|period||Mid Edo (ca. 1775)|
|designation||NBTHK Tokubetsu Hozon Tosogu Soroikanagu|
|tsuba-mei||Hamano Naohide (kao) — 浜野直秀「花押」|
|dimensions||7.4 cm x 7.15 cm, 7.05 cm x 6.7 cm|
|fuchi-mei||Hamano Naohide (kao) — 浜野直秀「花押」|
|dimensions||both 3.7 cm x 1.5 cm|
|menuki-mei||Hamano · Naohide — 浜野 · 直秀|
|dimensions||3.75 cm x 1.5 cm, 3.75 cm x 1.35 cm, 3.65 cm x 1.25 cm, 3.6 cm x 1.4 cm|
Hamano Shozui (政随, which can be read as Masayuki) was born in 1696 and died in 1769. He is an elite maker of sword fittings and ranked very highly at Meiko in the Kinko Taikan. He is the founder of the Hamano school.
Hamano Shōzui (浜野政隋) was a master student of Nara Toshinaga (奈良利寿). His first name was Tarōbei (太郎兵 衛) and he trained many students himself, turning the Hamano School into one of the major currents of the machibori trend. Shōzui used many different gō, for example Otsuryūken (⼄柳軒), Miboku (味墨), Kankei (閑径), Rifūdō (驪⾵ 堂), Yūkotei (遊壷亭), Shūhōsai (穐峰斎), Hankeishi (半圭⼦), and Isshun'an (⼀瞬庵). Shōzui became very famous when the Edo Kinkō Meifu (江⼾⾦⼯名譜) introduced him as "hitting the scene like thunder" and turning the Nara Sansaku (奈良三作), the “Three Great Nara Masters,” by adding Shōzui to the Nara Shitennō (奈良四天王), "The Nara Big Four." His talent was and is greatly appreciated and he was exceptionally skillful in bold takanikubori, sukidashibori, shishiaibori, and katakiriboro. NBTHK Juyo Nado Zufu
Shozui began his artistic period in the Nara school, as a student under one of the Nara Sansaku (three great gold-workers of Nara), Nara Toshinaga and would go on to found the Hamano school. Due to his greatness this set of three masters (Toshinaga, Yasuchika and Joi) is sometimes extended to a quartet including Shozui.
Hamano Masayuki [i.e. Shozui] was Nara Toshinaga's pupil, a famous master smith, and his works are considered to be at the same level as the Nara sansaku (the three best master smiths), Toshinaga, Joi and Yasuchika. His styles are diverse, and he inherited his teacher Toshinaga's style and took the essence of Joi and Yasuchika's work. His dynamic engraving styles, taka-nikubori, sukidashibori, and shishiaibori, show excellent skills. NBTHK Token Bijutsu
The Hamano school thrived in the Edo period and produced a large number of works that relate both to its founding in Nara and to the contemporaneous Yokoya school. Other great artists of this school are Noriyuki, Naoyuki, Iawama Masatoshi, and Horie Okinari.
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. Markus Sesko, Kinko Kodogu
Tokubetsu Hozon Soroikanagu
This wonderful set for a daisho was made by Hamano Naohide. This style and type of scene is handed down from Somin, to the Yanagawa school and looks quite similar to works of Yanagawa Naomitsu. The shakudo is deep black and the nanako are well executed.
There are no kashira for this set, because it would have been mounted and presented with horn kashira. Every item is signed and the menuki are solid gold. This was a recent acquisition of mine in Japan and I believe it was just taken off of a daisho mounting very recently that came out of the original family's possession. The front facing sides of the gold on the menuki and fuchi are currently a bit dull with age and I think probably some use of red lacquer to tone them reddish. Differences in the coloration can be seen where the wrap covered the menuki and where they were bare. The backs of the menuki and the shishi on the tsuba show the true color of the gold. These can be cleaned up without much of a problem but I chose to leave them as-is for the moment.
Hamano Naohide worked between 1775 and 1800 according to Haynes but the genealogy for him is a bit scarce. There is also a Yanagawa Naohide smith listed in Hayes with the same name and was a student of Yanagawa Naomasa, who in turn was a student of Somin. This Yanagawa Naohide is listed as working at 1775. The work by both of these smiths is quite rare, and since this piece is definitely made in Yanagawa and not typical Hamano work, it is entirely possible that they are the same maker as the work periods, and styles dovetail.
I'll continue to ask around and try to research more on the subject. Regardless this is a very beautiful set, stored in two custom boxes, and also holds Tokubetsu Hozon papers for its rarity and authenticity. It is a nice one to own on its own to show the Yanagawa school style off, or if one were to be mounting a high quality daisho this would be a very nice set to have for that.
You can read more about the Yanagawa school here: Yanagawa Naomitsu.