Page 291 - JAPAN THE SHAPING OFDAIMYO CULTURE 1185-1868

1. Yüjó (Masaoku),
fl. c. 1460
2. Sójo (Mitsutake),
fl. c. 1500
3. Jóshin (Yoshihisa),
fl. c.1530
4. Kójó (Mitsuie),
fl. c. 1570 a.
5. Tokujó (Mitsumoto),
fl. c. 1600
6. Eijó (Masamitsu),
fl. c. 1610
7. Kenjó (Mitsutsugu),
fl. c. 1620
8. Sokujó (Mitsushige),
fl. c. 1630
9. Teijó (Mitsumasa),
fl. c. 1650
10. Renjó (Mitsutomo),
fl. c. 1680 b.
11. Tsüjo (Mitsutoshi),
fl. c. 1690
12. Jujó (Mitsumasa),
fl. c. 1720
13. Enjó (Mitsutaka),
fl. c. 1730
14. Keijô (Mitsumori),
fl. c. 1740
15. Shinjó (Mitsuyoshi),
fl. c.1750
16. Hôjô (Mitsuaki), c.
fl. c. 1820
17. Tenjó (Mitsunori),
fl. c.1850

This set consists of nine kozuka (small
knives) with ornaments made by the first
nine Goto generation heads; the character
of the Goto style is maintained through-
out, and typically only gold, silver, and sha-
kudô are employed.
The first example (a) is a slender high-
relief gold dragon executed by Yüjó, the d.
first-generation head of the Goto. Jujô
(Mitsumasa), the twelfth Goto master,
made the sao (base) of shakudd with a
nanako (raised-dot) ground and set the
dragon on it. Recording this history, the re-
verse, covered with a thin sheet of gold, is
engraved, mon [referring to the ornament]
Yu/o; Mitsumasa [kad of Mitsumasa]. The
Goto lineage was skilled at the depiction
of dragons; in particular, those by Yüjó are
known for their sense of movement.
The high-relief shakudd Kurikara e.
dragon of the second example (b) was
made by Sójó, the second-generation Goto
head. The sao was again made by Jujó
(Mitsumasa), the twelfth-generation head,
as his inscription on the back describes,
mon Sôjô; Mitsumasa [kad of Mitsumasa].
The Kurikara dragon, wound around a
sword and about to swallow it, was often
used as a motif in sword-related decoration
(cat. 170.)
The stout high-relief gold dragon of
the third example (c) is a characteristic f.
work of Jóshin, the third Goto head. The 215

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