Two years later, in Meiji three (1870), he
made there dies for the first coins minted by his home fief. Eichin used
the gō Jihōsai“ (自芳斎) and „Yōunsai“ (陽雲斎). It is said that he also
worked for Edo´s Ishiguro school. His son Eishu (栄珠) was a kinkō
artist too. He continued the gō „Yōunsai“ (陽雲斎) of his father.

45.3 Satsuma´s Oda school (小田)

The Satsuma fief (薩摩藩), officially called Kagoshima fief

(鹿児島藩), was throughout the entire Edo period under the control of
the Shimazu family (島津). With 770.000 koku it was, after Kaga (with
1.000.000 koku), the second wealthiest fief in terms of rice income
alone. The kinkō artist Motonaka (資央), his civilian name was
„Kabayama Kōzaemon“ (樺山幸左衛門), worked for the Shimazu
family. He was born in the third year of Meireki (1657), studied under
Gotō Tsūjō (後藤通乗, 1663-1721), the 11th gen. Gotō mainline, and
died on the 23rd day of the third month of Kyōhō 15 (1730). His student
was Oda Tōshichi (小田藤七) who signed with the name Naoka“
(直香). Naoka – his name is sometimes also quoted with the reading
„Naoyoshi“ or „Naotaka“ – in turn was a retainer of the Shimazu family
and lived in Satsuma´s Taniyama (谷山). His successors and students
are summarized under the term „Oda school“. The school worked
primarily in iron but because some softmetal fuchigashira and other
sword fittings were also made, it should be introduced here.
Naoka´s son Hachirōbei (八郎兵衛) used the craftsman name
Naonori“ (直教). He studied under the local master Tanaka Moriyuki
(田中盛征, 1700-1785). Moriyuki´s first name were „Ichirō´emon“
(市郎右衛門) and „Hei´emon“ (平右衛門) and he had studied under
the 12th Gotō-gen. Jujō (後藤寿乗) in Kyōto.

– 362 –
 The 3rd gen. of the Oda school was Naomasu (直升) who was
probably the same artist as Oda Naonori (直昇). Naomasu was active
around Kyōwa (1801-1804). From the point of view of the artistic
period the 4th gen. was probably Naokata (直堅). From him we know
dated signatures of the 13th year of Bunsei (1830) and the second year
of Tenpō (1831). Other Oda artists were for example Naokatsu (直勝)
and Naomine (直峯).

45.4 Satsuma´s Chishiki school (知識)

The samurai Chishiki Go´emon (知識五右衛門) who lived in

Satsuma´s Izumi (出水) is regarded as the founder of the Chishiki
school. He signed with the name „Kanesue“ (兼副) and studied
according to transmission under a certain Kuroki Zenbei (黒木善兵衛).
Zenbei in turn was also a Satsuma samurai who made tsuba and sword
fittings as a hobby. Kanesue died on the second day of the eighth month
of Kansei two (1749). Records tell us that the Chishiki also bore the
family name „Ban“ (伴, also read „Tomo“). Kanesue´s successor was his
son Kanenori (兼矩). Kanenori´s first name was „Zenbei“ (善兵衛)
and he signed during his early years with „Kanehira“ (兼平). He was
born in Izumi in the sixth year of Kyōhō (1721), studied under Tanaka
Moriyuki (田中盛征), but went also to Edo to refine his craft under the
13th Gotō-gen. Enjō (後藤延乗). Due to the promoting of his craft after
his return to Satsuma, Kanenori is regarded by some as the actual
founder of the Chishiki school. He died on the tenth day of the eighth
month of Tenna three (1783) at the age of 63.
Kanetake (兼武) was the son or, according to some sources, the
student of Kanenori. His first name was „Genzaemon“ (源左衛門) and
he died on the tenth day of the ninth month of Kansei two (1790). His
son Kaneatsu (兼値), who was called „Zenbei“ (善兵衛), signed his
craftsman name in his early years with the characters (兼強). His father
died when he was 15 years old so he already went to Edo at a young age
to study under Shinjō (後藤真乗), the 15th Gotō mainline gen.

– 363 –
 Kaneatsu died on the 18th day of the eleventh month of Bunka eleven
(1814) at only 39. The 5th gen. Chishiki was Kaneatsu´s son Kaneoki
(兼置). His first name was „Hanshichi“ (半七) before he took later the
hereditary name „Genzaemon“ (源左衛門) after succeeding as head of
the family. Kaneoki was born on the 23rd day of the eleventh month of
Bunka three (1806). When his father died only eight years later, he too
was sent to Edo to enter an apprenticeship with his father´s master Gotō
Shinjō. He died on the tenth day of the sixth month of Meiji 17 (1884)
at the age of 79. The last generation of the Chishiki-kinkō line was
Kaneoki´s son Hikoichi (彦一). He was born on the 13th day of the
tenth month of Ansei six (1859) and died on October 10th 1923.

45.5 Satsuma´s Kanasugi line (金杉)

Also active in Satsuma was a group of kinkō artists which bore

collectively the family name „Kanasugi“ and whose craftsman names
started always with „Tomo“, whereas the characters (知) and (友) were
used. More well-known are the brothers Tomotsune (知常), first name
„Kichigorō“ (吉五郎), and Tomotoshi (知寿). Both studied in Edo
under Katō Naotsune (加藤直常) who came from Satsuma too and who
studied in Edo under the Yanagawa school (see chapter 16.6). Another
artist of the Kanasugi line was Tomonari (知業).

45.6 Other kinkō artists from Satsuma

Seki Yūzō (関勇蔵), his craftsman name was „Rinshō (林章), went
to Edo and studied there under Nakamura Naonori (中村直矩) – who
was in turn a student of the kinkō master Yanagawa Naomasa
(柳川直政) – and also under the 2nd Inagawa-gen. Naokatsu (稲川直克,
1720-1761).

– 364 –
 Rinshō also signed his name with the characters (隣松) and (鄰松),
used the gō „Kankeishi“ (関雞子 or 関鶏子), and it is said that he also
signed with „Shigemitsu“ (重光). He was active around Hōreki (1751-
1764) and Meiwa (1764-1772). Incidentally, we know works with the
signature „Seki Morimitsu“ (関守光) and „Kankeishi Morimitsu“
(関鶏子守光), who was probably a student of a relative of Rinshō.
Masayoshi´s (匡義) civilian name was „Kuwabata Zenbei“
(桑畑善兵衛). He was born in the second year of An´ei (1773) in
Satsuma and went later to Edo to study there under Inada Norinobu
(稲田矩陳, also read „Noriyoshi“), a samurai and retainer of the Shimazu
family who was a student of the 15th Gotō-gen. Shinjō (後藤真乗) and
who produced kinkō works as a sideline. It is said that Norinobu also
studied under Tanaka Moriyuki (田中盛征). Due to Norinobu’s
connection with Shinjō, Masayoshi was also able to learn from the Gotō
master. By the way, Masayoshi´s father Kuwabata Hachirōbei
(桑畑八郎兵衛) had studied under the local craftsman Chishiki
Kanenori (知識兼矩).

45.7 Chikugo´s Ichi group (一)

Ichirin (一輪), whose civilian name was „Harada Ikuji“ (原田

幾次), was born in the first year of Kyōwa (1801) in Kurume (久留米),
Chikugo province. According to transmission, he went at the age of 30
to Kyōto to study there under the Gotō school. After three years of
training he returned to Kurume and was hired by the Arima family
(有馬). The Kurume fief – which had an income of 210.000 koku – was
continuously ruled by the Arima family from the sixth year of Genna
(1620) until the end of the Edo period. Ichirin used the gō „Enjusai“
(延寿斎) and „Kasanken“ (華山軒, read „Gesanken“ in the Haynes-Index), and
died on the 14th day of the tenth month of Meiji 14 (1881) at the age of
81.

– 365 –
 His son Isshun (一春) was born in the tenth month of Tenpō ten
(1839). He bore first the first name „Umetarō“ (梅太郎) which he
changed later to „Kōzō“ (光蔵). Isshun used the gō „Ryū´unsai“
(竜雲斎) and died on June 12th 1923 at the age of 85. After the death of
his father, Isshun had also studied for a while under his fellow student
Ichijo (一如). Ichijo was born in Bunsei nine (1826) in Kurume. His
civilian name was „Kawashima Sōsuke“ (川島惣助) but he was later
adopted by his master Ichirin into the Harada family, i.e. in the first
month of Keiō three (1867) when he was 42 years old. In his earlier
years he also signed with the name „Sadachika“ (貞親) and went on the
recommendation of his lord Arima Yorishige (有馬頼咸, 1828-1882) to
Kyōto to study under Gotō Ichijō. Thereupon he changed his name from
„Sadachika“ to „Ichijo“. Because Gotō Ichijō was in Edo between the
fourth year of Kaei (1851) and the second year of Bunkyū (1862), Ichijo
must have visited Kyōto before or after that time. He also used the gō
„Ikkansai“ (一貫斎) and died in the ninth month of Meiji 30 (1897) at
the age of 72.

45.8 Other kinkō artists from Chikugo

Matsuura Sōzaemon (松浦宗左衛門), who was a student of Katsura

Eiju (桂永寿) whilst the latter stayed in Kurume (see also chapter 29.1),
also worked for the Arima family. He received the character for „Ei“
(永) from his master and took the craftsman name „Eiho“ (永保). It is
said that he also received later the characer „ju“ (寿) from Eiju
whereupon he changed his name to „Juei“ (寿永)*125 Eiho too, like his
master, was elevated to the rank of samurai by the Arima family. He
died on the eleventh day of the third month of Tenpō eleven (1840).

*125
The „Tōsō-kodōgu-kōza“ quotes the name „Juei“ with the characters (寿英).

– 366 –
 Matsuura Norikiyo (松浦徳精) studied first under the Eiju-student
Kohyō´an Eitoku (古瓢庵永徳) but later also in Edo under the 2nd gen.
Yokoya Terukiyo (横谷英精). Both masters granted him one of their
characters and so he formed his craftsman name „Norikiyo“. *126 Also
from that lineage was Eiri (永利) whose name is also read „Nagatoshi“.
Regarding Eikan (永閑), who worked in Yasaka (八坂) in the
neighbouring Bungo province, it is unclear if he can be attributed to this
line.

46. The Higo-kinkō (肥後金工)

Last but not least I want to introduce the Higo-kinkō to whom I

dedicate a whole chapter even though they actually worked on the
island of Kyūshū too. In Higo, there were primarily four major schools
of kinkō and/or tsuba artists active, namely the Hirata (平田), the
Shimizu (志水), the Nishigaki (西垣) and the Hayashi (林), whereas the
latter worked exclusively in iron and is therefore omitted here. Simply
spoken, the artistic approach of all the four Higo schools goes back to
Hosokawa Tadaoki (細川忠興, 1563-1645) so we cannot avoid to
outline his biography. Tadaoki was born in Kyōto in the sixth year of
Eiroku (永禄, 1563) as the eldest son of Hosokawa Fujitaka (細川藤孝,
also called „Yūsai“ [幽斎], 1534-1610). The Hosokawa held during the
Muromachi period the high office of kanrei (管領, general gouverneur
of the bakufu).

*126
The character for „Toku“ (徳) can also be read „Nori“.

– 367 –
 At the age of 15 he entered his first battle in the course of which his
bravery was recognized by Oda Nobunaga. On the recommendation of
the latter he married Tama (珠 or 玉, 1563-1600), the third daughter of
Nobunaga´s general Akechi Mitsuhide (明智光秀, 1467-1568), better
known under her Christian name Gracia. Besides his inetivable training
in the martial arts and strategy, it was also necessary for a person of his
rank to master the traditional Japanese arts. Therefore Tadaoki was an
expert on etiquette, practised among others tanka (短歌) renga poetry
(連歌), and first and foremost was a devotee of the tea ceremony. He
was even one of the so-called „Ten Students of Rikyū“ (Rikyū-
shishitetsu, 利休七哲). Sen no Rikyū (千利休, 1522-1591) practised a
reserved way of the tea ceremony which he proclaimed as „wabi-cha“
(わび茶). The aesthetical expression of this form of the tea is evident in
the tsuba and sword fittings made later by the various Higo artists on
the order of Tadaoki.
Regarding Tadaoki´s political career, he was one of the few daimyō
who managed to „survived unscathed“ all three unifiers, Nobunaga,
Hideyoshi and Ieyasu, that means without having his lands confiscated,
being degraded, exiled or executed. After the Battle of Sekigahara he
was entrused by Ieyasu with Buzen´s Nakatsu fief (中津藩) which had
then an income of 399.000 koku. Three years later in Keichō seven
(1602) he was transferred to Buzen´s Kokura fief (小倉藩) whereas the
annual income stayed the same.
He retired in Genna six (1620) under the gō „Sansai Sōryū“
(三斎宗立) and left the administration of the Kokura fief to his third
son Tadatoshi (忠利, 1586-1641). When Tadatoshi was transferred to
Higo´s Kumamoto fief (熊本藩) with 540.000 koku, Tadatoki retired to
Yatsushiro Castle (八代城) – which lied in Kumamoto – and died there
in the second year of Shōhō (1645) at the age of 83. Tadaoki spent the
last 25 years of his retirement devoted intensively to the tea ceremony
and the arts and also promoted the kinkō and tsuba artists who worked
for the Hosokawa family.

– 368 –
46.1 The Hirata school (平田)

The founder of the Hirata school was Hirata Hikozō (平田彦三).

His father was a certain Matsumoto Inaba no Kami (松本因幡守) who
also bore the family name „Hirata“ and who served Tadaoki when he
was still castellan of Tango´s Miyatsu (宮津城) and Tanabe Castle
(田辺城), that means before the Battle of Sekigahara. When Matsumoto
died shortly after Sekigahara, Hikozō was according to transmission too
young to succeed as head of the family which was given to his nephew
Matsumoto Sukenojō (松本助之允). Hikozō was later employed by
Tadaoki as a kinkō artist for a salary of 100 koku. Old sources say that
his father Matsumoto already worked as a metalworker and evaluated
gold and precious metals for the Hosokawa. When Tadaoki came later
to Higo he granted Hikozō with a mansion and a workshop in
Yatsushiro´s Fukuromachi (袋町).
Hikozō died rather young, namely on the ninth day of the eleventh
month of Kan´ei twelve (1635). His extact age at his death is unknown
but as he was too young to succeed as head of the Matsumoto family
after the Battle of Sekigahara then he must have been in his forties. That
means we can safely assume that his entire career as a kinkō artist was
during the time when Tadaoki was already „active“ under the name
„Sansai“. Hikozō made highly tasteful, unobtrusive tsuba in the perfect
sense of wabi-cha and from that point of view one could assume that
they come from the hand of a mature and experienced artist in his fifties
or sixties.
Hikozō´s son Shōsaburō (少三郎) was hired after his death by the
Kumamoto fief as a kinkō artist for a salary of 20 koku and the stipend
for the support of ten persons. He died on the 24th day of the third
month of Jōkyō three (1686). The workshop ran by Hikozō in
Yatsushiro was given to his nephew Jinbei (仁兵衛) who is introduced
in the next chapter. Saburōbei (三郎兵衛), the adopted son-in-law of
Hikozō,*127 was appointed to the post of gold and silver evaluator.

*127
He was the third son of a certain Haga Go´emon (芳賀五右衛門).

– 369 –
 Saburōbei died on the 27th day of the eleventh month of Enpō three
(1675). Shōsaburō in turn later left his kinkō profession and his
Kumamoto workshop to Nishigaki Kanshirō who was a student of his
father. Accordingly, the succession of generations of the Hirata school
was as follows: 1st gen. Hikozō, 2nd gen. Shōsaburō, 3rd gen. Saburōbei,
whereas the latter later called himself „Hirata Hikozō“ too. But all of
the Hikozō works extant today go back to the first two generations
because Saburōbei worked throughout his entire life as an evaluator.
Incidentally, the majority of the mentioned works in turn go back to the
2nd gen. because he was active for more than 50 years, from the twelfth
year of Kan´ei (1635) until his death in the third year of Jōkyō (1686).

46.2 The Shimizu school (志水)

The Shimizu school was founded by Hirata Hikozō´s nephew

Hirata Jinbei (平田仁兵衛) who accompanied Hikozō to Yatsushiro
when the latter opened up his workshop there. After Hikozō´s death he
took over his profession of kinkō artist – old sources mention
„silversmith“ (shirogane-shi) – and the workshop and received from
Tadaoki a stipend for the support of five persons. Jinbei came originally
from the family of Shimizu Tanzaemon (志水丹左衛門), an elder
(karō, 家老) of the Akechi, and so he returned to this family name upon
starting his business. Shimizu Jinbei died on the 27th day of the fifth
month of Enpō three (1675). After Tadaoki´s death, the Matsui family
(松井), which became the lords of Yatsushiro Castle, maintained the
payment, stipend and the facilities of the Shimizu.
Jinbei successor as 2nd gen. Shimizu was his son Jingorō (甚五郎)
who was born in Genna six (1650). Jingorō started to use the craftsman
name „Jingo“ (甚五) and so he is also counted as 1st gen. Jingo. He
received a stipend for the support of three persons and died in the first
month of Hōei seven (1710).

– 370 –
 He was followed by his son „Nagatsugu“ (永次) who adopted the
first name „Jingorō“ and the craftsman name „Jingo“. That means
Nagatsugu was the 3rd gen. Shimizu and the 2nd gen. Jingo. He was
born in the fourth year of Genroku (1691) when the 1st gen. was already
71 years old and therefore it is likely that he was his adopted son.
Between the age of 16 and 21 Jingo Nagatsugu also studied under the
2nd gen. Nishigaki Kanshirō. His stipend was lowered to the support of
two persons. He died in the sixth year of An´ei (1777) at the age of 87
and it is said that he changed the characters for his name „Jingo“ from
(甚五) to (甚吾) at the age of 72.
Because of that, and other factors, there are some differences in the
genealogy of the Shimizu and Jingo generations. The „Higo-kinkō
roku“ (肥後金工録)*128 for example lists between Jinbei and Jingo
Nagatsugu (who is called „Nagayoshi“ [永義] in this work) a certain
Nagahisa (永久, 1615-1710) as 2nd gen. Shimizu. But this might go
back to a transcription error, that means maybe the character for „tsugu“
(次) of Nagatsugu was mis-interpreted for „hisa“ (久). A Meiji-era
document on the succession of generations of the school lists, on the
other hand, the first four Shimizu generations with the names
„Nagaharu“ (永治), „Nagayoshi“ (永義), again „Nagaharu“ (永治), and
„Shigenaga“ (茂永). I follow the most recent studies on this subject
done by Itō Mitsurus (伊藤満) and published in his book „Works of
Hirata & Shimizu“ („Hirata-Shimizu – Higo no kinkō Hirata-Shimizu
kakudai to sono sakuhin“, 肥後の金工平田・志水 各代とその作品,
2007).
The 4th gen. Shimizu and 3rd gen. Jingo (甚吾) was the son of the
third generation Shimizu and was born in the third year of Enkyō
(1746). He died on the 20th day of the seventh month of Bunsei six
(1823) at the age of 78. The 5th and last gen. Shimizu who made kinkō
works was Jingo Shigenaga (甚吾茂永) who died on the 30th day of the
fifth month of Kaei seven (1854).

*128
Nagaya Shigena (長屋重名), Meiji 35 (1902); revised edition Taishō 14 (1925) by Nagaya
Shigena and Ogura Sō´emon (小倉惣右衛門).

– 371 –
46.3 The Nishigaki school (西垣)

The founder of the Nishigaki school was Kanshirō (勘四郎). He

was born in Tango province in the 18th year of Keichō (1613) as the son
of a Shintō priest. His first name was „Yoshihiro“ (吉弘) and he had
already started his apprenticeship with Hirata Hikozō when the latter
accompanied Tadaoki to Buzen province. He also followed them to
Yatsushiro but was ordered to Kumamoto after his master´s death
where he was employed as a kinkō artist (old sources say as a
shirogane-shi) with a stipend for the support of twelve persons. In
Kumamoto he took over the workshop of Shōsaburō, his master´s son.
Kanshirō died in the sixth year of Genroku (1693) at the age of 81.
His successor as 2nd gen. Nishigaki Kanshirō was his son
Yoshimasa (吉当 or in the older variant 吉當), who signed also with the
craftsman name „Nagahisa“ (永久). Early in his career he accompanied
Hosokawa Tsunatoshi (細川綱利, 1643-1714), the successor of
Tadatoshi´s son Mitsunao (光尚, 1619-1650), to Edo where he got the
chance to study under Gotō Kenjō (後藤顕乗, 1586-1663). According
to transmission, Tsunatoshi several times ordered works in the Gotō
style from his craftsman Kanshirō. Kenjō´s adopted son Kanjō (寛乗,
1634-1612), the 1st gen. of the Gotō-Hachirōbei line, granted Kanshirō
the character for „Naga“ (永) from his civilian name „Mitsunaga“
(光永). Kanshirō Nagahisa died in the second year of Kyōhō (1717) at
the age of 79.
The 3rd gen. Nishigaki Kanshirō was Nagahisa´s son Yoshinori
(吉教, also written with the characters [良教]). He was born in the
eighth year of Enpō (1680) and bore the youth name „Jinzō“ (仁蔵).
The youth name of his father was by the way „Shigesaku“ (茂作, also read
„Mosaku“). Kanshirō Yoshinori died in the third month of Hōreki eleven
(1761). His student and later adopted son followed him as 4th gen.
Nishigaki Kanshirō. He was called „Kanzaemon“ (勘左衛門) before
he took over the hereditary name „Kanshirō“ and came originally from
the Noda family (野田).

– 372 –
 Later he also took the craftsman name „Yoshiyuki“ (吉敬, also read
„Yoshinori“). He was not very productive because he was prone to illness.
He was born in the eighth year of Kyōhō (1726) and died in the ninth
year of An´ei (1780) at the age of 58. Yoshiyuki´s son Kanzaemon
Masana (勘左衛門正名) – born in Meiwa seven (1770) – was quite
young when his father died and so he was sent to Edo to train under
Kumagai Yoshiyuki (熊谷義之). Two years later he was allowed to
take over the Nishigaki family as 5th gen. Kanshirō and received a
stipend for the support of three persons accompanied by an additional
payment of ten koku. Masana used also the craftsman name „Masahisa“
(正久) and died in the second year of Kansei (1819) at the age of 50.
The 6th gen. Generation Nishigaki broke the habit of using the
hereditary name „Kanshirō“ and kept his first name „Shirōsuke“
(四郎助). He wrote his craftsman name „Yoshihisa“ first with the
characters (良久) and later with (義久). Like his predecessor he studied
in Edo under Kumagai Yoshiyuki, namely in the eighth year of Bunka
(1811). The payment of the 5th gen. was passed to him. He was born in
Kansei three (1791) and died in Kaei three (1850) at the age of 60.
Shirōsuke´s successor as 7th gen. Generation Nishigaki was his
nephew from the Ikeda family (池田). He took over the initial first
name of the 4th gen., namely „Kanzaemon“ (勘左衛門). He wrote his
craftsman name „Yoshimasa“ first with the characters (良正) and later
with (義正). He was born in the third year of Bunsei (1820) and died in
the eleventh year of Meiji (1878) at the age of 59.
The 8th and last gen. of the Nishigaki-kinkō was the eldest son of
the 6th gen. Shirōsuke Yoshihisa who was adopted by Yoshimasa. He
bore the first name „Shirōsaku“ (四郎作) and the craftsman name
„Yoshihide“ (吉秀) which he changed later to „Hisahide“ (久秀). He
was born on the second day of the tenth month of Tenpō ten (1839).
With the Meiji Restoration, his salary from the Kumamoto fief was
lowered to 35 hyō (~ 14 koku) until the feudal system was completely
abolished in Meiji four (1871) and the Prefectures replaced the old
provinces (= haihan-chiken, 廃藩置県).

– 373 –
 From 1885 to 1905 he was entrused with the post of sword official
of the Imperial Household Agency (Kunai-chō, 宮内省) and died on
April 15th 1906 at the age of 68.
Nishigaki Kanpei (西垣勘平) was the second son of the 1st gen.
Kanshirō, i.e. the younger brother of the 2nd gen. Kanshirō Nagahisa.
There are relatively many signed works extant by him. Most of his later
works also bear information about his age. A theory says that he signed
as much as possible with „Kanpei“ to point out that he did not belong to
the Kanshirō mainline of the Nishigaki family.

46.4 Other Higo-kinkō

An artist who worked in the style of the Shimizu-Jingo school was

Chisokutei Amatsune (知足亭天常). He was actually a samurai from
Yatsushiro who made tsuba as a sideline. An extant old hakogaki of one
of his pieces mentions that he died in Edo in the sixth month of An´ei
eight (1779) at the age of 73. But the era of An´ei is probably wrong
because Chikokutei is today dated by most experts around Tenpō
(1830-1844). His relationship with the Shimizu school or under which
Jingo master he had studied are unknown. From the point of view of
production time and the finishing of the nakago-ana, he is rather
associated with the 5th and last gen. Shigenaga (茂永) who died in the
seventh year of Kaei (1854). A peculiarity of Chisokutei was that he
signed his Jingo copies with „Yatsushiro Jingo saku“ (八代甚吾作) but
added the small syllable „chi“ (チ) or the character „Chi“ (知) for
„Chisokutei“ to identify them as copies.
The extant data about Misumi Masaharu (三角正春) is quite
fragmentary and so no consistent picture of Higo´s Misumi family kinkō
group can be drawn. What makes things even more complicated is the
fact that works were either signed with only the family name „Misumi“
or substituted with a triangle („Misumi“ means literally „triangle“).

– 374 –
 From extant documents and some rare signatures we know
individual names like „Masaharu“, „Harunobu“ (春信), „Kōji“ (幸次)
and „Kōji“ (興次), but present-day experts are inclined to attribute all
these names to a single artist. There is also the theory that the characters
(幸次) for „Kōji“ (興次) go back to an abbreviation in early
publications because the rare signatures always show the latter and
never the former characters. Because all known Misumi works come
from the possessions of the Matsui family and none from the
Hosokawa, it is assumed that they (or he) worked accordingly for the
Matsui. This is further supported by an extant map of Yatsushiro Castle
– which was as we know under the control of the Matsui family – from
the Hōei era (1704-1711), which shows houses of Matsui-retainers
called Misumi Kōjun (三角幸淳) and Misumi Denzō (三角伝蔵).
Incidentally, Misumi Masaharu is dated somewhat earlier, namely
around Genroku (1688-1704).
Also active in Yatsushiro was the kinkō artist Kugitani Dōseki
(釘谷洞石). He was born in the 14th year of Tenpō (1843) and used the
craftsman name „Chikanobu“ (親信) and the gō „Kirakusai“ (亀楽斎).
It is said that he studied in Kumamoto under a certain „Takegawa
Gorōsaku“ (竹川五郎作) and that he moved to Yatsushiro in Meiji
eight (1875). Dōseki is also listed under the craftsman name
„Nobutsugu“ (信次). Chikatoshi (親利), who came from the Nagano
family (永野), used the gō „Ichiryūsai“ (一龍斎). It is said that he
studied under Jingo Shigenaga or at least his works were inspired by the
latter.

– 375 –
Genealogy of the Higo-kinkō:

Matsumoto Inaba no Kami (松本因幡守)

Also bore the family name „Hirata“ (平田)

Hirata Hikozō (平田彦三), 1st gen.

1st gen. Hirata, ?-1635

Jinbei (甚兵衛) Shōsaburō (少三郎), 2nd gen. Kanshirō (勘四郎)

1st gen. Shimizu (志水) son of Hikozōs, ?-1686 1st gen. Nishigaki (西垣)
nephew of Hikozō student of Hikozō

Jingo (甚五) Saburōbei (三郎兵衛), 3rd Kanshirō (勘四郎)

2nd gen. Shimizu, 1st gen. Jingo adopted son of Hikozō, ?-1686 2nd gen. Nishigaki, son of
Jingorō (甚五郎) origin. Haga fam. (芳賀) Kanshirō, Nagahisa (永久)
1620-1710 1639-1717

Jingo (甚五・甚吾) Kanpei (勘平) Kanshirō (勘四郎)

3rd gen. Shimizu, 2nd gen. Jingo 2nd son of Kanshirō 3rd gen. Nishigaki, son of
Jingorō (甚五郎), 1691-1777 Kanshirō, Yoshinori (吉教
Nagatsugu (永次) or 良教), 1680-1761

Jingo (甚吾) Kanshirō (勘四郎)

4th gen. Shimizu, 3rd gen. Jingo 4th gen. Nishigaki, adopted son
1746-1823 of Kanshirō, former Kanzaemon
(勘左衛門), Yoshiyuki (吉敬)
1726-1780, origin. Noda fam. (野田)
Jingo (甚吾)
5th gen. Shimizu, 4th gen. Jingo Kanshirō (勘四郎)
Shigenaga (茂永), ?-1854 5th gen. Nishigaki, son of Yoshiyuki,
Kanzaemon (勘左衛門), Masahisa (正久),
also Masana (正名), 1770-1819
Chisokutei Amatsune (知足亭天常)
maybe the student of Jingo Shigenagas Shirōsuke (四郎助)
6th gen. Nishigaki, Yoshihisa
(良久 or 義久), 1791-1850

Kanzaemon (勘左衛門)
7th gen. Nishigaki, nephew of Yoshihisa,
origin. Ikeda fFam. (池田), Yoshimasa
(良正 or 義正), 1820-1878

Shirōsaku (四郎作)
8th gen. Nishigaki, son of Yoshihisa,
adopted by Yoshimasa, 1839-1906

– 376 –
– 377 –
– 378 –
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1990
• Yabe, Seiichirō (矢部誠一郎); „Hosokawa Sansai – chanoyu no
sekai“ (細川三斎・茶の湯の世界), Tankōsha 2003

– 381 –
The Edo-period era names (nengō)

Keichō (慶長, 1596-1615) Hōreki (宝暦, 1751-1764)

Genna (元和, 1615-1624) Meiwa (明和, 1764-1772)
Kan´ei (寛永, 1624-1644) An´ei (安永, 1772-1781)
Shōō (正保, 1644-1648) Tenmei (天明, 1781-1789)
Kei´an (慶安, 1648-1652) Kansei (寛政, 1789-1801)
Jōō (承応, 1652-1655) Kyōwa (享和, 1801-1804)
Meireki (明暦, 1655-1658) Bunka (文化, 1804-1818)
Manji (万治, 1658-1661) Bunsei (文政, 1818-1830)
Kanbun (寛文, 1661-1673) Tenpō (天保, 1830-1844)
Enpō (延宝, 1673-1681) Kōka (弘化, 1844-1848)
Tenna (天和, 1681-1684) Kaei (嘉永, 1848-1854)
Jōkyō (貞享, 1684-1688) Ansei (安政, 1854-1860)
Genroku (元禄, 1688-1704) Man´en (万延, 1860-1861)
Hōei (宝永, 1704-1711) Bunkyū (文久, 1861-1864)
Shōtoku (正徳, 1711-1716) Genji (元治, 1864-1865)
Kyōhō (享保, 1716-1736) Keiō (慶応, 1865-1868)
Genbun (元文, 1736-1741) Meiji (明治, 1868-1912)
Kanpō (寛保, 1741-1744) Taishō (大正, 1912-1926)
Enkyō (延享, 1744-1748) Shōwa (昭和, 1926-1989)
Kan´en (寛延, 1748-1751) Heisei (平成, 1989- )

– 382 –
List of names Arima Yorishige (有馬頼咸) 366
Arinari (在成) 164
Arinobu (在布) 290
Names of non-kinkō Arishige (有重) 250
persons are listed with the Aritake (有武) 294, 296
family name first, for Aritsune (有恒) 126
example for „Ieyasu“ see Ariyoshi (在珍) 290
„Tokugawa Ieyasu“. Asa (アサ) 304
Ashikaga Takauji (足利尊氏) 29,
Adachi Mahaya (安達真早) 80 33f
Adachi Umetani (安達梅渓) 272 Ashikaga Yoshiaki (足利義昭) 88
Akamatsu Mitsusuke (赤松密祐) Ashikaga Yoshiharu (足利義晴)
35 58
Akashi (明石) – see „Yodayū“ Ashikaga Yoshihisa (足利義尚)
Akechi Mitsuhide (明智光秀) 368 36
Akichika (明親) 201f Ashikaga Yoshimasa (足利義政)
Akihōsai (穐峰斎) 115 35f, 41, 46, 49, 57, 78
Akinori (明乗) 201f Ashikaga Yoshimitsu (足利義満)
Akio (明雄) 201f 29f, 35f, 88
Akio (秋雄) 269 Ashikaga Yoshimochi (足利義持)
Akira (朗) 329 29
Akishige (明重) 201f Ashikaga Yoshinori (足利義教)
Akisuke (明輔) 201f 34
Akitatsu (明龍) 201f Ashikaga Yoshiteru (足利義輝) 58
Akiyoshi (明義) 217 Baba Hidemasa (馬場秀政) 80
Akiyoshi (昭喜) 328 Baigyoku (梅玉) 220
Akiyuki (詮之) 361 Baiken Kazunobu (梅軒員信) 220
Amatsune (天常) 374, 276 Bairinsai (梅林斎)115, 353
Anmei (安明) 142 Baishūsai (梅舟斎) 353
An´yōsai (安養斎) 284 Bakuryōken (莫良軒) 348
Aoe Tsugunao (青江次直) 91 Banryūken (蟠龍軒) 108
Araki Tōmei (荒木東明) 75, 81f Ban´ryūken (万竜軒) 156
Arichika (在哉) 161, 164, 289f Benjō, Gotō (辨乗) 70
Arichika (在親) 164 Bennosuke (弁之助) 284

– 383 –
Benzō (弁蔵) 175 Busaburō (武三郎) 197
Biei (備英) 249 Butetsu (武鉄) 81
Bigi (備義) 249 Buzen (武禅) 128
Bihō (備保) 249 Buzen (豊前) 165f, 169, 172
Bihō (備房) 249 Chimamoto (周舊) – see „Shūkyū“
Biji (備次) 249 Chikan (知閑) 145, 149
Bisan (眉山) 80 Chikanobu (親信) 375
Bisei (美盛) – see „Yoshimori“ Chikatoshi (親利) 375
Bōchū-sanjin (夢中山人) 267 Chikatsugu (竹次) 169, 172
Bokujutei (墨樹亭) 162 Chikayuki (親随) 323f
Bokukōsai (墨江斎) 128 Chikugo (筑後) 146
Bokuryūken (卜流軒) 152 Chikuhō (竹鳳) 114
Bokusen (牧川) 128 Chikurinken (竹林軒) 352
Bōryūkutsu (望流窟) 244 Chikusandō (竹山堂) 290
Bōsōken (望窓軒 or 望窗軒) 153 Chikusanken (筑山軒) 318
Bun´emon (文右衛門) 197, 261 Chikushidō (竹芝堂) 266
Bunji (文治) 334 Chikutōken (筑涛軒) 304
Bunjirō (文次郎) 86, 118f, 216 Chinchin (珍珍) 356
Bunjirō (文二郎) 217 Chinkyū (珍久) 54, 159, 164
Bunjo (文如) 237, 239 Chiryūken (池柳軒) 87
Bunjō, Gotō (文乗) 70 Chisokutei (知足亭) 374, 376
Bunju (文寿) 294, 296 Chiyokichi (千代吉) 353
Bunmeidō (文明堂) 114 Chōbei (長兵衛) 118f, 247f
Bunnai (文内) 128 Chō´emon (長右衛門) 170, 325,
Bunpei (文平) 310 339
Bunryūsha (文龍舎) 112 Chō´entei (長莚亭) 307
Bunsai (文斎) 157 Chōgorō (長五郎) 291f
Bunsan (文山) 265 Chōhei (長平) 292
Bunsendō (文仙堂 or 文遷堂) 113 Chōjirō (長二郎) 134, 137, 140
Bunshichi (文七) 314 Chōjō, Gotō (長乗) 59, 68, 71, 327
Bunshirō (文四郎) 184, 208 Chōju (長寿) 334, 336
Bunsuiken (文水軒) 200, 202 Chōkaku (長鶴) 359
Bunsuke (文助) 227, 311 Chōkichi (長吉) 337
Bunzō (文蔵) 197 Chōryūken (長龍軒) 324

– 384 –
Chōryūshi (蝶竜子) 318 Dengorō (伝五郎) 262
Chōsaburō (長三郎) 165, 170, Denjō, Gotō (伝乗) 69
172, 281, 283, 317 Dennai (伝内) 54, 286, 288
Chōsaku (長作) 291 Denpachi (伝八) 84
Chōsendō (潮泉堂) 186 Denryūsai (田龍斎) 312
Chōshichirō (長七郎) 139 Densaburō (伝三郎) 136, 140
Chōsokabe Motochika (元親) 355 Denshichi (伝七) 286, 288
Chōsuke (長助) 302 Dentarō (伝太郎) 274
Chōtoku (彫徳) 230 Denzaemon (伝左衛門) 232
Chōunsai (朝雲斎) 191 Denzō (伝蔵) 155, 262, 375
Chōzaemon (長左衛門) 197, 333, Dōchoku (道直) 84
337 Dōki (道帰) 84
Chōzō (長蔵) 321 Dokugetsu´an (独月庵 or 獨月庵)
Chūbei (忠兵衛) 80f, 189, 194 174
Chū´emon (忠右衛門) 284 Dokuhosai (独歩斎 or 独甫斎)
Chūgo (忠吾) 295 203
Chūgorō (忠五郎) 153, 221, 319 Dōnin (道仁) 120ff
Chūhachi (忠八) 104, 108 Dōseki (洞石) 375
Chūji (忠次) 177 Dōshū (道秀) 173
Chūjirō (忠次郎) 256 Echizen (越前) 105, 141f, 145
Chūjō, Gotō (籌乗) 69 Eichin (永珍) 361
Chūzaemon (忠左衛門) 149, 159 Eigi (栄宜) 189, 192
Chūzō (忠蔵) 199 Eigorō (栄五郎) 210
Daigorō (大五郎) 238 Eiho (永保) 366
Daijirō (大次郎) 157, 171 Eiho (瑛輔) – see „Eisuke“
Dainichi (大日) 128f Eiji (栄治) 295
Dairyūjō (大竜城) 112 Eijirō (栄次郎) 73, 353
daishin (大進) 80 Eijō, Gotō (栄乗) 59, 66
Daizō (代蔵) 112 Eiju (栄寿) 118f, 317, 320
Da´nanshi (兌南子) 87 Eiju (永寿) – see „Katsura Eiju“
Deiki´an (泥亀庵) 175 Eikan (永閑) 367
Denbei (伝兵衛) 54, 117, 285, 288, Eikichi (栄吉) 312
304 Eimin (栄珉) 318
Den´emon (伝右衛門) 54, 272 Einōsai (英能斎) 357

– 385 –
Eiri (永利) 367 Fūko (風乎) 200f
Eiseisai (永盛斎) 177 Fukutarō (福太郎) 206
Eisen (栄泉) 189, 192 Fumikatsu (文克) 295f
Eisendō (永川堂) 343 Fumio (文雄) 295
Eishu (栄珠) 362 Funada Ikkin (船田一琴) 73, 75f,
Eisuke (瑛輔) 317 78, 244, 259
Eitoku (永徳) 367 Furō´an (不老庵) 267
Eiyūsai (英熊斎) 357 Furōsō (不老叟) 267
Eizaburō (永三郎) 97 Fūryūken (風柳軒) 317
Eizaburō (英三郎 or 栄三郎) 284 Fūryūsai (風柳斎) 108
Eizō (栄蔵) 200 Fūsai (風斎) 108
Eizui (栄瑞・栄端) 347f Fusajirō (房二郎) 216, 223
Eizui (栄随) 318, 320 Fusasada (房貞) 142
Ekijō, Gotō (益乗) 71, 229, 234 Fusayuki (房行) 143, 203, 207
Ekizui (益随) 245 Fusen (布仙) 203
Endō Saemon no Jō Tamemori Fusōken (不争軒) 272
(遠藤左衛門尉為盛) 40 Fū´un-sanjin (風雲山人) 200
Enjō, Gotō (延乗) 63, 66, 137, 260, Fuyuo (冬雄) 269
363 Gachin (雅珍) – see „Masayoshi“
Enjō, Gotō (演乗) 68, 327 Gaiundō (蓋雲堂) 153ff, 156
Enjō, Gotō (円乗) 70 Ganku (岸駒) 110
Enjūrō (円十郎) 156 Gantei (元貞) – see „Motosada“
Enjusai (延寿斎) 365 Gantōshi (雁蕩子) 180
Ennensai (延年斎) 106, 108 Garyō (雅良) 163
Enzō (円蔵) 314 Garyūdō (雅龍堂) 302
Etsujō, Gotō (悦乗) 67, 261 Gasoku (雅息) – see „Masaoku“
Etsunosuke (悦之助) 262 Gassan (月山) 114, 116
Fuchō (釜調) 128f Ganshōshi (含章子) 104, 108
Fūgetsudō (風月堂) 356 Geiami (芸阿弥) 35
Fujiki Kyūbei (藤木久兵衛) 80 Geisai (鯨斎) 322
Fujiwara no Tadabumi (藤原忠文) Gekka´an Kōō (月下庵光翁) 231
40 Gekkindō (月琴堂) 80
Fujiwara no Yorimune (藤原頼宗) Genbei (源兵衛) 70, 86, 117, 187,
127 243

– 386 –
Genchin (元珍) 246 Genzaemon (源左衛門) 168, 326,
Genchō (元長) – see „Motonaga“ 330, 333, 342, 363f
Genchūkyo (弦忠居) 220 Genzō (源蔵) 251, 328
Gen´emon (源右衛門) 251 Gesanken (華山軒) – see
Gen´ichirō (源一郎) 60f Kasanken
Gengo (源吾) 256, 328 Getsuō (月翁) 200
Gengorō (源五郎) 251 Gidōken (蟻洞軒) 212, 280
Genji (玄治) 77 Gihachi (儀八) 147
Genji (源次) 319, 327 Gihei (義兵衛) 85
Genjirō (源次郎) 58, 187, 197, Gihei (儀兵衛) 289f
315 Gikin (義近) – see Yoshichika
Genjitsu, Gotō (源実) 68 Gikōshi (蟻行子) 106ff
Genjō (彦乗) 122 Ginpei (銀平) 209
Genjō, Gotō (厳乗) 67 Gisaburō (義三郎) 169
Genjō, Gotō (玄乗) 68, 249 Gishinken (義真軒) 180
Genjō, Gotō (元乗) 69 Gisuke (義介) – see „Yoshisuke“
Genjūrō (源重郎) 342 Gizaemon (儀左衛門) 97f
Genkō (元光) 115 Gizō (儀蔵) 242
Genkō (元広) – see „Motohiro“ Go´emon (五右衛門) 363, 369
Genmi (元弥・元彌) 246 Gofūsai (護風斎) 314
Gennojō (源之丞) 62ff Gohensha Hanku (五返舎半九)
Genpachi (源八) 193 264
Genpachirō (源八郎) 139 Gonbei (権平) 225
Genpei (源平衛) 285 Gondayū (権太夫) 329, 331f
Genpu (玄甫) 136 Gonnojō (権之尉 or 権之丞) 192
Genpu (元孚) – see „Motozane“ Gonnosuke (権之助) 137, 140
Genroku (源六) 328 Gōnosuke (剛之助) 292
Gensei (玄清) – see „Harukiyo“ Gonpachirō (権八郎) 87
Genshichi (源七) 112, 116, 231, Gonshichirō (権七郎) 262
243, 312, 343 Gonzaburō (権三郎) 281, 283
Genshirō (源四郎) 59, 61, 231, Gonzaemon (権左衛門) 97ff, 339
339 Gorō (五郎) 244
Genshōsai (玄松斎) 310 Gorōbei (五郎兵衛) 86, 356, 358
Gensuke (源助) 314 Gorōhachi (五郎八) 192

– 387 –
Gorōsaku (五郎作) 339, 375 Hagiya Katsuhira (萩谷勝平) 163,
Gorōzaemon (五郎左衛門) 129 272, 303ff
Gosuke (五助) 346, 349 Hakugen (伯言) 163
Gozaemon (五左衛門) 109f, 116, Hakuhō-Nanpo (白峯南浦) 191
261, 346f, 349, 356, 358 Hakuhōtei (白峯亭) 191
Gyōheitei (業平堤) 177 Hakuryūken (伯竜軒) 222
Gyokudō (玉堂) 169, 172 Hakuryūsai (伯竜斎) 222
Gyokuhōsai (玉宝斎) 219 Hakuryūsai (白龍斎) 314
Gyokujōken (玉乗軒) 314 Hakuryūshi (伯竜子) 222
Gyokuseisai (玉生斎) 182 Hakusanshi (白山子) 267
Gyokusensai (玉泉斎) 174 Hamakichi (浜吉) 322
Gyokusensai (玉川斎) 206 Hamano Shōzui (浜野政随)
Gyokushiken (玉枝軒) 126 149,150ff, 245
Gyokushōken (玉松軒) 247 Hanabusa Itchō (英一蝶) 135
Gyokutōken (玉刀軒) 201f Hanbei (半兵衛) 86, 159, 224,
Gyokutosha Shimei (玉兎舎至明) 297, 333, 356, 358
78 Hanjirō (半二郎) 177
Gyokuyōken (玉葉軒) 314 Hanjirō (半次郎) 329, 332
Gyō´unsai (暁雲斎) 251 Hanroku (半六) 354
Hachibei (八兵衛) 329 Hanshichi (半七) 364
Hachidayū (八大夫) 339 Hanzō (半蔵) 210 321, 358
Hachigorō (八五郎) 244 Hanzō (伴蔵), 226
Hachimonji´ya (八文字屋) 87 Harima´ya (播磨屋) 115
Hachirōbei (八郎兵衛) 67, 281, Harinrō (羽林郎) – see „Urinrō“
283, 362, 365 Haruaki (春明) 177f, 190, 199ff
Hachirōzaemon (八郎左衛門) 142 Haruchika (春親) 177
Hachisaburō (八三郎) 281ff Haruhide (春英) 177
Hachisuka Iemasa (蜂須賀家政) Haruhide (治秀) 356, 358
355 Haruhiro (春寛) 122
Hachizaemon (八左衛門) 232, Harukiyo (玄清) 348f
339 Harukuni (治国) 117, 119
Haga Go´emon (芳賀五右衛門) Harumasa (春将) 122
369 Harumasa (春理) 338
Harumitsu (春光) 72

– 388 –
Harunari (春就) 122 Hidematsu (秀松) 157
Harunobu (春信) 375 Hidemitsu (秀光) 226
Haruo (春雄) 269 Hidemoto (秀元) 186
Harusaburō (春三郎) 176 Hidenaga (秀永) 186, 188
Harushige (春重) 178, 338 Hidenaga (英永) 263
Harutō (春任) 199 Hidenobu (秀信) 81
Harutoshi (春寿) 122 Hidenori (秀典) – see „Shūten“
Harutsugu (春次) 122 Hideoki (秀興) 110, 112ff, 116
Harutsura (春貫) 125 Hidesaburō (秀三郎) 168
Haruyuki (春行) 122 Hidetomo (秀知) 168, 188
Haruyuki (晴行) 203, 207 Hidetsugu (秀次) 86, 341
Haruyuki (晴随) 357 Hidetsugu, Toyotomi (秀次) 88
Haruzō (春蔵) 357f Hideuji (秀氏) 186, 188
Hashimoto Isshi (橋本一至) 73, 76ff, Hideyoshi (秀睦) 113, 116
344 Hideyuki (秀行) 204, 207
Hatsushinsai (発心斎 or 發心斎) Hideyuki (英敬) 247f
290 Hiko´emon (彦右衛門) 97f
Hayashi Ranga (林蘭雅) 82 Hikoichi (彦一) 91f, 364
Hei´emon (平右衛門) 87, 341, Hikoichi (彦市) 91
362 Hikojirō (彦二郎) 88, 98
Heijirō (平次郎) 173, 221, 223 Hikojirō (彦次郎) 88, 91, 94, 97f,
Heikichi (平吉) 221, 314 195
Heiroku (平六) 319 Hikonoshin (彦之進) 89
Heishirō (平四郎) 300, 343 Hikoroku (彦六) 300f
Heizō (平蔵) 260 Hikosaburō (彦三郎) 322
Hekigyokusai (碧玉斎) 201f Hikoshirō (彦四郎) 120, 122
Hideaki (秀鏡) 270 Hikosuke (彦助) 109
Hidechika (英親) 232, 234 Hikozaemon (彦左衛門) 89, 93,
Hidegorō (秀五郎) 231 97f
Hidekiyo (英精 or 英清) 247 Hikozō (彦三) 369f, 372, 376
Hidekuni (秀国) 112, 116 Hiō (日翁) see Niō
Hidekuni (秀邦) 186, 188 Hirata (平田) 55, 120ff, 231, 234,
Hidemasa (英政) 232, 234 355, 367, 369ff, 376, 380
Hidemasa (英正) 263 Hirata Tansai (平田丹斎) 55

– 389 –
Hirochika (弘親) 313f Hōjō, Gotō (方乗) 64, 66, 226
Hirohisa (寛久) – see Kankyū Hōjō, Gotō (法乗) 70
Hirokatsu (弘克) 326 Hōjudō (宝寿堂) 219
Hirokiyo (広清) 334, 336 Hōjuken (保寿軒) 315
Hiromasa (弘正) 337 Hōjusai (宝寿斎) 219, 314
Hiromasa (弘政) 313f Hōkidō (宝亀堂) 201
Hironao (弘直) 313f Hokkyū (北休) 252
Hironobu (弘信) 313f Hokkyū (北丘) 252
Hirosada (弘貞) 313f Hokurei (北嶺) 264
Hirotaka (寛孝) – see „Kankō“ Hokuryō (北嶺) 264
Hirotoshi (弘寿) 310, 313f Hokusai (北斎) – see „Katsushika
Hirotsugu (寛次) 169, 172 Hokusai“
Hiroyasu (弘泰) 313f Hokushin (北岑) 264
Hiroyoshi (弘義) 313f Hokushinrō (北辰櫻) 231
Hiroyoshi (弘良) 326 Hokyō (甫橋 or 甫喬) 324
Hiroyuki (広行) 352 Hokyū (甫救) 324
Hisahide (久英) 247f Hōmeidō (鳳鳴堂) 108
Hisahide (久栄) 247 Hōmeisai (鳳鳴斎) 219
Hisahide (久秀) 373 Hon´ami Kōetsu (本阿弥光悦) 59,
Hisakiyo (久清) 330, 335f, 338 90
Hisakuni (久国) 285 Hon´ami Kōtoku (本阿弥光徳) 90
Hisanori (久則) 186, 188, 247 Honjirō (本次郎) 252
Hisasuke (久助) 345f Honjō (本常) 121f
Hisatsugu (久次) 166, 172 Hōrinsai (宝林斎) 221
Hishi´ya (菱屋) 114 Hōryūdō (峯龍堂) 302
Hitotsuyanagi (一柳) – see Hōryūgen (豊龍原) 222
„Ichiryū“ Hōryūken (宝龍軒) 274
Hōansai (宝庵斎) 219, 221 Hōryūsai (宝龍斎) 274
Hōbōshi (芳萌子) 310 Hōryūsai (豊龍斎) 222
Hochū (甫住) 324 Hōryūshi (豊龍子) 222
Hō´ensai (方円斎) 182 Hōsai (宝斎) 112
Hōgan (抱完) 180 Hōsanken (鳳山軒) 247, 316
Hōgen (抱元) 180 Hosei (甫清) 324
Hōgetsusai (峰月斎) 205 Hōsetsu (保雪) 251

– 390 –
Hōshinsai (宝真斎) 219 Ichigyokudō (一玉堂) 187f
Hōshinsai (法真斎) 219 Ichihasai (一巴斎) 128
Hōshū (芳洲) 273 Ichijo (一如) 366
Hōshudō (宝珠堂) 219 Ichijō, Gotō (一乗) 67, 73ff, 125,
Hōshusai (宝殊斎) 219 199, 217, 244, 264, 344f, 351, 366
Hosō (甫宗) 324 Ichijōken (一城軒) 312
Hosō (甫掃) 324 Ichijōsai (一城斎) 312
Hosokawa Fujitaka (細川藤孝) Ichijōsai (一乗斎) 314
367 Ichijuken (一寿賢) 182
Hosokawa Mitsunao (細川光尚) Ichijūrō (市十郎) 196, 215
372 Ichijusai (一寿斎) 113, 314
Hosokawa Tadaoki (細川忠興) Ichikawa Hikosuke (市川彦助)
367ff 109
Hosokawa Tadatoshi (細川忠利) Ichimu (一夢) 163
368 Hosokawa Tsunatoshi Ichimudō (一夢堂 or 一無堂) 187,
(細川綱利) 372 210
Hosokawa Yoriyuki (細川頼之) Ichinen´an (一念庵) 265
34 Ichinenkan (一念貫) 265
Hotei (甫諦) 324 Ichinomiya Nagatsune (一宮長常)
Hyakuseidō (百清堂) 347 87, 104ff, 110f, 117, 124, 129,
Ibei (伊兵衛) 86, 118f, 279, 315 145, 269
Ibei (猪兵衛) 352 Ichiraku´an (一楽庵) 353
Ichian (一庵) 137 Ichirin (一隣) 162
Ichibei (市兵衛) 184, 330f Ichirin (一輪) 365
Ichibosai (一牡斎) 201f Ichirisai (一鯉斎) 322
Ichichōdō (一眺堂) – see Ichirōbei (市郎兵衛) 53, 87, 176, 178,
„Itchōdō“ 343
Ichichōsai (一長斎) 156 Ichirō´emon (市郎右衛門) 362
Ichi´emon (市右衛門) 334, 336 Ichirōji (市郎次) 176
Ichiga (一賀) 123 Ichirōzaemon (市郎左衛門) 251
Ichigansai (一眼斎) 295 Ichiryū (一柳) 241, 302f, 306ff
Ichiganshi (一眼子) 295 Ichiryūken (一柳軒) 156, 308, 318,
Ichigenshi (一元子) 122 357
Ichigyō (一行) 345 Ichiryūsai (一竜斎) 219

– 391 –
Ichiryūsai (一柳斎) 284, 308 Ikunosuke (幾之充) 347, 349
Ichiryūsai (一龍斎) 222, 375 Ikuyo (イクヨ) 304
Ichiryūshi (一柳子) 267 Imai Kosaburō (今井小三郎) 81
Ichiryū Tomoyoshi (一柳友善) Imai Nagatake (今井永武) 75, 81
241, 302, 306 Imao Keinen (今尾景年) 274
Ichisaburō (市三郎) 319 Inaba (因幡) 166, 168, 324
Ichiyō´an (一葉庵) 180 Inaba Michitatsu (稲葉通竜) 47,
Ichiyōken (一楊軒 or 一葉軒) 205 101
Ichiyōsai (一葉斎) 314 Injirō (尹次郎) 171
Ichiyūshi (一雄子) 265 Injō, Gotō (殷乗) 67, 133, 140
Ichiyūshi (一勇子) 265 Inju (胤寿) – see „Tanetoshi“
Ichizaemon (市左衛門) 55, 87, Inokichi (亥之吉) 169
355f Ippen (一遍) 32
Ichizō (市蔵) 122 Ippensha Ikku (十返舎一九) 264
I´emon (伊右衛門) 114, 138, 140, Ippōken (一芳軒) 289
330 Ippōsai (一甫斎 or 一峰斎) 205
Ietaka (家降) 88, 91, 94, 97f Ippōshi (一方子) 201
Ietake (家武) 359 Isaburō (伊三郎) 280, 302
Ietsugu (家次) 255 Ise Sadatake (伊勢貞丈) 46
Ihei (伊兵衛) 86, 118f, 279, 315 Iseya Kazaemon (伊勢屋嘉左衛門)
Ikeda Mitsumasa (池田光政) 351 81
Ikeda Mitsunaka (池田光仲) 352 Ishida Yūtei (石田幽亭) 104
Ikeda Tadakatsu (池田忠雄) 352 Ishiguro Masatsune (石黒政常)
Ikeda Toshitaka (池田利隆) 351 176, 178ff, 281, 289, 310ff
Ikkaku (一格) 217 Ishinken (以心軒) 346f
Ikkansai (一貫斎) 319, 366 Isogorō (磯五郎) 354
Ikkashi (一家式) 217 Issai (一斎) 81, 289
Ikkeisha (一渓舎) 157 Issan (一蝅) 148
Ikki´an (一箕庵) 205 Issandō (一蝅堂) 148
Ikken (一堅) 348 Isshi (一至) – see „Hashimoto
Ikkin (一琴) – see „Funada Ikkin“ Isshi“
Ikkō (一光) 284 Isshiken (一枝軒) 145
Ikkōsai (一行斎) 113 Isshin (一真) – see „Wada Isshin“
Ikuji (幾次) 365 Isshinsai (一心斎) 222

– 392 –
Isshō (一匠) – see „Nakagawa Jinkichi (甚吉) 125
Isshō“ Jinpo (尋甫) – see „Tsu Jinpo“
Isshun (一春) 366 Jinsei (尋征) 293
Issō (一双) 344 Jinshō (尋従) 291, 293
Issōsai (一宗斎) 322 Jinsuke (甚助) 125, 338
Itakura Shigemune (板倉重宗) 89 Jinzaemon (甚左衛門) 331
Itchōdō (一眺堂) 295 Jinzō (甚蔵) 314, 331
Itoku (意徳) 229 Jinzō (仁蔵) 372
Itteisai (一鼎斎) 322 Jippōkūsha (十方空舎) 200
Itteki (一的) 79, 349 Jippō´ō (十方翁) 200
Ittokutei (一得亭) 180 Jirōbei (次郎兵衛) 54
Ittōsai (一濤斎) 186 Jirō´emon (次郎右衛門) 281
Ittōsai (一到斎) 270 Jiroku (次六) 338
Ittōshi (一東子) 205, 217 Jirōsaku (次郎作) 339
Iwajirō (岩次郎) 219 Jirōsan (次郎三) 124
Iwakichi (岩吉) 197 Jirōsuke (次郎助) 297, 353
Iwamoto Konkan (岩本昆寛) 75, Jiryūken (自立軒) 252
162, 164, 190ff, 354 Jiryūsai (自立斎) 361
Izaemon (伊左衛門) 213, 306, 317 Jisaburō (治三郎) 268
Jakuryūsai (若柳斎) 226 Jisuke (治助) 84, 87, 268
Jakushōken (若松軒) 284 Jitekisai (自適斎) 361
Jakusuiken (若水軒) 256 Jitokusai (自得斎) 321
Jibei (治兵衛) 87, 125f, 133f, 140, Jitsujō, Gotō (実乗) 68
247, 258, 316, 330 Jōbō, Gotō (乗夢) 70
Jihei (治平) 326 Jōchiku (乗竹) 87
Jihōsai (自芳斎) 362 Jochiku (如竹) 235ff
Jikichi (次吉) 338 Jōchin (常珍) 246
Jinbei (仁兵衛) 84, 303, 369f Jōchin (乗珍) 246
Jinbei (甚兵衛) 68, 347, 349, 376 Jochū (如中) 237, 239
Jin´emon (甚右衛門) 108, 176, Johaku (如柏) 236, 239
178, 200, 338 Joeiken (如英軒) 311f
Jingo (甚吾) 143, 371, 374, 376 Jōeki (淨益) 78
Jingo (甚五) 370f, 376 Jōen (淨延) 78
Jingorō (甚五郎) 108, 370, 376 Jōen (常円) 229, 234

– 393 –
Jōen, Gotō (乗円) 71 Jūbei (重兵衛) 141, 249
Jogetsusai (如月斎) 314 Juchō (寿長) 180
Jōha, Gotō (乗巴) 69 Juchō (寿朝) 318, 320
Jōhon, Gotō (乗本) 68 Juei (寿永) 366
Jōi (乗意) – see „Sugiura Jōi“ Juei (寿英) 366
Joken (如件) 253 Jufūdō (寿風堂) 156f
Jōken, Gotō (乗顕) 69 Jufūsai (寿風斎) 157
Jōki (常喜) 137 Jugakusai (寿岳斎) 181
Jōkō (常興) – see „Ōdate Hisauji“ Jugakusai (寿寉斎) 181
Jōkū (浄空) 326 Jūgorō (重五郎) 182, 310
Jokyō (如笻) 236, 238f Jūgorō (十五郎) 206
Jokyū (序休) 326 Jugyoku (寿玉) 182
Joran (如蘭) 237, 239 Juhachirō (寿八郎) 345
Jōren, Gotō (乗蓮) 71 Juhōsai (寿苞斎) 361
Joryō (如柳) 237, 239 Jūjirō (十次郎) 206
Joryūken (如柳軒) 315 Jūjirō (重次郎) 264
Josan (如山) 238f Jujō, Gotō (寿乗) 62, 66, 300, 362
Jōsei (常清) 137 Jujō, Gotō (就乗) 70, 123
Jōsei (常生) 137 Jūjō, Gotō (重乗) 67, 73
Josen (如泉) 237, 239 Jukakusai (寿鶴斎) 196, 260, 311
Josen (如瑌) 237, 239 Jukan (寿閑) 95
Jōsen, Gotō (乗仙) 71 Jūkokuken (渋谷軒) 214, 280
Jōshin, Gotō (乗真) 39, 58, 69 Jukokusai (寿谷斎) 179
Jōshū, Gotō (乗秋) 71 Jukokusai (寿国斎) 287
Josui (如水) 237, 239, 360 Jukunisai (寿国斎) – see
Jotetsu (如鉄) 237, 239 „Jukokusai“
Jotoku (如篤) 238f Jumei (寿命) 179, 287
Jō´un (常雲) 137 Jumyō (寿命) 287
Jounsai (如雲斎) 314 Junjō, Gotō (順乗) 71
Jō´unsai (乗雲斎) 206 Junzō (淳蔵) 350
Jōwa (乗和) 147 Juō (寿翁) 217
Jōyo, Gotō (乗與) 69 Juōsai (寿翁斎) 181
Jōyō, Gotō (乗有) 71 Jurakusai (寿楽斎) 259
Jōyū (常有) 137 Juri (寿利) 318, 320

– 394 –
Jurōsai (寿老斎) 181, 242 Kakumeisai (鶴鳴斎) 259
Juryō (寿良) 218 Kakuryū (格亮) – see „Norisuke“
Juryūsai (寿龍斎) 287 Kakutei (鶴亭) 126
Juryūsai (寿柳斎) 287 Kameda Bōsai (亀田鵬斎) 294
Jusai (寿斎) 92, 97f Kamei´an (華明庵) 292
Jusan (寿山) 221, 223, 287 Kameichi (亀市) 62, 64
Jūsanrō (重三郎) 264 Kamejirō (亀次郎) 256
Jusansō (寿山叟) 211 Kamemichi (亀道) 241
Jushi (寿之) 221 Kameyoshi (亀吉) 348
Jushōsai (寿松斎) 319 Kanbei (勘兵衛) 68, 334, 346
Jushū (寿秀) 318, 320 Kaneatsu (兼値) 363
Jusō (寿叟) 217, 219 Kaneatsu (兼強) 363
Ju´unsai (寿雲斎) 242 Kanehira (兼平) 363
Jūzaemon (十左衛門) 339, 352 Kanehiro (兼弘) 337
Ka´emon (嘉右衛門) 231 Kaneie (金家) 117
Kagaharu (加賀春) 115f Kan´eishi (干英子) 341, 343
Kagō (華狂) – see Kagyō Kanejirō (兼二郎) 254
Kagyoku (花玉) 219 Kanejirō (兼次郎) 254
Kahei (嘉平) 337 Kan´emon (勘右衛門) 210, 329,
Kaien (魁園) 295 332f
Kaigenshi (開眼子) 152 Kanenori (包教) 341
Kaijō, Gotō (快乗) 67 Kanenori (兼矩) 363, 365
Kaijō, Gotō (海乗) 71 Kaneoki (兼置) 364
Kaisantei (會山亭) 319 Kanesue (兼副) 363
Kaishundō (魁春堂) 329 Kanesuke (兼祐) 284
Kaji´emon (加治右衛門) 100 Kanetaka (包考) – see „Kaneyasu“
Kajō, Gotō (可乗) 68, 338 Kanetake (兼武) 363
Kajūrō (嘉十郎) 102 Kanetane (兼胤) 341
Kakichi (嘉吉) 289, 288 Kaneyasu (包考) 284
Kakkenshi (活釼子) 203 Kaneyuki (兼随) 151f, 158
Kakujō, Gotō (覚乗) 60, 68, 325, Kangenshi (関眼子) 152
334 Kangyokudō (寒玉堂) 291
Kakujō, Gotō (寉乗) 67 Kangyokutei (寒玉亭) 291
Kakujusai (鶴寿斎) 180 Kan´haitei (堪佩亭) 314

– 395 –
Kanji (寛次) 192, 194 Karasuma Toyomitsu (烏丸豊光)
Kanji (寛治) 354 89
Kanji (寛二) 354 Karoku (嘉六) 288
Kanjirō (寛次郎) 181 Karyūdō (花竜洞) 128
Kanjō (寛常) 75 Karyūsai (花竜斎) 128
Kanjō, Gotō (寛乗) 67, 372 Kasanken (華山軒) 365
Kanjō, Gotō (閑乗) 63 Kashiwa´ya (柏屋) 87, 104
Kanju (幹寿) 318 Kashō (可笑) 321
Kanju (寛寿) 194, 354 Kataaki (賢明) 222
Kankei (閑径) 152f Katachika (方周) – see
Kankeishi (関雞子 or 関鶏子) „Masachika“
365 Katō Entaku (加藤遠沢) 283
Kankō (寛孝) 354 Katōji (加藤次) 101
Kankodō (諫鼓堂) 156 Katsuaki (勝章) 347, 349
Kankyū (寛久) 354 Katsubumi (勝文) 348f
Kannonsha (観音舎) 201 Katsuchika (勝親) 305
Kanō Natsuo (加納夏雄) 79, 106, Katsufusa (勝房) 284, 302f
115f, 200, 217, 253, 259, 268ff, Katsuhide (勝栄) 305
295f Katsuhiko (勝彦) – see „Shōgen“
Kanō Tan´yū (狩野探幽) 283 Katsuhira (勝平) see „Hagiya
Kan´ōsai (寛翁斎) 250 Katsuhira“
Kanpei (勘平) 374, 376 Katsuhiro (勝広) 253, 271
Kanri (寛利) 164, 192, 194, 279 Katsuhiro (勝容) 304f
Kanroku (勘六) 333 Katsuhiro (克弘) 328
Kansai (閑斎) 244 Katsuhisa (勝久) 302f, 346, 348f
Kansai (寛斎) 295 Katsuhisa (克久) 326
Kanshiken (幹支間) 185, 188 Katsukata (勝方) 284
Kanshirō (勘四郎) – see Katsukatsu (勝克) 347, 349
„Nishigaki Kanshirō“ Katsukazu (勝和) 346
Kanshōdō (観笙堂) 235 Katsukiyo (勝清) 271
Kansuidō (圜水堂) 322 Katsukuni (勝国) 302f
Kanzaemon (勘左衛門) 234, 333, Katsumasa (勝正) 305, 347, 349
372f, 376 Katsumasa (克正) 328

– 396 –
Katsumasa (勝全) – see Katsuyuki (勝幸) 284
„Katsumata“ Katsuyuki (勝之) 351
Katsumata (勝全) 348f Katsuzane (勝実) 79
Katsumi (勝見) 220, 223, 270 Kawahōsai (川宝斎) 112
Katsumitsu (勝光) 347, 349 Kawanabe Kyōsai (河鍋暁斎) 274
Katsumori (勝守) 253, 271f Kazaemon (嘉左衛門) 81, 170
Katsunao (勝直) 305 Kazuaki (一明) 295f
Katsunori (克則) 328 Kazumitsu (一光) 284
Katsura Eiju (桂永寿) 240ff, 279, Kazunobu (一信) 225, 227, 297
366f Kazunori (一則) 264
Katsuryūken (葛柳軒) 155f Kazuo (一雄) 265, 379, 381
Katsusaburō (勝三郎) 266 Kazutsura (加寿貫) 125
Katsusada (勝貞) 284 Keigetsudō (桂月堂) 294
Katsusane (勝威) 302f Keigyoku (渓玉) 321
Katsushige (克茂) 209 Keiho (恵甫) 180
Katsushige (勝成) 284 Keiho (桂圃) 252
Katsushige (勝茂) 302f Keijō, Gotō (桂乗) 63, 66, 137
Katsushige (勝重) 305, 346, 349 Keijō, Gotō (慶乗) 70
Katsushika Hokusai (葛飾北斎) Keinosuke (慶之助) 265
264 Keirinsai (桂林斎) 279
Katsusuke (勝助) 244, 346f, 349 Keirinsai (桂隣斎) 279
Katsuteru (勝照) 302f Keirinshi (桂林子) 279
Katsutomi (勝肥) 284, 312f Keiryūshi (桂流子) 357
Katsutoshi (勝寿) 304 Keisaburō (慶三郎) 265
Katsutoshi (勝俊) 305 Keisōrin (桂宗隣) 279
Katsutsugu (勝次) 346, 349 Keisuke (慶助) 354
Katsutsugu (勝継) 79, 347, 349f Keitō (圭竇) 151
Katsuyasu (勝保) 304f Keitōrin (圭竇林) 151
Katsuyoshi (勝良) 305 Kenjō, Gotō (顕乗) 60, 66f, 133,
Katsuyoshi (勝克) 347, 349 228, 234, 325, 334, 372
Katsuyoshi (勝義) – see „Shōami Kenjō, Gotō (謙乗) 67, 73
Katsuyoshi“ Kenkaishi (硯海子) 210
Katsuyuki (勝敬) 79, 349 Kenryūshi (見龍子) 106, 108
Katsuyuki (勝随) 157f Kensai´ō (謙斎翁) 200

– 397 –
Kensei (乾清) 323 Kingyokudō (金玉堂) 314
Kensendō (堅鐫斎) 310 Kinhiko (公彦) – see „Kimihiko“
Kibei (喜兵衛) 69, 86f, 104, 324, Kinjirō (金次郎) 221, 317
339 Kinkōdō (金光堂) 352
Kichibei (吉兵衛) 86 Kinnosuke (金之助) 284
Kichidayū (吉太夫) 333 Kintarō (金太郎) 182, 304
Kichigorō (吉五郎) 63, 224, 364 Kinryūhō (金龍峯) 184
Kichijirō (吉次郎) 171, 246 Kinryūsai (金龍斎) 113
Kichisaburō (吉三郎) 245 Kinryūsan (金龍山) 184
Kichōsai (貴暢斎) 249 Kinshichi (金七) 258
Kichū (其仲) 82 Kinzō (金蔵) 156, 201, 213
Ki´emon (喜右衛門) 249 Kirakusai (亀楽斎) 115, 375
Kigan (亀眼) 164 Kiroku (喜六) 108, 114
Kigen (亀眼) 280 Kiryūken (起龍軒) 274
Kihachi (喜八) 109, 116, 354 Kiryūsai (起竜斎) 137, 140
Kihachirō (喜八郎) 110, 116, 152 Kisaburō (喜三郎) 190, 267, 284,
Kiheiji (喜平次) 252 334
Kiichi (亀市) 58 Kisai (貴斎) 249
Kijō, Gotō (亀乗) 70, 73 Kishōtei (其昇亭) 112
Kijūrō (喜十郎) 192 Kisōji (喜惣治) 162, 296
Kikichi (喜吉) 281 Kisōji (喜惣二) 204
Kikokusai (亀谷斎) 315 Kisōji (喜惣次) 185f, 260f
Kikugawa Eizan (菊川英山) 247 Kisuisha (其水舎) 222
Kikunosuke (喜久之助) 304 Kitao Kōsuisai Shigemasa
Kikuo (菊雄) 260 (北尾紅翠斎重政) 1, 147
Kikuzō (喜久蔵) 357 Kitarō (喜太郎) 119
Kikyōken (徽敬軒) 265 Kitōsai (奇濤斎) 186
Kimihiko (公彦) 360 Kitsusensai (橘選斎) 271
Kinai (喜内) 333 Kitsusōshi (橘窓子) 324
Kinbei (金兵衛) 119 Kitsuzenkyo (詰然居) 292
Kinekichi (甲子吉) 269 Ki´unsai (亀運斎 and 亀雲斎) 315
Kin´emon (金右衛門) 152, 156, Kiyoaki (清明) 335f
192 Kiyonaga (清永) 216, 334, 336
Kingorō (金五郎) 220 Kiyonari (清成) 54, 285

– 398 –
Kiyonobu (清宣) 335 Kōji (興次) 375
Kiyonori (清則) 282f Kōjirō (幸次郎) 197, 232, 271
Kiyosada (清定) 281ff, 336 Kōjō, Gotō (光乗) 58, 66, 68, 90,
Kiyōsai (貴陽斎) 249 327
Kiyoshi (清) 273 Kōjun (幸淳) 375
Kiyoshi (喜吉) 281 Kōkakudō (皐鶴堂) 308
Kiyoshige (清重) 218, 220, 223, 334, Koki (古稀) 111
336 Kokō (古工) 326
Kiyotoshi (清寿) 75, 163, 216ff, Kōkodō (好古堂) 291
223 Kokuryūsai (国龍斎) 314
Kiyotsugu (清次) 172 Komajirō (駒次郎) 200, 202
Kiyotsune (清恒) 335f Ko-Mino 48
Kiyoyoshi (清良) 282f Kongōsai (金剛斎) 114
Kiyoyoshi (清冷) 335f Konju (昆寿) 193f
Kiyoyuki (清随) 282f Konkan (昆寛) – see „Iwamoto
Kizaemon (喜左衛門) 53, 345 Konkan“
Kizō (喜蔵) 280, 282f Kōnosuke (鋼之助) 258
Kōami (幸阿弥) 49, 142 Kōō (光翁) – see „Gekka´an Kōō“
Kōami (巧阿弥) 298, 301 Kōrei (光嶺) 321
Kobayakawa Hideaki (小早川秀秋) Kōreishi (恒嶺子) 201f
345 Koretsune (是常) 179ff
Kobori Enshū (小堀遠州) 175 Koreyoshi (是美) 181, 183
Kōchō (晄長) 295 Kōrin (光林), 109ff, 116
Kō´emon (幸右衛門) 87, 174, 178 Kōroken (香廬軒) 312
Kōfūken (行風軒) 205 Kōryūken (好龍軒) 192
Kogetsutei (孤月亭) 308 Kōryūsai (蛟竜斎) 264
Ko-Gotō 10, 48 Koryūsai (古柳斎) 266
Kōhachi (幸八) 189 Kōryūsai (弘柳斎) 267
Kohei (小兵衛) 85 Koryūsha (古竜舎) 180
Koheiji (小平次) 175 Kōsai (香斎) 271
Kohyō´an (古瓢庵) 367 Kōsekidō (光石堂) 312
Koichirō (小一郎) 58 Kōsensai (江川斎) 241
Kōichirō (考一郎) 222 Kōsetsuken (後雪軒) 302
Kōji (幸次) 375 Koshirō (小四郎) 229, 326

– 399 –
Koshōshi (虎簫子 or 虎嘯子) 353 Kusakari´ya (草刈屋) 281
Kōsō (孔叟) 219 Kūsōsai (空窓斎) 201f
Kōsō (耕叟) 219 Kuwahara Yōjirō (桑原羊次郎)
Kōsōken (貢僧軒) 260 217, 260, 380
Kosui (湖水) 123 Kyogaishi (巨外史) 264f
Kotōji (小藤次) 231 Kyoku-dōjin (髷道人) 111
Kotōken (湖東軒) 341 Kyokushōdō (旭松堂) 322
Kō´untei (高雲亭) 180 Kyokutō (旭登) 273
Kōyōken (巧陽軒) 322 Kyōō (恭翁) 163
Kozaemon (小左衛門) 85, 143f, 149, Kyōzan (嚮山) 292
228 Kyōzandō (嚮山堂) 292
Kōzaemon (幸左衛門) 362 Kyūbei (久兵衛) 80, 107f, 115f
Kōzenkyo (浩然居) 292 Kyūbei (九兵衛) 86
Kōzensha (浩然舎) 292 Kyū´emon (九右衛門) 86
Kōzō (光蔵) 366 Kyūgorō (久五郎) 193
Kukuken (九々軒) 311 Kyūjirō (久次郎) 115f, 338
Kukushin (九々蜃) 264 Kyūjō, Gotō (久乗) 65, 67
Kumagai Yoshiyuki (熊谷義之) Kyūjō, Gotō (休乗) 70
75, 254, 373 Kyūjō, Gotō (球乗) 70
Kumatarō (熊太郎) 312 Kyūkodō (求古堂) 292
Kumatō (熊蔵) 308 Kyūkyūshin (九々蜃) 264
Kunichika (国親) 162, 164 Kyūsaburō (久三郎) 266
Kunigorō (国五郎) 348f Kyūsaburō (丘三郎) 342
Kunihiro (国広) 55, 339 Kyūsendō (九泉堂) 205
Kunihisa (国久) 339 Kyūsuitei (吸水亭) 284
Kunikatsu (国勝) 164 Kyūtarō (久太郎) 218
Kunimasa (国政) 339 Kyūzaemon (久左衛門) 346
Kunimatsu (国松) 295 Kyūzō (九蔵) 138, 140
Kuninaga (国永) 339 Kyūzō (久蔵) 237
Kuninaga (国長) Maeda Toshinaga (前田利長) 323,
Kunishige (国重) 360f 327
Kunitada (国忠) 339 Maeda Toshitsune (前田利常) 61,
Kunitomo (国友) 342f 325
Kuniyasu (国安) 339 Mago´emon (孫右衛門) 339

– 400 –
Magohei (孫平) 232 Masahiro (政普) 157
Magoshichi (孫七) 230, 337 Masahiro (政広) 180, 183
Magosuke (孫助) 342 Masahisa (正久) 373, 376
Magoyata (孫弥太) 196 Masaichirō (政一郎) 113
Magozaemon (孫左衛門) 249 Masaie (正家) 58
Mahaya (真早) – see „Adachi Masairu (正入) 85
Mahaya“ Masakage (政景) 219, 223, 256f
Mahiko (真彦 80) Masakata (正方) 286
Mansuke (万助) 77 Masakata (政方) 154, 251
Manzō (満蔵) 186 Masakatsu (正勝) 85
Maruyama Ōkyō (円山応拳) 105 Masakatsu (政勝) 251
Masaaki (政明) 182f Masakatsu (政克) 193f, 206f, 213,
Masaaki (政章) 262 215
Masachika (正親) 147, 356 Masakazu (正員 or 政員) 55
Masachika (政近) 251, 306 Masakazu (政一) – see „Kobori
Masachika (政親) 251 Enshū“
Masachika (政慎) 151 Masakiyo (正清) 291, 293
Masachika (昌親) 162ff, 353 Masakuni (正邦) 231, 234
Masachika (方周) 256f Masamichi (正道) 230, 234
Masachika (雅哉) 290 Masamine (正峰) 231, 234
Masachin (雅珍) – see Masamitsu (正光) 59, 66, 231,
„Masayoshi“ 234, 242, 284
Masafusa (正房) 58f, 85 Masamitsu (政光) 213, 215, 284
Masafusa (政房) 262f Masamitsu (多光) 328
Masagorō (政五郎) 231 Masamori (政守) 123, 180, 183
Masaharu (政春) 182f, 206f, 256f, Masamoto (正元) 85
310, 313 Masana (正名) 373, 376
Masaharu (正春) 231, 234, 374 Masanaga (正長) 147, 149
Masahide (正英) 231, 234 Masanaga (正永) 247f
Masahide (正秀) 231f, 234 Masanaga (政長) 214f, 251, 255,
Masahide (政英) 251 257
Masahiro (正博) 85 Masanao (正直) 232, 234
Masahiro (正伯) 85 Masanao (政直) 322
Masahiro (正広) Masanari (政也) 251

– 401 –
Masanobu (誠信) 152 Masatoshi (政利) 251
Masanobu (政信) 153, 158, 251, Masatoshi (政寿) 158, 294, 296
257 Masatoshi (正寿) 284, 310
Masanobu (昌信) 224, 227 Masatoyo (正豊) 232, 234
Masanobu (正信) 225, 227 Masatsugu (正継) 60 ,66f
Masanori (政徳) 53 Masatsugu (政継) 281
Masanori (正乗) 216, 223 Masatsugu (政次) 140, 158, 173, 178,
Masanori (政乗) 287 257
Masanori (正則) 228, 234, 236, Masatsugu (正次) 230, 234, 255,
238f 356
Masanori (政則) 256f Masatsune (正恒) 231, 234, 247f
Masaoka (政丘) 251 Masatsune (政恒) 247f
Masaoki (正興) 72, 108, 255 Masatsune (方常) 256f
Masaoku (正奥) 66 Masatsune (政常) – see „Ishiguro
Masaoku (雅息) 290 Masatsune“
Masasada (政貞) 251, 257 Masaya (政也) 251
Masashige (政重) 153 Masayasu (正保) 247f
Masatada (正矢) 229, 234 Masayasu (昌安) 343
Masatada (正忠) 230, 234, 300 Masayasu (正安) 356
Masataka (政隆) 80 Masayoshi (正吉) 229, 234
Masataka (正隆) 220, 223 Masayoshi (正吉) – see.
Masataka (政孝) 158, 251, 257 „Shōkichi“
Masataka (方孝 or 方高) 257 Masayoshi (正福) 72
Masatarō (政太郎) 163 Masayoshi (正芳) 231, 234
Masatatsu (政龍 or 政竜) 80 Masayoshi (政盧) 152, 155f
Masateru (政照) 195, 198, 287 Masayoshi (政芳) 153, 158, 261,
Masatoki (正時) 228, 234 263
Masatoku (正篤) 258 Masayoshi (政美) 181ff, 256f, 361
Masatomo (政供) 250 Masayoshi (政好) 197f
Masatomo (政知) 251 Masayoshi (雅珍) 290
Masatomo (政友) 251 Masayoshi (匡義) 365
Masatomo (政朝) 197f, 251 Masayuki (正行) 229, 234
Masatoshi (昌寿) 162, 164 Masayuki (正随) 231, 234
Masatoshi (正甫) 193f Masayuki (政之) 251

– 402 –
Masayuki (政幸) 251 Michitoshi (道寿) 300
Masayuki (政随) – see „Hamano Michitoshi (通寿) – see „Yatabe
Shōzui“ Michitoshi“
Masazane (政実) 151 Michiyasu (道安) 299, 301
Masugorō (升五郎) 232 Michiyoshi (道好) 196ff
Masutarō (益太郎) 348 Michiyoshi (道喜) 351
Masu´ya (升屋) Michiyoshi (道善) 351
Masuyuki (益随) Mikawa´ya (三河屋) 155
Matabei (又兵衛) 84 Minamiya (皆山) 114, 116
Mata´emon (又右衛門) 279, 342 Minamoto Hachimantarō Yoshiie
Matagorō (又五郎) 255, 257 (源八幡太郎義家) 222
Matakichi (亦吉) 180, 183 Minjō (珉乗) 273
Matakichi (又吉) 302 Mino-bori 47f, 124
Matasaku (又作) 210 Mino-Gotō 47f
Matashichi (又七) 84 Minomatsu (巳之松) 218
Matashirō (又四郎) 325 Minosuke (巳之助) 139
Matazaemon (又左衛門) 84, 258 Minryō (珉涼) 205
Matsubei (松兵衛) 321 Minsōken (民竈軒) 203
Matsudaira Daigaku no Kami Misumi (三角) 374f
Yorisada (松平大学頭頼貞) 160 Mitsu (ミツ) 321
Matsudaira Sadashige (松平定重) Mitsuaki (光暁) 47
323 Mitsuaki (光晃) 64, 66, 226
Matsudaira Shū´un Kunzan Mitsuaki (光明) 68, 71, 206f
(松平秀雲君山) 48 Mitsuaki (光顕) 69
Matsugorō (松五郎) 219 Mitsuari (光有) 71
Matsujirō (松次郎) 154 Mitsubumi (光文) 68
Matsuo Bashō (松尾芭蕉) 203 Mitsuchika (光近) 69
Meiryūken (鳴龍軒) 361 Mitsuchika (光親) 71, 292f
Miboku (味墨) 151 Mitsufusa (光房) 68, 119
Michihiro (道寛) 128 Mitsuha (光派) 60
Michimoto (通求) 196, 198 Misuharu (光春) 87, 112, 116,
Michinobu (通信) 196, 198 267, 329, 338
Michinori (道則) 197f Mitsuharu (光晴) 68
Michitoshi (道俊) 197f Mitsuhira (光平) 65

– 403 –
Mitsuhiro (光博) 67 Mitsunaka (光仲) 67, 292, 352
Mitsuhiro (光広) 69, 205, 207 Mitsunao (光尚) 69, 372
Mitsuhiro (光弘) 67, 110ff, 116, Mitsunari (光成) 63, 71, 206, 292
266, 291, 337 Mitsunari (光生) 69
Mitsuhiro (光煕) 69 Mitsunari (光業) 67
Mitsuhisa (光久) 69, 114 Mitsunobu (光信) 68f, 73
Mitsuie (光家) 58, 66 Mitsunobu (光敷) 70
Mitsukage (光景) 70 Mitsunobu (光伸) 47, 67
Mitsukata (光方) 70 Mitsunobu (光寿) 61ff, 66
Mitsukatsu (光勝) 67 Mitsunobu (光宣) 337
Mitsukazu (光品) 67 Mitsunori (光典) 63
Mitsukazu (光籌) 69 Mitsunori (光儔) 63
Mitsukazu (光和) 328 Mitsunori (光則) 65f, 71, 125,
Mitsuki (光黄) 67 235, 239, 272, 328
Mitsukuni, Abe (光国) 85 Mitsunori (光詮) 70
Mitsukuni (光邦) 67 Mitsunori (光教) 71
Mitsumasa, Gotō (光正) 70 Mitsuo (光尾) 62
Mitsumasa (光政) 47, 68, 177, Mitsuo (充雄) 342
204f, 207, 328, 337, 351 Mitsuoki (光興) 67
Mitsumasa (光昌) 61, 66f Mitsuoki – see „Ōtsuki Mitsuoki
Mitsumasa (光理) 62, 66 (大月光興)“
Mitsumasa (光雅) 68 Mitsusada (光定) 71, 206
Mitsumasa (充昌) 342 Mitsushige (光重) 60, 66, 169,
Mitsumasa (充正) 342 204, 207, 266f
Mitsumasu (光倍) 67 Mitsusuke (光佐) 63
Mitsumasu (光益) 328 Mitsutada (光忠) 70, 90, 103, 328
Mitsumine (光峯) 70 Mitsutada (光伊) 61
Mitsumori (光守) 63, 66, 206 Mitsutada (光覧) 65, 67
Mitsumoto (光基) 58, 66 Mitsutada (光質) 68
Mitsumoto (光舊) 70 Mitsutaka (光孝) 63, 66, 205, 207
Mitsumune (光宗) 59, 69 Mitsutaka (光隆) 70
Mitsunaga (光永) 67, 372 Mitsutaka (光貨) 73
Mitsunaga (光長) 70ff, 266, 295f Mitsutake (光武) 57, 66
Mitsunaka (光中) 292f Mitsutoki (光時) 177f, 291ff

– 404 –
Mitsutomi (光富) 67 Mitsuyuki (光行) 73, 177f, 203,
Mitsutoshi (光利) 67, 205, 207 207
Mitsutomo (光侶) 61, 66, 338 Mitsuyuki (光幸) 62
Mitsutomo (光倫) 67 Mitsuyuki (光如) 70
Mitsutomo (光朝) 204, 207 Mitsuyuki (光雪) 68
Mitsutomo (光友) 206 Mitsuyuki (光之) 203
Mitsutatsu (光辰) 71 Mitsuzane (光実) 70, 72
Mitsutoshi (光利) 67, 205, 207 Miyata Yūzen (宮田右膳) 259
Mitsutoshi (光甫) 71 Mogarashi (藻柄子) 340
Mitsutoshi (光寿) 205 Mohei (茂兵衛) 297
Mitsutoshi (光寿) see also Moku´ensai (木鳶斎) 182
„Mitsunobu“ Montarō (文太郎) 238
Mitsutoshi (光年) 64 Monzō (紋蔵) 282
Mitsutoyo (光豊) 72 Moriaki (守明) 182f
Mitsutsugu (光嗣) 69 Moriaki (盛明) 326, 330
Mitsutsugu (光次) 69, 267 Morichika (守親) 352
Mitsutsugu (満次) 170, 172 Morihira (守平) 267
Mitsutsuna (光綱) 71 Morihira (盛平) 330, 332
Mitsutsune (光経) 60, 69 Morihiro (盛弘) 325
Mitsutsune (光恒) 109, 116 Morikatsu (盛勝) 325
Mitsutsura (光連) 68 Morikuni (盛国) 55, 330, 332, 359
Mitsuyasu (光保) 67, 70, 177, 259, Morimine (森峯) 359
295f Morimitsu (盛光) 329, 332
Mitsuyo (光與) 67 Morimitsu (守光) 365
Mitsuyo (光代) 67, 73 Mori Nagatsugu (森長継) 345
Mitsuyori (光寄) 69 Morinobu (盛信) 197f
Mitsuyori (光頼) 69, 72 Morisada (盛定) 329, 332
Mitsuyoshi (光嘉) 61 Morisada (守定) 353
Mitsuyoshi (光美) 64, 66, 329 Mori Tadamasa (森忠政) 345
Mitsuyoshi (光義) 206 Moritomi (盛富) 55
Mitsuyoshi (光令) 68 Moritoshi (盛寿) 273
Mitsuyoshi (光芳) 110, 115f Moritsugu (盛次) 133, 140, 330,
Mitsuyoshi (光良) 116 332
Moritsugu (守次) 170ff, 324

– 405 –
Moritsugu (盛次) 133, 140, 330, Mototeru (元輝) 317, 320
332 Mototomo (元儔) 319f
Moritsune (盛常) 180, 183 Motoyasu (元易) 317
Moritsune (守常) 353 Motoyoshi (元珍) – see „Genchin“
Moriyoshi (盛良) 325 Motoyoshi (元教) – see
Moriyoshi (守良) 330, 332 „Motonori“
Moriyuki (守行) 352 Motozane (元孚) 237, 273, 303, 316,
Moriyuki (盛征) 362f, 365 320
Moroka (師香) 127 Muchū-sanjin (夢中山人) – see
Mōrōsai (朦朧斎) 128 „Bōchū-sanjin“
Morotsugu (師次) 168, 172 Mui (無意) 295
Mosaku (茂作) – see „Shigesaku“ Muneaki (宗明) 97, 99
Moshōken (茂松軒) 322 Muneaki (宗顕) 341
Motoaki (元章) 319f Munehide (宗秀) 341
Motochika (元隣) 312f Munehide (宗英) 342
Motoharu (元春) 316 Munekata (宗堅) – see „Sōken“
Motohira (基平) 272 Munekata (宗賢) 341
Motohiro (元広) 115f Munekore (宗是) 249
Motomasa (元督) 291, 293 Munemasa (宗政) 241
Motomichi (元道) 317 Munemichi (致道) 321
Motonaga (元長) 246, 319f Munemitsu (宗満) 242
Motonaka (資央) 362 Munenaga (宗長) 97
Motonobu (基信) 127 Munenori (宗徳) 258
Motonobu (元申) 338 Munenori (宗典) – see Sōten
Motonori (元教) 247f, 316, 320 Muneshige (宗茂) 97ff
Motooki (基起) 127 Munesuke (宗祐) 249
Motosaburō (元三郎) 357 Munetaka, Tachibana (宗隆) 89
Motosada (元貞) 289, 318, 320, Munetaka (宗峯 or 宗峰) 86
338 Munetake (宗武) 100
Motoshige (元重) 95, 319f Munetaku (完度) – see „Sadanori“
Motoshige (元茂) 319f Munetoshi (宗利) 146
Mototada (基董) 127 Munetoshi (宗寿) 242
Mototaka (元珍) – see „Genchin“ Munetsugu (宗次) 170, 172, 248,
Mototane (元胤) 289 352

– 406 –
Muneyoshi (宗吉) 89, 97f, 247f, 259, Nagasaki´ya (長崎屋) 306
316 Nagashige (永重) 334
Muneyoshi (宗義) 95, 98 Nagataka (永珍) – see „Eichin“
Muneyuki (宗之) 89, 93, 97f Nagatake (永武) – see „Imai
Musen´an (無銭庵) 360 Nagatake“
Myōchin (妙珍) 314 Nagatomo (長友) 108
Myōei (明栄) 92, 98 Nagatoshi (長年) 108
Myōga (明賀) 123 Nagatoshi (永利) – see „Eiri“
Myōho (明甫) 93, 98 Nagatoshi (寿利) – see „Juri“
Myōho (明輔) see „Akisuke“ Nagatsugu (長次) 166, 170, 172
Myōju (明寿) – see „Umetada Nagatsugu (永次) 333f, 371, 376
Myōju“ Nagatsune (長常) – see
Myōkin (明欽) 89, 98 „Ichinomiya Nagatsune“
Myōmei (命明) – see „Nagaaki“ Nagayasu (長安) 142
Myōshin (明真) 88, 91, 93, 97f, Nagayoshi (長芳) 104, 108
100 Nagayoshi (長義) 106ff
Nagaaki (命明) 343 Nagayoshi (長美) 107f, 356
Nagaatsu (長厚) 122 Nagayoshi (永良) 356
Nagafusa (長房) 231, 234, 356 Nagayoshi (永吉) 333
Nagaharu (永春) 148f Nagayoshi (永義) 371
Nagaharu (永治) 334, 371 Nagayoshi (永珍) – see „Eichin“
Nagahide (永秀) 162, 164, 334 Nagayuki (永随) 154, 158
Nagahisa (永久) 333, 371f, 376 Nagazawa Rosetsu (長沢蘆雪)
Nagakiyo (永清) 332f 110
Nagakuni (永国) 334 Nakagami (仲上) 115f
Nagamasa (永政) 333f Nakagawa Isshō (中川一匠) 75,
Nagamichi (長道) 142 79, 201, 348f, 351
Nagamine (永峯) 124 Nakagawa Katsutsugu (中川勝継) 79,
Nagamitsu (長光) 108 350
Naganobu (永信) 333 Nakajima Raishō (中島来章) 268
Nagasada (永定) 333 Nakanori (仲矩) 235, 239
Nagasada (永足) 333 Nangyokudō (南玉堂) 253
Nagasada (永貞) 361 Nanpo (南浦) 191
Nagasane (永真) 361 Nansan (南山) 295

– 407 –
Nansan-Hokushi (南山北子) 295 Naonobu (直信) 175, 197f, 323
Nansen (南仙) 203 Naonori (直矩) 155f, 178, 195, 198,
Nansensai (南仙斎) 203 364
Nansensai (南泉斎) 205 Naonori (直教) 362
Naoaki (直鏡) 270 Naonori (直昇) 363
Naochika (直近) 322 Naosada (直貞) 344
Naofusa (尚房) 118f Naoshige (直重) 84, 208, 211
Naoharu (直春) 174f, 178, 199, Naoshige (尚茂) 117, 119
202, 212, 323, 338, 344 Naotaka (直隆) 176
Naotaka (直孝) 176, 178, 291
Naohisa (直故) 173, 175, 178 Naotaka (直香) – see „Naoka“
Naohisa (直久) 175 Naotane (直胤) 253
Naoichi (直市) 114, 116 Naoteru (直照) 195, 198, 287
Naoie (直家) 344 Naotoki (直時) 174, 178, 196, 291
Naojirō (直次郎) 79, 252 Naotomo (尚友) 118f
Naoka (尚香) 119 Naotoshi (直俊) 176
Naoka (直香) 362 Naotsugu (直次) 176, 178
Naokata (尚方) 118f Naotsune (直常) 176, 178f, 364
Naokata (直堅) 363 Naotsura (直連) 176, 178, 292
Naokatsu (直克) 177f, 208, 211f, 215, Naoyasu (直安) 156
364 Naoyoshi (尚義) 119
Naokatsu (直勝) 270, 364 Naoyoshi (直好) 175, 178, 181,
Naokazu (直和) 323 183, 195, 198, 347
Naokichi (直吉) 206, 253 Naoyoshi (直美) 181, 195
Naomasa (直政) 140, 155, 173ff, Naoyoshi (直香) – see „Naoka“
178, 185, 190, 194, 196, 208, 211, Naoyuki (直随) 152, 155, 158, 178,
249, 353, 364 322
Naomasu (直升) 363 Naoyuki (直行) 156
Naomichi (直道) 84, 344 Naoyuki (直幸) 175
Naomichi (尚道) 119 Naoyuki (尚随) 158
Naomine (直峯) 84, 363 Naoyuki (直敬)
Naomitsu (直光) 173f, 178, 203, 207, Naozō (直蔵) 323
291 Nara Aki (奈良安芸) 141
Naomoto (直旧) 250 Nara Bingo (奈良備後) 141

– 408 –
Nara Echizen (奈良越前) 141 Nishigaki Kanshirō (西垣勘四郎)
Nara Jūbei (奈良重兵衛) 141 370ff, 376
Nara Suō (奈良周防) 141 Nizaemon (仁左衛門) 84, 123
Nara Toshiharu (奈良利治) 54, Nōami (能阿弥) 35, 49
142, 144, 149, 159, 164 Nobuaki (信明) 260
Nara Toshinaga (奈良利寿) 10, Nobufusa (信房) 326
146ff, 154, 158, 216, 229, 300 Nobuharu (信春) 267
Nobuhide (延秀) 87
Nara Toshinaga (奈良利永) 144ff, Nobuhide (宣秀) 356ff
147ff, 164, 184 Nobuhide (宜秀) 357
Narihisa (就久) 121f Nobuhisa (信久) 259
Narikado (就門) 101, 121f Nobukatsu (信克) 210f
Narikazu (就一) 102, 120ff Nobukazu (信一) 225, 227
Narimasa (就方) 101 Nobukiyo (信清) 259
Narimasa (就将) 122 Nobumasa (信政) 260
Narishige (就受) 100 Nobumori (信盛) 263
Narisuke (就亮) 122 Nobusada (延貞) 249
Naritoshi (就寿) 102 Nobushige (信重) 359
Naritsugu (就受) – see Nobutaka (信孝) 315
„Narishige“ Nobutoki (宜時) 397
Nariyuki (就行) 122 Nobutoshi (信寿) 260
Nariyuki (就之) 122 Nobutoshi (信利) 315
Nariyuki (就門) 101, 121f Nobutsugu (宣次) 170, 172
Natsuo (夏雄) – see „Kanō Nobutsugu (信次) 375
Natsuo“ Nobuyoshi (信慮) 157f, 270
Nenokichi (子之吉) Nobuyoshi (信芳) 262f
Nibei (仁兵衛) 273 Nobuyuki (鋪随) 152, 158
Ni´chikuken (二筑軒) 319 Nobuyuki (信随) 156, 158
Nifūdō (二楓堂) 162 Noda Takaaki (野田敬明) 143
Nikuborishi (肉彫子) 342 Norichika (矩局) 155
Nintōsai (仁藤斎) 231 Norichika (則親) 315
Niō (日翁) 229 Norihisa (則久) 238f
Nirōsai (日滝斎) 321 Norikata (徳方) 72
Niryūken (二柳庵) 174 Norikiyo (徳精) 367

– 409 –
Norikiyo (詮清) 335f Ōtsuki Mitsuoki (大月光興) 105,
Norinao (徳直) 84 110ff, 114ff, 126
Norinobu (矩施) 154 Otsuryūken (乙柳軒) 151ff
Norinobu (矩陳) 365 Raku´ōsai (楽翁斎) 197
Norishige (矩蕃) 158 Rakusuidō (楽水堂) 343
Norishige (則重) 265 Ranjō, Gotō (闌乗) 67, 262
Norisuke (格亮) 343 Ranjutei (蘭寿亭) 308
Noritora (則虎) 238f Ranrantei (蘭々亭) 308
Noriyoshi (則珍) 238f Reibokudō (麗墨堂) 114
Noriyoshi (矩陳) – see Rei´enshi (嶺燕子) 231
„Norinobu“ Reijō, Gotō (嶺乗) 71
Noriyuki (矩随) 152f, 158, 312 Renjō, Gotō (廉乗) 61, 66, 137, 249,
Noriyuki (詮之) – see „Akiyuki“ 299
Oda Nobunaga (織田信長) 52, 58, Renjō, Gotō (蓮乗) 71
214, 325, 368 Renkikan (連枝館) – see
Ōdate Hisauji (大舘尚氏) 38 „Renshikan“
Ōgi´ya (扇屋) – see „Sen´ ya“ Renshikan (連枝館) 106, 108
Okada-family (岡田) 80, 290 Renzaburō (錬三郎) 270
Ōki (応起) 114, 116 Ribei (理兵衛) 60, 67
Ōki Chikatsugu (大木竹次) 169, Ribei (利兵衛) 174, 197
172 Rifūdō (驪風堂) 253
Okihide (興秀) 112 Rihachi (利八) 195
Okihisa (興久) 245 Rikizō (力蔵) 226
Okimichi, Tokioka (興道) Rinjō, Gotō (林乗) 70
Okinari (興成) 87 Rinsendō (臨川堂) 342
Okisada (興定) 245 Rinshō (林章) 364
Okitaka (興孝) 115f Rinshō (隣松 or 鄰松) 365
Okitsugu (興次) 255 Rinsuke (林助) 291, 293
Okiyoshi (興吉) 345 Rinzō (林蔵) 177
Okiyuki (興之) 245 Risōji (利惣治) 322
On´kokan (温故観) 175 Risuke (利助) 86
Orie (織江) 259 Ritōji (利藤次) 203
Orinosuke (織之助) 259 Rizaemon (利左衛門) 126, 174
Rizaemon (理左衛門) 166

– 410 –
Rōkadō (滝花堂) 152 Ryūkudō (龍駒堂) 111
Roku´emon (六右衛門) 333 Ryūō (竜翁) 217
Rokumi (六弥) – see „Rokuya“ Ryūrinsai (龍鱗斎) 187f
Rokusaburō (六三郎) 284 Ryūsai (竜斎) 264
Rokuya (六弥) 287f, 360 Ryūsai (龍斎) 312
Rōsetsu (老拙) 318 Ryūseimin (竜青眠 or 龍青眠)
Roshū (鷺洲) 295 221
Ryōchin (了珍) 246 Ryūsenshi (柳泉子) 176
Ryō´e (了恵) 272 Ryūshiken (柳枝軒) 344
Ryōei (良栄) 194, 251 Ryūshōsai (龍照斎) 115
Ryō´en (了円) 229 Ryūshōtei (龍照亭) 115
Ryōkan (良寛) 189f, 194 Ryūsō (竜叟) 217
Ryōsai (凌斎) 274 Ryūtōken (柳島軒) 122
Ryūsōshi (竜藻子) 341 Ryū´unsai (龍雲斎) 254
Ryōsuke (良助) 306 Ryū´unsai (竜雲斎) 366
Ryōsuke (猟助) 306 Ryū´usai (龍雨斎) 186
Ryōsuke (龍介) 306 Ryūzō (龍蔵) 357f
Ryō´un (良云) 190 Sabei (佐兵衛) 86f
Ryō´un (淩雲) 274 Saburō (三郎) 331f
Ryō´unsai (凌雲斎) 274 Saburōbei (三郎兵衛) 310, 341, 369,
Ryō´untei (凌雲亭) 274 376
Ryōyu (了由) 326 Saburō´emon (三郎右衛門) 70, 333,
Ryōzō (良蔵) 122, 237 352
Ryū´a-shi (柳蛙子) 265 Saburōji (三郎次) 341
Ryūgensai (龍眼斎) 219 Saburōshirō (三郎四郎) 310
Ryūgenshi (龍眼子) 219 Saburōzaemon (三郎左衛門) 86
Ryūgyokusai (竜玉斎) 111 Sada (サダ) 321
Ryū´inken (柳陰軒) 322 Sadabei (定兵衛) 187
Ryūjō (柳乗) 259 Sadachika (貞親) 319, 366
Ryūjō (竜乗) 260 Sadakatsu (貞克) 210f
Ryūjō, Gotō (立乗) 71f Sadakatsu (貞勝) 305
Ryūjō, Gotō (隆乗) 71, 87, 104 Sadakichi (定吉) 182f
Ryūjōsai (柳乗斎) 259 Sadanaka (貞中) 107f
Ryukadō (竜花堂) 152 Sadanori (完度) 343

– 411 –
Sadashirō (定四郎) 231 Sansō (三窓) 200
Sadatoshi (貞利) 142 Sanzaemon (三左衛門) 173, 307
Sadatsugu (定次) 171f Sasaburōemon (佐三郎衛門) 326
Sadatsugu (貞歴) 338 Sasaki Jirōbei (佐々木次郎兵衛)
Sa´emon (左右衛門 or 佐右衛門) 54
326 Sasaya Chūbei (笹屋忠兵衛) 81
Sagenta (左源太) 54 Sashichirō (佐七郎) 75, 244
Sagenta (佐源太) 356 Satake Yoshiatsu (佐竹義敦) 286
Sagorō (左五郎) 232 Satake Yoshinobu (佐竹義宣) 285
Sahei (佐平) 314 Satake Yoshizumi (佐竹義処) 285
Saheiji (佐平次) 205 Satō Yagobei (佐藤弥五兵衛) 54
Saichirō (左一郎) 241 Sawada Chūbei (沢田忠兵衛) 80
Saiichi (才市) 144, 149 Sawaya (沢屋) 125
Saijirō (才次郎) 336 Sei´emon (清右衛門) 315
Saika´an (崔下庵) 203 Seigasai (青我斎 or 青莪斎) 352
Sajūrō (左十郎) 240 Seihaku (正伯) – see „Masahiro“
Sakai Dōitsu (酒井道一) 274 Seihaku (清伯) 229
Saku´emon (作右衛門) 346 Seiichirō (政一郎) 113
Sakurai Chikahira (桜井周平) 315 Seiin (清寅) 334, 336
Samehei (鮫平) 221 Seijirō (清次郎) 206, 212, 235,
Samonji (左門治) 205 242, 251, 336
Sanai (左内) 287 Seijirō (清二郎) 212, 334, 336
San´emon (三右衛門) 302, 307, 323, Seijō (声乗) 219
339 Seijō, Gotō (清乗) 71f, 166, 172,
Sanenobu (実信 or 真信) 170, 172 216, 223, 344
Sangyoku (三玉) 321 Seijuken (生寿軒) 153
Sanjō Munechika (三条宗近) 89 Seikansai (清閑斎) 357
Sankōdō (山光堂) 351 Seikichi (清吉) 241
Sankūrō (三九郎) 289 Seinojō (清之丞) – see
Sankyū (三鳩) 115 „Seinosuke“
Sanmoji´ya (三文字屋) 86 Seinosuke (清之丞) 326
Sannojō (三之丞) 352 Seirandō (青藍堂) 213
Sanryūsha (鏨立舎) 231 Seiroku (清六) 147
Sansai (三斎) 368f Seiryōken (生涼軒) 304f

– 412 –
Seiryūken (青竜軒) 112 Sekinori (赤則) 295
Seiryūken (成竜軒) 118f Sekisoku (赤則) – see „Sekinori“
Seiryūken (生龍軒) 231, 273 Sekkoku´ō (石黒翁) 179
Seiryūken (青柳軒) 154 Sekkokusai (石黒斎) 179f
Seiryūsai (青柳斎) 125 Sen´emon (仙右衛門) 148
Seiryūsai (青竜斎) 156 Senjirō (扇次郎) 227
Seiryūshi (生龍子) 231 Senjō, Gotō (仙乗) 61
Seiryūtei (清柳亭) 344 Sen no Rikyū (千利休) 37, 368
Seisaburō (清三郎) 224, 227, 242 Senryō (沾涼) 203, 207
Seiseiken (霽々軒) 177 Senryūsai (潜竜斎) 156
Seisendō (盛泉堂) 323 Sensai (仙斎) 113
Seisentei (盛泉亭) 323 Sensaku (銑作) 360
Seishichi (清七) 242 Senshinken (洗心子) 265
Seishichirō (青七郎) 261 Senshūken (仙秀軒) 221
Seishinken (清真軒) 319 Sen´ya (扇屋) 109
Seisuiken (清水軒) 357 Sen´yō-Issai (千葉一斎) 289
Seitarō (政太郎) 163 Sen´yōken (千葉軒) 289
Sei´u (盛雨) 218, 220 Sen´yū (沾遊) 205
Sei´undō (晴雲堂) 245, 315 Senzō (仙蔵) 344
Sei´unsai (生雲斎) 162 Sessai (拙斎) 280
Sei´unsai (青雲斎) 267 Setsubunsai (拙文斎) 280
Sei´unsha (青雲舎) 175 Setsudō (雪堂) 318
Seiyōken (青葉軒) 282, 312 Setsuga (雪峨) 266
Seizaemon (清左衛門) 291, 293, Setsuhō (雪峰) 107f
336f Setsujō, Gotō (説乗) 67
Seizō (清蔵) 247, 292 Setsusai (拙斎) 280
Seki Atsutoshi (関衆利) 345 Setsusan (雪山) 104
Sekibun (赤文) 292, 294ff Shibata Zeshin (柴田是真) 270
Seki´enshi (石燕子) 163 Shiba Yoshishige (斯波義重) 51
Sekijō, Gotō (石乗) 69, 299 Shichibei (七兵衛) 122, 128, 206,
Sekijōken (赤城軒) 237, 316ff, 333ff
319f Shichi´emon (七右衛門) 281, 358
Sekijōken (石常軒) 312 Shichirō´emon (七郎右衛門) 67,
Sekijōsai (石常斎) 312 261

– 413 –
Shichirōzaemon (七郎左衛門) Shigetsune (恵常 or 惠常) 180
142, 145f, 149 Shigetsune (重常) 286, 288
Shichizaemon (七左衛門) 93, 97ff Shigetsune (重恒) 287f
Shiei, Yoshida (吉田至永) 78 Shigeyasu, Inoue (茂保) 86
Shigeharu (重治) 184, 353 Shigeyoshi (重吉) 88f, 97, 166, 285,
Shigehide (重栄) 97ff 288
Shigehiro (重広) 168, 172, 287 Shigeyoshi (茂義) 206f
Shigehisa (重久) 211 Shigeyoshi (茂良) 211
Shigejirō (重次郎) 264 Shigeyoshi (重義) – see „Umetada
Shigekata (重賢) 121f Shigeyoshi“
Shigekatsu (茂克) 209ff Shigeyuki (重幸) 97f
Shigekatsu (重克) 210f Shihō (紫峰) 162, 318
Shigemasa (重政) 1, 147, 287 Shiken (子涓) 154
Shigemitsu (重光) 184, 188, 283, Shikō (紫江) 240
365 Shikyūdō (枝及堂) 245
Shigemoto (重基) 119 Shimei (至明) – see „Gyokutosha
Shigemune, Tachibana (重宗) 89 Shimei“
Shigen (思玄) 292 Shimizu (志水) 367, 370f, 376
Shigenaga (重長) 92, 97f, 167, 172, Shimizu Tanzaemon (志水丹左衛門)
208 370
Shigenaga (茂永) 371, 374, 376 Shimotsuma Hokke Raishō
Shigenaka (重央) 286, 288 (下間法橋頼照) 325
Shigesaburō (茂三郎) 259 Shinano (信濃) 99
Shigesaburō (重三郎) 264 Shin´emon (新右衛門) 316
Shigesada (重貞) 169, 172 Shingetsu (心月) 128
Shigesada (重定) 287 Shingorō (新五郎) 177, 210, 318
Shigesaku (茂作) 372 Shinhiko (真彦) – see „Mahiko“
Shigetaka (重降) 89 Shin´isai (真惟斎) 271
Shigetaka (重高) 286, 288 Shinjirō (新次郎) 64
Shigetaka (茂孝) 338 Shinjō, Gotō (真乗) 64, 66, 68,
Shigeteru (重照) 195, 198 261, 264, 363, 365
Shigetomo (重具) 288 Shinjō, Gotō (慎乗) 67
Shigetsudō (紫月堂) 314 Shinkichi (慎吉) 292
Shigetsugu (重次) 165, 172, 287 Shinkodō (信古堂) 291

– 414 –
Shinokichi (子之吉) 273 Shōi (松以) 256
Shinpei (新平) 115f Shō´insai (松韻斎) 314
Shinryūsai (真柳斎) 266f Shōji (庄治) 75
Shinryūsō (真柳叟) 267 Shōjirō (庄次郎) 75, 229, 244, 251,
Shinshichi (新七) 312 272 Shōjō, Gotō
Shinshirō (新四郎) 343 (昌乗) 68, 228, 234
Shinsuke (新助) 162, 164, 247, 316, Shōjō (正乗) 216, 223
319 Shōjōfu (猩々夫) 193
Shinsuke (親介) 344 Shōju (松寿) 154
Shin´yūsai (真雄斎) 271 Shōju (聖寿) 246
Shinzō (信造) 113 Shōjuken (松寿軒) 154, 231
Shirōbei (四郎兵衛) 41, 58, 84, Shōkatei (松花亭) 113
144, 184, 188 Shōkatei (松下亭) 115
Shirō´emon (四郎右衛門) 54, 184 Shōkei (照渓) 136
Shirōsaburō (四郎三郎) 334 Shōkichi (正吉) 227
Shirōsaku (四郎作) 373, 376 Shōkodō (尚古堂) 292
Shirōsuke (四郎助) 243, 373, 376 Shōkōtei (尚簧亭) 302
Shiryū (止龍) 222 Shōkurō (庄九郎) 339
Shiryūdō (紫龍堂) 111 Shōmin (勝珉) – see „Unno
Shisui (止水) 256 Shōmin“
Shitō (此東) Shōō (松翁) 126, 166, 172
Shiunsai (紫雲斎) 314 Shōo (照雄) 267
Shōami Katsuyoshi (正阿弥勝義) Shōraku (正楽) 117ff
79, 348ff Shōrōsai (昌瀧斎) 321
Shōan (晴庵) 137 Shōryūsai (昌龍斎) 321
Shō´ei (正栄) 343 Shōsaburō (庄三郎) 208, 302
Shōeiken (松英軒) 236, 239 Shōsaburō (少三郎) 369, 376
Shōeiken (松影軒) 357 Shōsai (松斎) 310
Shō´emon (庄右衛門) 228f, 302 Shōseisai (松盛斎) 260
Shōfūken (松風軒) 108 Shōsendō (松仙堂) 164
Shōgen (勝彦) 305 shōshin (小進) 80
Shōgetsuken (勝月軒) 323 Shōshishi (松司子) 231
Shōgorō (庄五郎) 256 Shōsuke (庄助) 76, 119
Shōhachi (庄八) 268, 322 Shōsuke (勝助) 244

– 415 –
Shōyōshi (逍遥子) 240 Sōami (相阿弥) 35
Shōzō (荘蔵) 128 Sōbei (宗兵衛) 216, 223, 242
Shōzō (正蔵) 294 Sōbei (惣兵衛) 318
Shōzō (庄蔵) 181 Sōchi (宗知) 134
Shōzui (政随) – see „Hamano Sōchin (宗珍) 246
Shōzui“ Sodō (素堂) 220
Shūgensai (秀現斎) 314 Sō´e (宗恵 or 宗惠) 170, 172
Shūgōken (龝毫軒) 155 Sōei (宗栄) 189, 194
Shugyokusai (種玉斎) 180 Sō´emon (惣右衛門) 306, 371
Shūhōsai (龝峰斎) 151 Sō´en (宗円) 173, 178
Shuhōsai (種宝斎) 180 Sōgi (宗義) 241
Shūichi (就一) – see „Narikazu“ Sōgo (宗悟) 168, 172
Shūjō, Gotō (秀乗) 71 Sōhachi (宗八) 250
Shūki (秋暉) 181 Sōheishi (藻柄子) 340
Shūki (周鬼) 224 Sōhō (聡彭 or 聰彭) 192
Shūkichi (周吉) 180 Sōhōken (巣蜂軒) 156
Shūkōten (秀好天) 112 Sō´in (宗印) 170, 172
Shūkyū (周舊) 225 Sōjirō (宗次郎) 216, 223
Shūmin (秀珉) 273 Sōjō, Gotō (宗乗) 57, 66, 84
Shungorō (俊五郎) 265 Sōju (宗寿) 112, 135, 140, 166,
Shunjō, Gotō (俊乗) 67 172, 212, 242
Shunjō, Gotō (春乗) 67 Sōju (草寿) 213
Shunkei (春慶) 353 Sōju (宗樹) 209
Shunshodō (春曙堂) 191 Sōjuken (草寿軒) 213
Shunshōken (春松軒) 318 Sōjun (宗順) 325
Shunzō (俊蔵) 262 Sōkan (宗閑) 146, 149, 208
Shunzō (春蔵) – see „Haruzō“ Sōkei (宗慶) 330
Shūsai (周斎) 180 Sōkō (宗弘) 170, 172
Shusōshi (主藻子) 341 Sōko (宗固) 174, 178
Shūsuke (周助) 179 Sokujō, Gotō (即乗) 60, 66, 69,
Shūten (秀典) 340 133
Shū´u (秀宇) 314 Sōkakan (窓下関) 201
Shūyōken (秀陽軒)^205 Sōkan (宗寛) 169, 172, 192, 194,
Shūzō (集蔵) 201 241

– 416 –
Sōken (宗堅) 249 Sōyū (宗有) 145
Sōken (宗賢) 341 Sōyū (宗祐) 57, 138, 140
Sōken (宗顕) – see „Muneaki“ Sōzaemon (惣左衛門) 123, 330
Sōkurō (宗九郎) 341 Sōzaemon (宗左衛門) 366
Sōkyo (宗巨) 139f Sugiura Jōi (杉浦乗意) 147ff, 154,
Sōkyo (巣許) 262 343
Sōman (宗満) 242 Suichiku´en (翠竹園) 192
Sōmin (宗珉) – see „Yokoya Suiminsha (睡眠舎) 203
Sōmin“ Suiryūken (水柳軒) 318
Sōmo (宗茂) 97ff Sui´unsai (翠雲斎) 290
Sōmu (宗夢) 208 Sukekurō (助九郎) 251
Sōotsu (宗乙) 140, 189, 194 Sukenojō (助之允) 369
Sōri (宗理) 166, 172, 252 Sukerokurō (助六郎) 351f
Sōrin (宗林) 167, 172 Sukesaburō (助三郎) 346, 349
Sōrin (宗琳) 241 Sukeshige (祐重) 343
Sōrin (宗隣) 241 Suō (周防) 89, 141, 143, 146, 149
Sōritsu (宗立) 368 Sūsen (嵩仙, 嵩遷 or 嵩僊) 353
Sōrōsai (桑老斎) 241 Ta´a (他阿) 32
Sōryūken (草流軒) 212 Tabei (太兵衛) 147, 149
Sōryūken (雙龍軒) 254 Tadakiyo (忠清) 326, 336
Sōryūken (草柳軒) 213 Tadanari (董愛) – see „Tōai“
Sōsaburō (宗三郎) 79, 348 Tadashichi (唯七) 236
Sōsetsu (藻梲) 273 Tadasuke (忠助) 346
Sōsetsuken (藻梲軒) 273 Tadatsugu (尹次) 170ff
Sōshū (宗秀) – see „Munehide“ Taijō, Gotō (泰乗) 69
Sōsōsha (錚々舎) 351 Taijō, Gotō (躰乗) 69
Sōsuke (惣助) 209, 366 Taikyū´an (退休庵) 220, 302
Sōsuke (宗介) 304 Tai´ō-kanjin (対鷗閑人) 200
Sōsuke (宗助) 308 Tairyūsai (大龍斎) 111
Sōtei (宗貞) 144, 149 Tairyūsai (泰龍斎) 241
Sōten (宗典) 340ff Taisen (胎仙) 262
Sōtoku (宗徳) 168, 172, 228 Takafusa (高房) 86
Sō´un (宗運) 341 Takahiro (高広) 87
Sōunsai (宗雲斎) 169, 172 Takanori (孝則) 270

– 417 –
Takanori (隆則) 270 Tanetoshi (胤寿) 300
Takao (隆雄) 115f, 270 Taneyoshi (胤好) 197f
Takaoki (孝興) 115f Tango´ya (丹後屋) 112
Takatoshi (孝寿) 115f, 268 Tani Bunchō (谷文晁) 224
Takatsune, Jirōhachi Tanimori Shigematsu (谷森重松)
(次郎八高常) 54 268
Takayoshi (孝美) 182 Tanji (丹次) 342
Takebei (武兵衛) 331 Tanji (丹二) 342
Take´emon (武右衛門) 331 Tankasai (丹霞斎) 319
Takegisha (竹宜舎) 280 Tanomo (頼母 or 頼姆) 99
Takegorō (竹五郎) 232 Tanryōsai (探良斎) 205
Takeji (竹次) 169, 172 Tansai (丹斎) 55, 355
Takejirō (竹次郎) 272 Tansō (澹窓) 262
Takemitsu (武光) 57 Tarōbei (太郎兵衛) 150
Takanaga (高長) 87, 104 Tarōkichi (太郎吉) 227
Takatsugu (孝次) 338 Tasaburō (太三郎) 273
Takechika (武親) 164 Tashichi (太七) 148, 311
Takenori (武教) 119 Tatsujō, Gotō (達乗) 68
Takesandō (竹山堂) – see Tatsumasa (辰政) 149, 159, 164
„Chikusandō“ Tatsuyoshi (辰吉) 269
Taketaka (武君) 290 Tawaraya Sōtatsu (俵屋宗達) 90
Takubuntei (琢文亭) 302 Teiei (貞栄) 343
Takugyokusai (琢玉斎) 304 Teigensai (鼎拳斎) 322
Takujō, Gotō (琢乗) 69, 339 Teigetsu´an (貞月庵) 273
Takusai (琢斎) 321 Teijō, Gotō (程乗) 61, 66f, 249,
Tama (珠 or 玉) 368 326
Tamehōsai (為宝斎) 324 Teiju (貞寿) 318, 320
Tami´emon (民右衛門) 315 Teikan (貞幹) 201, 289, 318, 320
Taminosuke (民之助) 180, 183 Teiōsai (啼鴬斎) 322
Tanaka Denpeiji (田中伝平次) Teisai (鼎斎) 126, 322
113 Teisuidō (娣水堂) 343
Tanaka Kiyotoshi (田中清寿) 75, Tekisai (的斎) 323
216ff, 220ff, 280, 284 Tekkotsu-dōnin (鉄骨同人) 274
Tanemoto (胤元) 289 Tenjō, Gotō (典乗) 65f

– 418 –
Tenki (天雎) – see „Tenshō“ Tetsunosuke (鉄之助) 259
Tenkōdō (天光堂) 113 Tetsusuidō (銕水堂) 343
Tenshō (天雎) 318 Tetsu´ya (鉄屋) 117, 119
Tenzuidō (天随堂) 314 Tetsuzō (鉄三) 269
Teruaki (英明) 182f Tō (東) 221
Teruchika (英親) 232, 234 Tōai (董愛) 324
Teruhide (英秀) 185, 188, 226, 252, Tōbei (藤兵衛) 203, 206f, 287, 356,
361 358
Teruhiro (英寛) 139 Tōbō (東鵬) 294
Teruhisa (英久) 139 Tōdaishi (東台子) 260
Terukatsu (英勝) 187f, 226 Tōdōshi (東洞子) 280
Terukiyo (英精) 138ff, 240, 247f, Tōeiken (東栄軒) 302
252, 279, 367 Tō´emon (藤右衛門) 203, 207,
Terumasa (英昌) 140, 184, 188, 226, 249
252 Tō´en (東園) 292
Terumasa (英政) 252 Tō´en-shujin (東園主人) 292
Terumitsu (英満) 186, 188, 282 Tōgakusai (東岳斎) 281
Terumitsu (英充) 252, 302 Tōgakushi (東嶽子 or 東岳子)
Terumitsu (英光) 252 179
Terumoto (照求) 196, 198 Tōgu (東愚) 316
Terumune (英致) 139 Tōhoku-sanjin (東北山人) 267
Terushige (英茂) 139 Tōi (東意) 319
Terutatsu (英辰) 187f Tōji (藤治) 359
Terutomo (英知) 187f Tōjirō (藤次郎) 122
Terutoshi (英俊) 245 Tōjō (東乗) 68, 81, 259
Terutsugu (英次) 138, 266 Tōjōsai (東乗斎) 259
Terutsugu (照次) 168, 172 Tōju (桃寿) 314
Teruyama (照山) 196, 198 Tōjūrō (藤十郎) 197
Teruyoshi (昭喜) 328 Tōkabu (桃花舞) 182
Tetsu (てつ) 209 Tōkaken (桃下軒) 308
Tetsuden (鉄伝) 117, 119 Tōka´ō (桃花翁) 182
Tetsugendō (鉄元堂) 117ff Tōkasai (東華斎) 273
Tetsugorō (鉄五郎) 318 Tōkei (筩景) 251
Tetsunosuke (鉄助) 304 Tōkichi (藤吉) 308

– 419 –
Tokihide (時秀) 87 Tōmei (東明) – see „Araki Tōmei“
Tokinobu (時信) 196, 198, 296 Tomejirō (留次郎) 232
Tokitaka (時孝) 291, 293 Tomihisa (富久) 260f, 326
Tokiyoshi (時美) 196, 198 Tominosuke (富之助) 114
Tōko (桃湖) 196, 260 Tomisuke (富祐) 86
Tōko (東湖) 206 Tomoaki (知影) 226f
Tōkōsai (東広斎) 221 Tomoaki (友章) 309
Tōkōsai (東興斎) 221 Tomiyuki (富随) 313
Tōkōsai (東光斎) 266, 284 Tomochika (侶近) 338
Tōkōsai (東藁斎) 280 Tomo´emon (友右衛門) 197
Tokuaki (篤明) 113, 116 Tomoharu (知治) 227
Tokugawa Hidetada (徳川秀忠) Tomoharu (友晴) 326
120 Tomohide (知秀) 227
Tokugawa Iemitsu (徳川家光) 60 Tomohide (友英) 252, 361
Tokugawa Iemochi (徳川家茂) Tomohiro (知広) 187f
113 Tomohisa (知尚) 226f
Tokugawa Ietsuna (徳川家綱) 142 Tomohisa (侶久) 338
Tokugawa Ieyasu (徳川家康) 59, Tomojirō (友次郎) 227
120, 165, 249, 255, 298, 345, 368 Tomokatsu (知克) 227
Tokugawa Mitsukuni (徳川光圀) Tomokichi (友吉) 122
160 Tomokiyo (友清) 326
Tokugawa Yorifusa (徳川頼房) Tomomasa (伴正) 178, 200ff
298 Tomomichi (知道 or 知至) 226f
Tokuhiro (篤弘) 114, 116 Tomomichi (友道) 241, 307, 309
Tokujirō (徳次郎) 254, 318 Tomomitsu (友光) 308f, 361
Tokujō, Gotō (徳乗) 58, 66, 68, Tomomitsu (友充) 361
70, 90, 228, 234 Tomonao (友直) 200, 202, ,09
Tokunojō (徳之丞) 322 Tomonari (知登) 227
Tokuoki (篤興) 113, 116 Tomonari (知業) 364
Tōkurō (藤九郎) 302 Tomonobu (知信) 224, 227, 321
Tokusai (得斎) 321 Tomonobu (侶延) 338
Tokusuiken (徳水軒) 200, 202 Tomonori (友徳) 309
Tokutarō (徳太郎) 197 Tomonojō (友之丞) 279
Tō Masutsune (東益常) 264 Tomosaburō (友三郎) 308

– 420 –
Tomosada (友貞) 134ff, 140 Toshihide (寿秀) 87
Tomoshige (知重) 227 Toshihide (寿秀) – see „Jushū“
Tomotada (伴忠) 200 Toshihide (利秀) 242
Tomotake (友武) 136, 140 Toshihide (利英) 242
Tomotoshi (友寿) 308f Toshikage (寿景) 219, 223
Tomotoshi (知寿) 364 Toshikatsu (利勝) 146, 149
Tomotsugu (友次)137, 140, 307, Toshimasa (寿昌) 162
309 Toshimasa (利政) 240ff, 279, 309
Tomotsune (知恒) 126 Toshioki (寿興 or 利興) 114, 280
Tomotsune (知常) 364 Toshimitsu (利光) 146, 149
Tomotsune (友常) 134 Toshimitsu (寿光) 221, 223
Tomoyoshi (友好) 197f Toshimune (利宗) 143f, 149
Tomoyoshi (友善) – see“ Ichiryū Toshinaga (利寿) – see „Nara
Tomoyoshi“ Toshinaga“
Tomoyuki (知幸) 227 Toshinaga (利永) – see „Nara
Tomoyuki (友随) 308f Toshinaga“
Tomoyuki (友行) 309 Toshinao (利尚) 146, 149
Ton´an (遯庵) 135 Toshinobu (利信) 206f
Tōō (東翁) 289, 294 Toshinori (利則) 206
Torahei (虎平) 87 Toshinori (寿矩) 221, 223
Toraichi (寅市) 61 Toshioki (寿興) 114, 280
Torajirō (寅二郎) 182f Tōshirō (藤四郎) 92, 196, 350,
Tōrensha (東燕舎) 353 352
Tōryūken (登竜軒) 118f Toshisada (利貞) 206
Tōryūsai (東竜斎) 154, 163, 216ff, Toshitaka (寿高) 222f
223, 254, 264, 266 Toshiteru (利輝) 141, 143, 149
Tōryūsai (登龍斎) 206 Toshitomo (寿友) 221
Tōsaku (東作) 297 Toshitomo (寿朝) – see „Juchō“
Tosa Michinaga (土岐道長) 49 Toshitsugu (利次) 206
Tōsen (東遷 or 東僊) 163 Toshitsugu (寿次) 223, 254
Toshiaki (寿明) 221, 223 Toshitsune (利恒) 146, 149
Tōshichi (藤七) 362 Toshiyama (寿山) 221
Toshiharu (利治) – see „Nara Toshiyasu (利易) 242
Toshiharu“ Toshiyoshi (俊芳) 279

– 421 –
Toshiyoshi (寿良) 218, 223 Tsuchiya Yasuchika (土屋安親)
Toshiyuki (敏行) 117ff 54, 147, 149f, 159ff, 184, 190,
Toshiyuki (寿之) 221, 223 216, 269, 286, 288ff, 297, 302,
Toshiyuki (利随) 231, 234 315, 321, 353 Tsugutoshi
Toshiyuki (寿随) 312 (承寿) 300f, 310, 313
Tōsōtei (東窓亭) 114 Tsuguyuki (次随) 313
Tōsui (東水) 162 Tsu Jinpo (津尋甫) 232ff
Tōsuke (藤助) 87 Tsūjō, Gotō (通乗) 62, 66, 232,
Tōtarō (藤太郎) 112 287, 300, 362
Tō´u (東雨) 160, 164 Tsukioka Settei (月岡雪鼎) 128
Tōunkyo (東雲居) 270 Tsunanori (連儀) 177
Tō´un (騰雲) 311 Tsunechika (常親) 162, 164, 345
Tō´unsai (東雲斎) 251, 254, 266 Tsuneharu (常春) 297
Toyochika (豊親) 353 Tsunehide (常栄) 108
Toyofusa (豊房) 354 Tsunefusa (序房) 215, 279f
Toyoharu (豊春) 354 Tsunekata (常方) 297
Toyohei (豊平) 333 Tsunekatsu (序克) 208, 211f, 215,
Toyohide (豊秀) 354 280
Toyohisa (豊久) 354 Tsunakatsu (常克) 212
Toyoji (豊次) 333, 354 Tsunekichi (常吉) 153
Tōyōken (東洋軒 or 東養軒) 310 Tsunemasa (序政) 214f
Toyomitsu (豊光) 89, 353 Tsunemasa (常正) 344f
Tōyōsai (東洋斎) 280, 284 Tsunemitsu (序光) 212ff
Toyoshige (豊重) 353 Tsunemitsu (常光) 213
Toyotaka (豊鷹) 354 Tsunenao (常直) 107f
Toyotarō (豊太郎) 273 Tsunenari (常成) 342
Toyotomi Hideyoshi (豊臣秀吉) Tsunenobu (常信) 222f
58, 88, 92, 120, 258, 327, 355, 368 Tsuneoki (序沖) 212, 215, 280
Toyotsugu (豊次) 333, 354 Tsunesada (常貞) 108
Toyotsura (豊貫) 354 Tsunesada (序定) 213, 215, 280
Tōyūsai (東遊斎) 295 Tsunesada (常定) 213
Tōzaemon (藤左衛門) 287, 330 Tsunesato (序郷) 280
Tōzandō (東山堂) 290 Tsunetarō (常太郎) 65
Tsunetomo (序朝) 213, 215, 280

– 422 –
Tsunetoshi (常寿) 280 Ungansai (雲岩斎・ 雲巌斎) 253
Tsunetsugu (恒次) 170, 172 Unjirō (雲次郎) 182f
Tsuneyasu (常易) 108 Unjō, Gotō (運乗) 70
Tsuneyo (常代) 108 Unkaken (雲下軒) 206
Tsuneyoshi (常吉) 55, 225, 227 Unken (雲軒) 294, 296
Tsuneyoshi (常義) 108 Unno Shōmin (海野勝珉) 204,
Tsuneyuki (常之) 108 271ff, 303, 305
Tsuneyuki (序行) 214f, 280 Unosuke (卯之助) 308
Tsuneyuki (常行) 264 Unryūsai (雲龍斎) 314
Tsuneyuki (常勧) 302 Unsui (雲水) 240
Tsurachika (連親) 292 Unsuiken (雲水軒) 206
U´emon (卯右衛門) 354 Urinrō (羽林郎) 127
Uemon no Jō Mototsuna Uryūsai (右柳斎) 267
(右衛門尉基綱) 40 Usetsu (迂拙) 318
Ugai Gorōzaemon Wada Isshin (和田一真) 74, 78, 80,
(鵜飼五郎左衛門) 129 201
Uhei (宇兵衛) 242 Wada Tsunashirō (和田維四郎) 146,
Uhei (卯兵衛) 255 229
Ujiie (氏家) 329, 332 Wakichi (和吉) 357
Ujiie (氏屋) – see „Ujioku“ Wasuke (和助) 197, 236
Ujimasa (氏政) 330ff Yabei (弥兵衛) 115, 358
Ujinaga (氏長) 331 Yagohachi (弥五八) 159, 164
Ujinao (氏直) 55, 330, 332, 355 Yagorō (弥五郎) 272
Ujishige (氏重) 330ff Yahachi (弥八) 259
Ujioku (氏屋) 330, 332 Yahachirō (弥八郎) 258
Ujiya (氏屋) – see „Ujioku“ Yahan Teigogai (夜半亭呉崖) 113
Ujiyasu (氏安) 355 Yahei (弥平) 304
Ujiyoshi (氏喜) 330, 332, 338 Yaheita (弥平太) 294
Umetada Myōju (埋忠明寿) 53, Yaichi (弥一) 161
88ff, 95ff, 103, 120, 216 Yaichirō (弥一郎) 160f
Umetada Shigeyoshi (埋忠重義) Yajūrō (弥十郎) 245
53, 88, 91, 93f, 97f Yamashina Tokitsugu (山科言継)
Umetarō (梅太郎) 366 39
Undō (雲洞) 209 Yamashiro´ya (山城屋) 109

– 423 –
Yaohachi (八百八) 226 Yasutomo (安儔) 279
Yasaburō (弥三郎) 258 Yasutomo (安倫) 296f
Yasaku (弥作) 296 Yasutomo (保與 or 保与) 315
Yashichi (弥七) 161, 168 Yasutoshi (保利) 315
Yasō (弥想) 296 Yasutoshi (安壽 or 安寿) 192, 194
Yasohachi (八十八) 251 Yasutsugu (易次) 168, 172
Yasokichi (八十吉) 338 Yasutsugu (安続) 297
Yasuaki (安明) – see „Anmei“ Yasuyoshi (安福) 242, 279
Yasubei (安兵衛) 125, 347, 349 Yasuyoshi (安義) 297
Yasuchika (保隣) 315 Yasuu (琊蒭) 80
Yasuchika (安親) – see „Tsuchiya Yasuyuki (保随) 156, 158, 245,
Yasuchika“ 357
Yasu´emon (安右衛門) 173 Yasuyuki (安如) 297
Yasufusa (安房) 164, 242, 279, Yatabe Michitoshi (谷田部通寿)
356 299ff, 310f, 313f
Yasuhide (安秀) 296f Yatarō (弥太郎) 82
Yasuhira (保平) 300ff Yazaemon (弥左衛門) 334
Yasuke (弥介) 303 Yazaemon (八左衛門) 339
Yasukuni (保国) 315 Yo´emon (与右衛門) 339
Yasukiyo (安清) 299, 301 Yodayū (与太夫) 298ff
Yasumasa (安昌) 162 Yogorō (与五郎) 298ff
Yasumitsu (安光) 296f Yohachi (与八) 189, 225
Yasunobu (安宣) 86 Yōhachi (養八) 250
Yasunobu (安信) 161 Yohachirō (与八郎) 355f
Yasunori (安則) 297, 315 Yohei (与平) 81
Yasunori (保則) 313, 315 Yohei (与兵衛) 86
Yasunosuke (安之助) 205 Yoichi (与一) 184
Yasusada (泰貞) 101 Yojū (与重) 303
Yasusada (安貞) 297 Yōkōdō (養浩子) 157
Yasusada (安定) 296f Yokoya Sōmin (横谷宗珉) 105,
Yasusuke (安介) 318 111, 124, 134ff, 145, 173, 178,
Yasutaka (安孝) 297 184, 190, 194, 200, 204, 208, 216,
Yasutarō (安太郎) 205 246, 252, 269, 272
Yasuteru (保照) 315

– 424 –
Yokoya Sōyo (横谷宗與) 111, Yoshihira (嘉平) – see „Kahei“
124, 133ff, 168, 173, 178, 189, Yoshihiro (良弘) 326
194, 208, 240, 242, 252, 283, 316, Yoshihiro (吉広) 341
320, 342 Yoshihiro (喜寛) 164
Yomoshōshi (四方樵子) 270 Yoshihiro (芳広) 341
Yonejirō (米次郎) 267 Yoshihiro (吉弘) 372
Yonekichi (米吉) 156 Yoshihisa (良久) 97ff, 373, 376
Yōryūken (楊柳軒) 155 Yoshihisa (珍久) – see „Chinkyū“
Yosabei (与三兵衛) 326 Yoshihisa (喜久) 261
Yosaburō (与三郎) 206, 303, 326 Yoshihisa (芳久) 263
Yosa´emon (与三右衛門) 339 Yoshihisa (美久) 373, 300f, 311ff
Yosaku (与作) 315 Yoshihisa (義久) 373, 376
Yoshiaki (芳章) 262f Yoshihisa, Gotō (吉久) 48, 58, 66
Yoshiaki (善明) 308f Yoshikage (義景) 219, 223
Yoshiaki (美明) 312f Yoshikatsu (良克) 102, 158, 209,
Yoshichika (義周) 270 211
Yoshichika (義近) 342 Yoshikatsu (美勝) 313
Yoshichika (義親) 342 Yoshikatsu (義克) 347, 349
Yoshichika (良近) 322 Yoshikiyo (美清) 313
Yoshida (吉田) 78, 162, 164 Yoshikuni (良邦) 110, 116
Yoshifusa (良房) 328 Yoshikuni (吉国) 339
Yoshifusa (吉房) 341 Yoshikuni (芳邦) 356, 358
Yoshifusa (芳房) 341 Yoshimasa (吉政) 48, 250
Yoshiharu (義珍) 97 Yoshimasa (義正) 244, 373, 376
Yoshiharu (芳春) 263 Yoshimasa (義政) 244
Yoshiharu (好春) 326 Yoshimasa (芳正) 263
Yoshihide (芳英) 262f Yoshimasa (美政) 310
Yoshihide (芳秀) 356ff Yoshimasa (良政) 322
Yoshihide (宜秀) – see Yoshimasa (吉当 or 吉當) 372
„Nobuhide“ Yoshimasa (良正) 373, 376
Yoshihide (良栄) 327 Yoshimichi (敬道) 87
Yoshihide (吉秀) 373 Yoshimitsu (吉光) 92
Yoshihiko (芳彦) 263 Yoshimitsu (良光) 210f
Yoshihira (吉平) 339 Yoshimitsu (芳光) 357f

– 425 –
Yoshimori (義守) 76 Yoshitaka (良堯) 210f
Yoshimori (美盛) 272f Yoshitaka (良高) 211
Yoshinori (美則) 311 Yoshitaka (芳孝) 357f
Yoshinori (吉則) 339 Yoshitake (吉武) 341
Yoshinori (芳則) 357f Yoshitake (芳武) 357f
Yoshinaga (善長) 87, 104 Yoshitane (義胤) 253
Yoshinaga (吉長) 182f, 253, 285, 310, Yoshitane (芳種) 263
313 Yoshitarō (芳太郎) 78, 270
Yoshinaga (芳修 or 芳脩) 262 Yoshitarō (嘉太郎) 231
Yoshinao (良直) 211, 322 Yoshitomo (芳知) 263
Yoshinari (義成) 311 Yoshitomo (喜知) 342
Yoshinatsu (芳夏) 263 Yoshitoshi (良寿) 211
Yoshinobu (義信) 75, 244 Yō´shitsudō (容膝堂) 247
Yoshinori (義則) 253f Yoshitsugu (良次) 223, 254, 266
Yoshinori (良則) 322 Yoshitsugu (吉次) 247, 254, 336,
Yoshinori (吉教) 372, 376 339
Yoshinori (良教) 372, 376 Yoshitsugu (義次) 243
Yoshinori (吉敬) – see Yoshitsugu (芳継) 262f
„Yoshiyuki“ Yoshitsune (芳恒) 263
Yoshinoshin (芳之進) 81 Yoshitsura (義連) 263
Yoshioki (佳興) 108 Yoshiyasu (義安) 76
Yoshioki (芳興) 263 Yoshiyasu (義休) 87
Yoshirō (与四郎) 325, 329, 332 Yoshiyuki (芳幸) 263, 357
Yoshisaburō (義三郎) 169 Yoshiyuki (芳行) 357f
Yoshisada (良定) 56 Yoshiyuki (美敬) 312
Yoshisada (吉定) 336 Yoshiyuki (義随) 312f
Yoshisane (義実) 79, 348f Yoshiyuki (義敬) 337
Yoshisato (美郷) 361 Yoshiyuki (美随) 312
Yoshishige (吉重)339 Yoshiyuki (良随) 357
Yoshishige (義重) 342 Yoshiyuki (芳随) 357f
Yoshisuke (義介) 352 Yoshiyuki (吉敬) 373, 376
Yoshitada (良忠) 102, 211, 226 Yoshiyuki (義之) – see „Kumagai
Yoshitada (芳忠) 263 Yoshiyuki“
Yoshitaka (美孝) 182f Yoshizō (喜蔵) – see „Kizō“

– 426 –
Yōshōdō (養松堂) 343 Zejō, Gotō (是乗) 69
Yosōbei (与三兵衛) 326 Zekū-nyūdō (是空入道) 111
Yōunsai (陽雲斎) 362 Zen´ami (善阿弥) 49
Yoyūken (予有軒) 324 Zenbei (善兵衛) 279, 363, 365
Yūchikutei (有竹亭) 291 Zen´emon (善右衛門) 339
Yūji (勇二) 352 Zengorō (善五郎) 340f
Yūjō, Gotō (祐乗) 40ff, 45, 47, 57, Zenjō, Gotō (全乗) 67, 69, 262
59, 65f, 78 Zenjō, Gotō (膳乗) 71
Yūkan (幽観) 157 Zenkichi (善吉) 214, 280
Yūki (友喜) 229 Zensaku (善作) 356, 358
Yūkichi (勇吉) 266 Zenshirō (善四郎) 227
Yukikatsu (雪勝) 142 Zensuke (善助) 289, 311
Yukimasa (行正) 206 Zenta (善太) 290
Yukimitsu (幸光) 250 Zentarō (善太郎) 314, 356, 358
Yukinobu (行信) 206f Zenzō (善三) 149
Yukitoshi (随利) 321, 234 Zenzō (全三) 157
Yukiyoshi (行喜) 206f Zenzō (善蔵) 179
Yukiyoshi (行善) 309 Zōsekisai (象潟斎) 289
Yūkokuken (幽谷軒) 235 Zui´undō (瑞雲堂) 155
Yūkotei (遊壷亭) 151
Yūmeishi (幽明子) 341
Yūmin (邑珉) 138, 140
Yūnosuke (勇之丞) 282
Yūrakusai (遊洛斎) 294, 296
Yūsai (幽斎), 296, 367
Yūsen (祐仙) 181
Yūsen (友仙) 230f
Yūshin (又新) 156
Yūtarō (勇太郎) 75f d
Yūzenkyo (悠然居) 292
Yūzensō (悠然叟) 292
Yūzō (勇蔵) 182, 310, 364
Zaichōshi (財彫子) 342
Zaifu (在布) – see „Arinobu“

– 427 –
– 428 –
– 429 –
– 430 –