If you're seeing this message, it means we're having trouble loading external resources on our website.

If you're behind a web filter, please make sure that the domains *.kastatic.org and *.kasandbox.org are unblocked.

Main content

Goto Teijo, Koto

Met curator J. Kenneth Moore on gratitude in Goto Teijo’s Koto, c. 1440–1512.

This rare acquisition is a tour de force of Japanese decorative and musical arts that is currently unparalleled in this country. Although a strong tradition existed before then, the foundation for modern Japanese koto music were formed during the seventeenth century. This koto, with it copious inlay and remarkable metalwork by Teijo, ninth master and perhaps most skilled member of the famous Goto family of metalwork artists, documents this important musical development. It also reflects the status of its owner and the koto's role as a symbol of Japan. All but the instrument's playing areas are exceptionally decorated. Gold crane medallions set against a finely carved diaper pattern adorn the sides, which are framed in a virtuosic rendering of inlaid woods, horn, ivory, and wire that extends onto both the upper and lower surfaces. The ends, of tagayasan and shitan wood, are embellished with geometric inlay patterns and metalwork lions and flowers in ivory frames. The elaborate black lacquered outer case, dating from the early nineteenth century, is decorated with gold makai-e cranes (symbol of the Karasumaru family) and geese, and its interior is lined with gold foil patterned with flying geese. The cloth wrap is composed of two silk embroidered fabrics of eighteenth- and nineteenth-century origin.

View this work on metmuseum.org.

Are you an educator? Here's a related lesson plan. For additional educator resources from The Metropolitan Museum of Art, visit Find an educator resource.

.
Created by The Metropolitan Museum of Art.

Want to join the conversation?

Video transcript

This object has art, it has music, it’s got myth, but behind all that there’s a very human story. It begins with a warrior, whose name is Mitsuhiro Karasumaru, saving his father-in-law in a castle that’s under attack. And his brother-in-law asks him, “What would you like as a gift for saving my father’s life?” And he said, “A koto.” Now, kotos at this time were plain. Mitsuhiro probably did not think he was going to get such a beautiful case, covered with his family emblem, the crane. Pulling out the koto, he must have been totally surprised to see that this instrument had about sixty cranes in gold and silver and wild geese flying all over it. The instrument itself represents a crouching dragon, and you see these two gold, confronting dragons. It has wonderful metalwork, it has tortoise shell with gold foil underneath it. The soundboard is cut in a way that makes it look like water. You tune the instrument by sliding one bridge under each string, and on those were more cranes and silver lining. The whole thing was just so over the top it must have taken his breath away. Koto music is very harp-like in its sound. It’s serene, it’s contemplative. Why would a man of such power and prestige want to have what he thought would be a simple koto? What did he need to express in music? It was such a honor to receive one of the most decorated of kotos that one will ever see. Would he just look at it and say, “This is too beautiful to play”? I can’t help but think if I were the recipient, I would probably grab those bridges and start playing immediately.