Vertically orientated image with trees along a hil like sketching on the right side of the image. Two tree trunks and foliage are distinguishable in the foreground. To the left of the trees and in the bottom third of the image is a small church-like structure very faint compared to trees and land. There is a a cloud in the upper half of the left side of the image, just barely extending into the tree foliage.
Vertically orientated image with trees along a hil like sketching on the right side of the image. Two tree trunks and foliage are distinguishable in the foreground. To the left of the trees and in the bottom third of the image is a small church-like structure barely visible at all. There is a a cloud in the upper half of the left side of the image, just barely extending into the tree foliage, also very faint in tone.
This calligraphy is executed in ink on paper. There are a total of three red seals present in the piece, one in the upper right hand corner, and two towards the left center of the piece. The calligraphy is very strong and forceful, with broad, well defined strokes. The work is mounted on golden silk.
Tsuba (sword guard) with design of blowfish, shrimp and plant
This small, flat piece made of light brown brass (called "sentoku" in Japanese) has a round diamond shape. It has a triangular shaped hole in the center and another round hole on one side. Artist’s name is signed between the two holes. The surface is slightly concaved from the rim. The front has relief design of a shrimp, blowfish, and bamboo branch. On the back, there are designs of a spiral shell, a barnacle, and water drops. The sea motifs are inlayed with gold, silver, copper, and shakudô (copper-gold alloy).
Object Creation Date
Medium and Support
brass with gold, silver, copper, and shakudô (copper-gold alloy) inlays
Tsuba (Sword guard) with design of dragon among clouds
The flat iron plate with quatrefoil shape and the design of a dragon in midst of clouds. It has three holes: one for blade (middle) flanked by two deformed oval-shape holes (for kougai and kozuka). Around the blade hole, there is the carver’s signature. The design of a dragon, among stylized clouds, is intricately carved in high relief; the dragon has almost three-dimensional quality. On the back, the dragon tail, some parts of the body, one claw are peeking from clouds. The dragon coils around the center holes. The rims of the three circles are wavy, as if they are the part of the cloud design. The stoppers on the blade hole edges are made of gold. Some silver inlays are applied on the dragon’s eye blow and some nails.
Circular tsuba, made of iron. Inside an exterior circle, eight smaller circles are placed with the same spacing. The eight circles are connected to the exterior circle as well as to the three center holes where kôgai, blade, and kozuka are placed. Each of the eight circles have a different family crests. The openwork technique seen here is called "marubori" (round carving). The surface is slightly textured by minute stippling.
This woodwork depicts Daikoku, the god of good fortune, who is associated with farmers. Here he is sitting astride two large barrels of rice, while carrying over his shoulder a large sack, brimming with treasure. In his right hand he holds a magic mallet, said to be able to produce anything the heart desires when struck.
A portable painting in mineral pigments and gold on a primed cotton ground; the painting is designed to be rolled up when not in use. The painting was folded at some time in its history, resulting in a loss of pigment along two vertical lines.