Iyo-Shōami Aoi Tsuba with Nbthk Hozon Certificate

Iyo Aoi Tsuba with Nbthk Hozon Certificate

Oi-aoi sukashi-tsuba (追い葵透鐔) ‒ Tsuba with the openwork design of “chasing hollyhocks”
Unsigned: Iyo-Shōami (伊予正阿弥)
Two-lobed mokkōgata, brown shibuichi plate, three dimensional nikubori ji-sukashi openwork,
dew inlaid in gold, iroe accents, flush silver hira-zōgan

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 artist 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).