Page 286 - JAPAN THE SHAPING OFDAIMYO CULTURE 1185-1868

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ing, and in the Momoyama period the 208 Sword guard cuted with openwork as well as extensive
bending, swaying, moonlit grasses became Attributed to Hirata Dójin (1591-1646) inlaid cloisonné enamel and gold-wire dec-
commonplace in the decorative arts as iron with inlaid cloisonné enamels oration of stylized clouds and floral motifs;
well. and gold even the thick edge is embellished with
This pair of iron tsuba, large and small diam. 8.2 (3 V 4) enamels. HY
for a daishd set of swords, is finely deco- Momoyama period, iyth century
rated with the requisite pampas grass, 209 Sword guard
dew, and crescent moon in openwork, and Watanabe Kunio Collection, Tokyo Goto Ichijô (1791-1876)
further ornamented with a hammered- Hirata Dójin, born Hikoshiró, is said to shakudd with inlaid gold
gold inlaid floral scroll. The artist's name, have learned the cloisonné enamel tech- diam. 8.0(3 /8)
J
Rakuju, is inlaid in gold to the left of the nique in Korea when he accompanied the Edo period, i9th century
tang holes. Kamiyoshi Rakuju was a fa- Japanese armies at the end of the six-
mous late-Edo-period craftsman who stud- teenth century. His son, Narikazu, served Tokyo National Museum
ied the traditional techniques of the the Tokugawa shogunate as a craftsman
Hayashi school from Hayashi Tôhachi specializing in cloisonné, a position that Goto Ichijo was born in Kyoto, the son of
Goto Jujô, a member of a collateral branch
(fl. first half of the nineteenth century).
HY subsequent generations of Hirata held of the main Goto family that served the
throughout the Edo period. This ornate shogunate; later, Ichijô also served the ba-
and technically accomplished iron tsuba,
traditionally attributed to Dojin, is exe-

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