肥前刀は藩営の産業である。鍋島家は1596年頃、忠吉を京の埋忠明寿のもとに学ばせ、帰国したその工を核に公認の一門を築いた。小糠肌で名高いその作は、九代にわたり明治まで続いている。
NihontoWatchNihontoWatch2nd Generation Hizen Masahiro · Early Independent Work · Kanbun Era · NBTHK Tokubetsu Hozon · Published in Rei, 1969 An exceptional and superbly documented Japanese katana by the second-generation Hizen Masahiro, signed 肥前国住藤原正広 – Hizen no Kuni Jū Fujiwara Masahiro. A son of the founding Kawachi no Daijō Masahiro and great-grandson of Hizen Tadayoshi, this smith belonged directly to one of the most important lineages of Edo-period Japanese swordmaking. The blade is particularly significant for its plain Masahiro signature, without the Kawachi no Kami title received later in the smith’s career. Masahiro had originally signed Masanaga and adopted the name Masahiro following his father’s death in Kanbun 5 (1665), making this untitled signature characteristic of a restricted period early in his independent production. Beyond its distinguished authorship, the sword stands out for its unusually shallow curvature, exceptionally refined Hizen jigane, vigorous gunome-midare hamon and abundant metallurgical activity. Its importance was already recognised decades ago. The blade appeared in the 1969 Yūhin Zukan (“Gallery of Fine Works”) section of the specialist Japanese sword-appreciation publication Rei (麗), where it was illustrated with a full oshigata and discussed as an outstanding example of Masahiro’s work. Today the blade is accompanied by a current NBTHK Tokubetsu Hozon Tōken certificate, its historical Tokyo registration document and the 1969 publication, creating an unusually rich documentary record extending across more than half a century. The sword is completed by an elegant and highly coherent dragon-themed koshirae, with shakudō fittings, gilt dragon decoration, black lacquer saya and dark green sageo. The sword is supplied with a kimono or cotton storage bag, a Supein Nihonto certificate, its NBTHK documentation, a copy of its Japanese registration and the accompanying historical publication material. The Swordsmith – 2nd Generation Hizen Masahiro The smith responsible for this blade was the second-generation Hizen Masahiro, a direct member of the celebrated Hizen Tadayoshi lineage. Born around Kan’ei 3 (1626), he was the son of the first-generation Kawachi no Daijō Masahiro and the great-grandson of Hizen Tadayoshi, founder of the Hizen school. The Hizen tradition developed in the domain of the Nabeshima family and became one of the most recognisable and technically accomplished schools of shintō sword production during the Edo period. Its finest blades are renowned particularly for their exceptionally refined steel and distinctive surface structure. The second-generation Masahiro originally used the name Masanaga. Following the death of his father in Kanbun 5 (1665), he adopted the name Masahiro, continuing the family’s prestigious swordmaking tradition. The signature found on this blade is therefore of particular interest. The Signature (Mei) The nakago bears the inscription: 肥前国住藤原正広 Hizen no Kuni Jū Fujiwara Masahiro The significance of this inscription lies not simply in the name Masahiro, but in what is absent from it. The blade does not carry the Kawachi no Kami honorific title that Masahiro would use later in his career. Combined with the historical chronology of his change from Masanaga to Masahiro, this plain signature places the sword within a particularly interesting period early in his independent output. The historical 1969 study of this very blade specifically drew attention to this unusual untitled signature. The mei remains preserved on the nakago despite an old shortening of the blade. The Blade (Tōshin) The blade immediately distinguishes itself through its remarkably shallow sori. Its profile approaches an almost straight configuration, creating an elegant and powerful silhouette characteristic of the Kanbun era but particularly striking within the context of Hizen workmanship. This restrained curvature gives the sword a markedly different presence from the more deeply curved forms frequently associated with Hizen blades. The 1969 specialist publication already identified this feature as one of the notable characteristics of the sword, demonstrating that its unusual sugata has long been recognised by Japanese connoisseurs. The blade combines this distinctive profile with refined forging and an active temper pattern, resulting in a sword whose apparent restraint in shape contrasts beautifully with the considerable activity visible within its steel. The Steel (Jigane) One of the defining qualities of superior Hizen swords is the refinement of their jigane, and this blade provides an excellent expression of that tradition. The forging presents an exceptionally tight ko-itame hada, approaching the fine nashiji-like texture associated with the celebrated Hizen konuka-hada. Fine ji-nie are distributed throughout the surface of the steel, creating a delicate sparkling effect when the blade is viewed under appropriate light. Rather than presenting a coarse or strongly visible grain, the steel appears remarkably compact and controlled. This dense forging is one of the qualities for which the finest works of the Hizen school are particularly appreciated. The result is a sophisticated surface whose beauty becomes progressively more apparent under close examination. The Temper Line (Hamon) In contrast with the restrained geometry of the blade, the hamon is remarkably energetic. It is formed primarily in a vigorous gunome-midare, developed in deep nioi and generously accompanied by nie. Throughout the temper pattern appear frequent areas of tobiyaki — isolated patches of hardened steel that rise above the principal hamon into the ji. These areas introduce considerable visual movement and complexity, giving the temper line a dynamic character that rewards close examination. The historical appraisal published in 1969 specifically praised the quality of the tempering, describing it as displaying: “dōsaku-chū demo kesshutsu shita sae” — a brilliance standing out even among the smith’s own body of work. This historical assessment is especially important because it demonstrates that the exceptional qualities visible in the blade today had already been recognised by specialist Japanese connoisseurs nearly six decades ago. The Kissaki and Boshi The point continues the disciplined construction visible throughout the blade. The hamon flows naturally into the kissaki, forming the boshi before turning back toward the spine. The historical oshigata published in 1969 records this section of the blade in detail, including the form of the kissaki and the return of the boshi. The survival of such an early graphic record provides an important point of comparison for the present condition of the sword. The Nakago and Historical Suriage The nakago preserves the signature Hizen no Kuni Jū Fujiwara Masahiro and displays several sequential mekugi-ana. The 1969 specialist account records an old suriage of approximately three sun. This historical shortening is consistent with the sequence of mounting holes visible on the tang today. Importantly, the mei itself was preserved during the alteration and remains clearly present on the nakago. Historical modifications of this type form part of the working life of Japanese swords and provide evidence of the blade’s continued preservation and remounting across successive generations. The Mounting (Koshirae) The blade is accompanied by an exceptionally attractive koshirae constructed around a unified dragon theme. Rather than combining unrelated decorative subjects, the principal fittings repeat variations of the dragon motif, creating a visually coherent mounting. The dominant palette is deliberately restrained: near-black silk, dark shakudō, black lacquer and deep green are punctuated by carefully placed gilded dragon details. This contrast gives the mounting considerable presence while avoiding excessive ornamentation. The dragon occupies a particularly important position within Japanese art, where it is traditionally associated with power, water, protection and supernatural authority. Its use across the principal fittings creates an appropriate visual counterpart to a blade of this quality. The Handle (Tsuka) The tsuka is wrapped in near-black tsuka-ito applied in a tight traditional hineri-maki over pale samegawa. The contrast between the dark wrapping and the lighter ray skin creates the classical alternating diamond pattern of a traditional Japanese sword mounting. Within these openings appear small gilt dragon menuki, their golden surfaces emerging subtly from beneath the dark silk. The restrained presentation prevents the decoration from becoming ostentatious, while close inspection reveals considerable attention to detail. The Menuki The menuki continue the principal iconography of the mounting with finely rendered gilt dragons. Positioned beneath the tsuka-ito, the dragons appear intermittently through the diamond-shaped openings of the wrapping. Their warm gold tone contrasts dramatically with the near-black silk and pale samegawa, adding depth to the handle while reinforcing the unified decorative program of the koshirae. The Fuchi and Kashira The fuchi is executed in dark shakudō and decorated with a gold dragon in relief. Particularly impressive is the kashira, where a large gilded dragon dominates the composition in high relief. The creature is modelled with clearly defined scales, claws and anatomical details, creating a striking contrast against the dark ground of the metal. The quality and prominence of this decoration make the fuchi-kashira among the strongest visual elements of the entire mounting. Together with the menuki and tsuba, they establish a continuous dragon theme from one end of the tsuka to the other. The Hand Guard (Tsuba) The tsuba continues the dragon iconography of the remaining fittings. Its large dragon design is worked across a dark surface, while the outer mimi is finished with a contrasting silver-toned rim. This border creates a subtle transition between the dark mounting and the polished steel of the blade while giving the guard a distinctive visual identity. The consistency between the tsuba, fuchi-kashira and menuki is particularly important, giving the koshirae the appearance of a deliberately conceived decorative ensemble rather than an accumulation of unrelated fittings. The Scabbard (Saya) The saya is finished in glossy black lacquer, providing an elegant and deliberately restrained background for the elaborate dragon fittings of the handle. Its smooth dark surface allows the textures of the shakudō, gold decoration and twisted iron of the tsuba to remain visually dominant. A dark green sageo introduces a subtle colour accent while preserving the overall sober character of the mounting. The resulting combination is refined, formal and highly effective: an understated saya paired with richly detailed fittings. The 1969 Rei Publication One of the most important aspects of this sword is its documented appearance in the specialist Japanese sword-appreciation publication Rei (麗). The blade appeared in the magazine’s 1969 Yūhin Zukan (優品図鑑 – “Gallery of Fine Works”) section. The surviving page contains a detailed oshigata of the sword, reproducing the temper line, kissaki, boshi and a rubbing of the nakago with its signature. More importantly, the accompanying specialist commentary identifies several of the characteristics that continue to distinguish the blade today. It specifically notes the unusually shallow curvature, discusses the signature and records the historical shortening of approximately three sun. The appraisal also praises the quality of the temper line as outstanding even within Masahiro’s own production. This publication establishes that the sword was already being studied and appreciated as a noteworthy work in Japan in 1969, providing an important historical record independent of its modern certification. NBTHK Tokubetsu Hozon Certificate The blade is accompanied by a current NBTHK Tokubetsu Hozon Tōken certificate. The Nihon Bijutsu Tōken Hozon Kyōkai (NBTHK) is the principal Japanese organisation dedicated to the study and preservation of the Japanese art sword. The Tokubetsu Hozon designation represents an important level within the NBTHK appraisal system and is awarded to swords judged worthy of special preservation on the basis of their quality, authenticity and importance. In this case, the certification confirms the attribution represented by the signature Hizen no Kuni Jū Fujiwara Masahiro. For the collector, the combination of the physical blade, its historical documentation and current NBTHK certification provides an unusually strong foundation for the study and appreciation of the sword. Historical Japanese Registration The documentation also includes the sword’s historical registration material from Tokyo. This provides an additional documentary layer recording the blade within Japan’s post-war registration system for traditionally manufactured swords. When considered together with the 1969 publication and current NBTHK Tokubetsu Hozon certificate, the surviving registration creates a documentary chain extending across more than half a century. Few swords on the international market are accompanied by such a useful combination of historical publication, registration documentation and current specialist certification. Condition The blade is preserved in a condition that allows its refined Hizen jigane, active hamon, nie, nioi and tobiyaki to be properly appreciated. The nakago retains its historical patina and clearly preserves the important Masahiro signature. Its multiple mekugi-ana and historical suriage form part of the documented history of the sword and correspond with the information recorded in the 1969 publication. The koshirae retains an attractive overall appearance, with the black lacquer, dark silk wrapping, shakudō fittings and gilded dragon decoration combining into a highly coherent ensemble. As expected of an antique Japanese sword and mounting, natural signs of age and historical use are present and should be understood as part of the object’s long history. Collector’s Value This katana brings together several qualities that are rarely found so convincingly in a single sword: an important Hizen smith, a chronologically significant signature, exceptional workmanship, historical publication, modern NBTHK certification and a highly attractive complete koshirae. The second-generation Masahiro occupies a distinguished position within the Hizen tradition. As the son of the first-generation Masahiro and great-grandson of Hizen Tadayoshi, his work belongs directly to the principal lineage responsible for establishing the reputation of Hizen swords during the Edo period. The plain Hizen no Kuni Jū Fujiwara Masahiro signature adds particular historical interest because it belongs to the period after his adoption of the Masahiro name but before the later use of his honorific title. The quality of the blade itself further elevates the piece. Its unusually shallow sori, extremely refined ko-itame approaching the celebrated Hizen konuka-hada, fine ji-nie, vigorous gunome-midare and frequent tobiyaki combine technical refinement with considerable visual energy. Most importantly, these qualities are not merely a modern interpretation. The sword was already singled out for specialist appreciation in Japan in 1969, when its distinctive shape, signature and exceptional tempering were recorded in Rei‘s Yūhin Zukan. The current NBTHK Tokubetsu Hozon certificate adds modern specialist authentication to that historical record, while the Tokyo registration provides an additional documentary link in the sword’s history. Finally, the complete dragon-themed koshirae gives the piece exceptional display presence. The dark shakudō, gilt dragons, pale samegawa, black silk, silver-rimmed tsuba and glossy black saya form a sophisticated ensemble worthy of the blade it accompanies. A distinguished and exceptionally well-documented Hizen katana, this second-generation Masahiro combines an important early signature, superb Hizen steel, dynamic gunome-midare with tobiyaki, an elegant dragon-themed koshirae and an extraordinary documentary history. Published and praised in Japan as early as 1969 and today certified NBTHK Tokubetsu Hozon, it represents a compelling opportunity for the advanced collector seeking a sword whose quality, attribution and historical appreciation are supported by multiple generations of Japanese documentation.
販売店の記載のまま
（翻訳なし）
Hizen Tadayoshi main line, second-generation Masahiro (Saga) · 肥前 · 1658-1661頃
藤代 上作 · 刀剣大鑑 上位26%
現在3点販売中
二代正広は初代河内大掾正広の子で、寛永四年に生まれ、初め佐伝次と称した。父の在世中は武蔵守正永と銘し、万治三年に武蔵大掾を受領、翌寛文元年に武蔵守に転じた。寛文五年二月五日、彼が三十九歳の時に父が歿し、同年四月十三日に河内守に転じている。正広銘の襲名については、口宣案に「武蔵守藤原正広、宜任河内守」[[c:1]]とあることから、説明書は「おそらく初代正広歿後すぐのことであろう」[[c:6]]とする。元禄十二年、七十三歳で歿した。父と同じく本家の協力者の一人であったとみられる。
説明書は本工を父に極めて近いものとして読む。直刃・乱刃ともに父につぐ上手で、「殆んど甲乙つけがたいものがある」[[c:7]]と記し、作柄は直刃・乱れ刃ともに初代正広さながらで、技術は父に劣らないとする。なかでも乱れ刃を得意とし、焼幅を広く取って華やかな丁子乱れを展開するところは「正に彼の独壇場である」[[c:8]]と評される。
その乱れ刃は丁子を主調に互の目を交え、焼幅広く大模様に乱れるものである。刃中に頭の丸い互の目や矢筈風の刃を交える点に、二代正広の刃取りの特徴が窺えるとされる。足・葉よく入り、匂深く沸厚くつき、処々谷に沸が凝り、金筋・砂流しがさかんにかかる。飛焼を交えるものもあり、ある一刀は「同作中最も華やかな出来を示したもの」[[c:9]]とされる。傍肥前の諸工と同じく、元に直ぐの焼出しを見せることもある。地鉄は小板目肌がよくつみ、地沸が微塵に厚くついて地景が細かに入り、肥前刀特有の米糠肌状と記される作が多く、頑健な一刀では肌目が立つとされる。帽子は直ぐに小丸に返る。
直刃は本工のもう一つの作域であり、説明書は「初代正広よりも直刃の作品が多く見られることにも注意したい」[[c:10]]と特に記す。直刃の作は乱れ刃より少ないものの父よりは多く見られ、出来にむらがなく総じて優れているという。典型の中直刃の刀では地がねが一段とよく約むとされ、匂深の中直刃の一刀は直刃を得意とした本家の作を見るようであるという。常々の直刃より一際匂深く沸厚くつき、働きの豊富な二口の刀には「或種の放胆さが窺えて」[[c:11]]と評される。姿は身幅広く重ね厚く、手持ちの重い頑健なものが多く、時に鋒が延びて大鋒となる。
初・二代の別は銘に見る。二代は「肥前国河内守藤原正広」[[c:12]]と切るものが最も多く、中には「藤氏」と切ったものもある。説明書は「藤」と「廣」の字形に父子の相違を挙げ、二代の「廣」は一画多いとする。彫物は極めて少なく、寛文十二年紀の一刀には後に信国美直が彫物を施し、寛文十三年の山野勘十郎の截断銘を伴う。
藤代の極めは上作。国宝・重要文化財はなく、その記録は重要刀剣の位にあり、指定を受けた作は二十六口である。大きく乱れ刃を焼き、日月等の飛焼を交えた一刀は最高の出来とされ「肥前刀を代表する一刀である」[[c:13]]と称えられ、山野勘十郎久英の截断金象嵌銘と「継小袖」の号を有する。別の一刀には「剪風」の号らしき試し銘があり、説明書は肥前刀に試し銘のあるものは極めて稀であると記す。寛文七年紀の脇指はその年紀が好資料とされる。来歴の記録は乏しく、在銘の重要刀剣が市に現れるのは時折のことである。
正廣の位置づけを、日本刀全体および伝法・時代・時期ごとに示します。各区分（随一・屈指・有数・著名）は、NBTHK および文化庁による指定に加え、三作や名物帳などの歴史的栄誉を加味したものです。
各項目を選ぶと評価方法が表示されます。
新刀 · 肥前
現在107点販売中
肥前派は、肥前佐賀の城下を中心に興った新刀期の一流であり、その祖は橋本新左衛門と称した初代忠吉である。資料によれば、初代は鍋島家の抱え工として、慶長元年に藩命により彫工宗長とともに上洛して京の埋忠明寿の門に入り、忠吉は鍛刀を、宗長は彫技を学んだという。同三年に帰国して佐賀城下に住し、鍋島藩の庇護のもとに一門は大いに栄えた。年紀は慶長五年に始まり、元和十年には再び上洛して武蔵大掾を受領し、名を忠吉から忠広に、氏を源から藤原に改めている。この改名は同一の手の変遷であって別人ではない。初代の嫡子たる二代近江大掾忠広は六十有余年に及ぶ作刀生活を送って肥前最多作の工となり、本家の忠吉銘は土佐守家を経て三代陸奥守忠吉へと返上襲名されて、上三代の本流を成した。これと並んで、初代の門人や身内から、播磨大掾忠国の系、河内大掾正広に発する正広の系、出羽守行広の系といった分家、すなわち傍肥前と汎称される諸工が興り、代を重ねて佐賀の工房は確立された。 一門の共通する作風は、まずその地鉄に表れる。よく約んだ小板目を緻密に鍛え、地沸が微塵に厚く均しくつき、地景が細かに頻りに入って、かね明るく冴える。資料はこれを肥前特有の米糠肌と名指し、他派の出さない細かく明るい肌であるとする。この精良な地の上に、本家の本領たる中直刃を焼く。浅くのたれごころを帯び、処々に小互の目を交え、小足・葉が入り、匂深く小沸が細かについて締まり明るく、帽子は直ぐに小丸へ静かに返る。本来狙った来一門の直刃に対しては、匂口がより締まって明るく、鍛えに覇気がある点で分かれると説く。一方、初代の初期作には直江志津・古作大和物・来一門・鎌倉名工を狙った多様な写し物があり、掃きかけの帽子など本家の通則の例外も見える。代や系統による差異も資料の支持する範囲で明らかである。二代忠広と三代忠吉は本家本領の静かな直刃を継ぎ、なかでも三代は祖父初代を想わせる強く精美な鍛えを身上とする。これに対し傍肥前の諸工は華やかな乱れ刃を好み、正広は丁子を主調とした乱れに互の目を交え、行広は竪長の足長丁子乱れを焼き、忠国は一門の中で最も砂流しが目立つ足長丁子をあらわした。本家が直刃で読まれるのに対し、傍系はその精良な地を覇気ある乱刃へ運んだのである。 肥前刀の鑑定の勘所は、何よりこの米糠肌にある。明るく冴えた小糠肌の上に締まった直刃を焼くという組合せこそ、収集家が肥前刀を求める核心であり、地鉄と刃文が相俟って同派同定の眼目を成す。さらに銘振りもまた鑑定の一部をなし、本家は刀に指裏すなわち太刀銘に切るのを常とし、五字銘・住人銘・受領銘の別が時期を語る。主要刀工の格は資料の伝える通りで、初代忠吉は藤代の極めで最上作、二代忠広・三代忠吉や正広・行広は上々作ないし上作に位置づけられる。代表作には鍋島家伝来の作が多く、来歴には尾張徳川家・佐竹家・皇室などの名が録され、初代の一口には師明寿の添銘が遺り、忠国・正広の作には山野加右衛門ら截断銘を金象嵌に帯びるものがあって、手のみならず刃味の証となる。指定を受けた作の多くは旧蔵家や公の収蔵に永く蔵されて市に現れることは少なく、傍系の作も折にふれて世に出るにとどまる。されば在銘の肥前忠吉は手の届かぬものではないが、祖その人の作や、最も精美な米糠肌に直刃を焼いた一口が現れることは時折のことであり、現れれば肥前刀の一里塚というべきものである。 詳しく見る →
肥前 藩営の刀
肥前刀は藩営の産業である。鍋島家は1596年頃、忠吉を京の埋忠明寿のもとに学ばせ、帰国したその工を核に公認の一門を築いた。小糠肌で名高いその作は、九代にわたり明治まで続いている。
保存刀剣のうち、出来が一層優れ、保存状態も良好と認められたものです。再刃や、室町・江戸期の多くの無銘作は対象外となり、保存刀剣より高い基準が課されます。
日本美術刀剣保存協会（NBTHK）は、1948年に設立され、文化庁の監督を受ける公益財団法人で、東京・刀剣博物館に本部を置きます。専門の審査員が出品作を直接審査し、美術的・歴史的価値に応じた鑑定書を発行します。NBTHKの鑑定書は、日本刀および刀装具の真正性を示す最も広く認知された基準です。
NBTHK公式サイト14-day return if items arrive damaged or in unexpected condition; customer bears return shipping + insurance; items returned in original condition with all accessories; antique armour non-returnable; only regular priced items refundable; shipping costs non-refundable.
€25,000