Set of Sword Fittings (Mitokoromono) 1725 - 1800

Curator: This set of sword fittings, known as Mitokoromono, was crafted sometime between 1725 and 1800 by Gotō Mitsumori, who also went by the name Keijō. Editor: Immediately, the contrast between the dark metal and the inlaid gold and copper figures strikes me. There's a real sense of craftsmanship here. Curator: The choice of materials here isn’t accidental; during the Edo period, sword fittings moved beyond mere functionality to become important status symbols for samurai, so artisans such as Mitsumori blended aesthetics with practicality, imbuing these objects with symbolic power within a strict social hierarchy. Editor: Absolutely. I am thinking about the labor that went into this! Look at the intricate detailing. And those stylized animals, perhaps gold carps? I'd be curious about the actual means of production; Were these artisans employed within the clan structure, or operating as independent craftspeople, and what did their access to certain precious materials look like? Curator: Both, actually. The Gotō family dominated sword-fitting production for generations, receiving patronage from powerful figures, which allowed them access to premium materials and, importantly, influence on artistic styles. That’s how these objects speak to power dynamics. Editor: Precisely! Thinking about the societal impact on how the metals trade would shape Japanese economics—the mines and workshops producing this type of refined ornamentation involved entire economies. We could talk about the very infrastructure of Edo Japan through such detailed metal works. Curator: You bring up an important point; a sword isn’t merely a weapon; it is intrinsically linked to samurai identity, and these fittings provided a visual language, subtly displaying one’s allegiance, status, or aspirations, revealing social aspirations encoded within. Editor: I see it now as the samurai as patron. The demand is key, and understanding those connections deepens my understanding. And while some may consider it decorative art, to consider the larger economic networks at play highlights how even luxurious materials become tools of cultural understanding. Curator: Indeed. When considering it in the context of history and labor, these fittings go from being mere objects of art into artifacts embodying broader stories of cultural significance. Editor: The care, precision, labor—all give a richer meaning, not just aesthetic pleasure. This lens shifts perceptions profoundly. Thank you for this dialogue!