A Rare Kozuka by Goto Sokujo

with NBTHK Tokubetsu Hozon Kanteisho

Goto Sokujo was the eighth generation mainline master of the Goto school. He was born the second son of the sixth generation, Eijo, in 1600. Sokujo’s uncle, Kenjo, (Eijo’s brother) was the seventh generation master. When Eijo died at the young age of just 41 years old, this left a difficult problem of succession because Sokujo was just 18 years old and undoubtedly ill-prepared for all the responsibility and duty that was required of a mainline master. Being very young meant not having the seasoning and experience required for running a major family operation that stretched from the Goto home base of Yanagihara district in Kyoto, to the periodic travels to Edo. So Kenjo stepped in as guardian and mentor to Sokujo until he was ready to take the Goto family helm.

Edo was still very new and developing in the third decade of the 1600’s and there was a major push to transfer all arts and influences to this new city that the Shogunate was constructing. In 1623, the second Tokugawa Shogun, Hidetada, stepped down as the formal ruler of Japan, and installed his son, Iemitsu as the third Tokugawa Shogun, while still essentially ruling from a background position of “retired Shogun”. Iemitsu continued a massive push to relocate the arts, crafts, trades, and influences of Kyoto to the new booming economy in Edo and present it as the ultimate metropolis. It was during Iemitsu’s reign that the sankin-kōtai system was established which mandated that each daimyo maintain a home in Edo and reside there one year, with alternating years spent in their home province. Moreover, when the daimyo returned to their domains in the off year, they were required to leave family members in Edo. The Goto family were not solely craftsman with the independence to do as they pleased, but were subservient to the Shogunate as part of the bushi (or samurai), class, with the earlier generations having served in battles for their respective lords. Goto Kojo was direct vassal of Oda Nobunaga, and his son, Tokujo, served under Toyotomi Hideyoshi at the battle of Sekigahara. Thus the ties and obligations that the Goto family held with the shogunate were far more complicated than mearly a “craftsman-patron” relationship.

In 1625, Iemitsu summoned Sokujo to relocate the Goto mainline from Kyoto to Edo on a permanent basis and provided him with a residence located in what is today the Chou district of Tokyo. It was logical for Iemitsu to order Sokujo to Edo permanently. The Goto family held value in more ways than just great sword fittings. The Goto family were also counted among the three richest families of Kyoto. The family also held responsiblility for the assay and minting of the gold currency (oban) and trade scale weights (fundo) and had continued to do so since the time Toyotomi Hideyoshi appointed Goto Kojo (4^th mainline master) with the responsibility.

After relocating to Tokyo, Sokujo only lived another 6 years, dying at the age of 32. The reasons for his death at such a young age are not clear to me as of the time of writing, but since his father, Eijo, also died young at the age of 41, perhaps there was some genetic reason. It is however, interesting to note that Kenjo, Sokujo’s uncle and brother to Eijo, lived a longer life, passing away at the age of 78 and his son, Teijo, became the 9^th mainline master and lived to be 71. Some of the Goto mainline masters lived into their 70’s and 80’s. Goto Kojo, the 4^th generation lived a very long life to the age of 92. However, there were those that lived only until their 40’s, 50’s, and 60’s. Clearly, Sokujo was the youngest to die among all 17 generations and because of this, and his skill, that his works are quite rare and highly sought.

Sokujo’s works are elegant and deliberate, delicate yet powerful. Bundled cherry blossoms and a gardening sickle (called a “kama”) gathered together with rope announcing spring with the emergence of the Sakura on the trees along river banks, in the hills, and lining streets all over Japan. The sculpting defines each individual blossom in remarkably fine detail, and sits on a bed of fine nanako on the jiita. A variety of metal colors and tones provides depth and definition to the subject. It would interesting to see how his skills would have evolved if he’d been able to reach the prime of his life and apex of his career.

On the reverse, it is evaluated and signed by Goto Mitsuyoshi (aka: Goto Shinjo, the 15^th mainline master).

This kozuka is accompained by an NBTHK Tokubetsu Hozon Kanteisho dated August 21^st, 2007, attesting to the authenticity, quality, and condition of the kozuka, and is held in a custom-made Kiri (Paulownia) wood box.

NBTHK Tokubetsu Hozon certificate

This is a brilliant work by one of the most sought and difficult to find masters of the Goto line. A Sokujo example is an important and necessary addition to any Goto school collection. Don’t let this opportunity pass you by. As my friend in the UK sometimes comments; “Take tarts when tarts are passing”.

Price: $3400.00