Edo was the sword’s age of connoisseurship: the Hon’ami appraisers, the shogunal register of famous blades of 1719, and a thriving literature turned the sword into an object of study even as it ceased to be drawn in war.
NihontoWatchNihontoWatchThis blade is attributed to the third-gen Echizen Yasutsugu(越前三代康継), according to the NBTHK’s appraisal. He was especially active in sword-forging during the Kanbun era (Early Edo period: 1661-1673). He was the third son of the first-gen Yasutsugu, one of the most famous swordsmiths during the early Edo period. First-gen Yasutsugu It is said that the first-gen Yasutsugu was born in Shimosaka town in Shiga prefecture at the end of the Muromachi period(Late 16 century ). He built his career there until the beginning of the Keicho era(1596). However, he moved to Echizen province due to the relocation of the lord he served. He eventually was noticed and supported by Matsudaira Hideyasu, the third son of Tokugawa Ieyasu, who was the founder of the Edo government. Hideysu was the feudal lord of Echizen province during the early Edo period. With the support of Hideyasu, the first-gen Yasutsugu established the Echizen Shimosaka school. And his school’s fame became nationwide. By Hideyasu’s recommendation, the first-gen Yasutsugu became Okakaekaji for the Tokugawa shogun family, meaning that he exclusively forged swords for the Shogun family. Yasutsu was acknowledged by the first and second Tokugawa Shoguns, Tokugawa Ieyasu, and Tokugawa Hidetada. The first-gen Yasutsugu received 康(YASU) from Tokugawa Ieyasu and changed his maker’s name. He was also allowed to inscribe the holly oak symbol(family crest of Tokugawa) on the tang. Fascinating History of the third-gen Echizen Yasutsugu The first gen Yasutsugu died in 1621, and his first son took over the school and became the second-gen Yasutsugu. The second gen was deceased in 1646. As we explained earlier, the third-gen Echizen Yastsugu was the third son of the first-gen Yasutsugu. His real name was Shirouemon(四郎右衛門). When the second-gen Yasutsugu was deceased in the third year of Seiho(1646), the next heir of the school, the first son of the second-gen, was just 17 years old. His name was Umanosuke (右馬助). Because of his young age, there was a dispute within the Echizen Yasutsugu school over who would become the third head of Yasutsugu school. The students of the second-gen Yasutsugu and Shogun’s arms office supported Umanosuke to be the third-gen Yasutsugu. However, Shirouemon, the third son of the first-gen Yasutsugu, insisted that he should be the one to take over his father’s school and property. Shirouemon was a younger brother of the second-gen Yasutsugu. This dispute was eventually solved in such an interesting manner. Yasutusu school decided to have two third-gen Yasutsugu. While Umanosuke was officially appointed as the heir of Yasutsu school and became the third-gen Yasutsugu in Edo city, Shirouemon founded the Echizen Yasutsugu school. From this point, there were two branches of Yasutsugu school; Edo and Echizen. Back then, Yasutsugu swordsmiths were requested to forge swords in Echizen and Edo back and forth every year, but this tradition ended after this dispute was settled. Echizen Yasutsugu lasted for the 9th generation, and Edo Yasutsugu school lasted for the 12th generation from the third-gen Yasutsugu. The third-gen Echizen Yasutsugu was allowed to inscribe a holly oak symbol, which suggests that his craftsmanship was highly regarded among Tokugawa Shogunate back then. It is appraised as a Hozon Token (保存刀剣) issued by NBTHK (Nihon Bijutsu Touken Hozon Kyokai: 日本美術刀剣保存協会). *Please keep in mind that there is a light surface rust is present on the blade. Fuchi-Kashira This fuchi-kashira is decorated with a family crest (家紋, kamon) of Daki myōga (抱き茗荷), a perennial plant belonging to the ginger family. In Japanese, the word myōga shares its pronunciation with myōga (冥加), a term meaning divine protection or blessings from the gods and Buddhas. Because of this wordplay, the myōga motif has long been regarded as an auspicious symbol associated with good fortune. It was widely adopted by samurai families and commonly used in the decorative arts of shrines and temples throughout Japan. Tsuka and Menuki This menuki appears to feature myōga (茗荷, Japanese ginger bud) , which is traditional motifs in Japanese decorative arts. Myōga is a type of Japanese ginger and is believed to have been introduced to Japan alongside shōga (生姜, common ginger). According to one theory, shōga was originally called Senoka, while myōga was known as Menoka in ancient times, with their pronunciations gradually changing over time. Notably, myōga shares its pronunciation with another Japanese word meaning “divine protection” or “blessing.” Because of this association, the myōga motif has long been regarded as an auspicious design symbolizing good fortune. It can be found in the ornamentation of shrines and temples throughout Japan and has also been widely used as a motif for family crests (家紋, kamon). Saya This Saya is covered with black lacquer. Due to its high waterproof effect, lacquer has been used since ancient times in Asia. The blade of a Japanese sword is made of iron, and moisture is the greatest enemy of iron. For the purpose of carrying the blade without degrading it, people devised a method of coating the scabbard with lacquer. To prevent not only moisture but also rain and snow from penetrating the inside of the scabbard, it was necessary to apply multiple layers of lacquer. The Nushi (塗師, lacquerers) was born precisely because advanced techniques were required to handle the complicated processes. Authentication Paper They authenticated the blade on May 28th in the 7th year of Reiwa (2025). They appraised it as Hozon Touken, the blade worth preserving for Japanese society.
Offered by Samurai Museum
4 on the market
Shinto · Echizen · around 1660-1673
Tōken Taikan top 14%
4 pieces on the market now
Where Yasutsugu stands among comparable artisans: across all of nihontō, and within tradition, era, and period. The tiers (Foremost · Leading · Major · Notable) weigh official designations from the NBTHK and Japan's Agency for Cultural Affairs, together with historical honors of lasting repute such as the Sansaku and Meibutsu-chō.
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Years he was demonstrably active, proven by signed-and-dated blades
Shinto · Echizen
39 pieces on the market now
The Shimosaka name began not as a single hand but as a trademark shared by a band of Echizen smiths at the dawn of the shinto era, and the designated record gathers their work under that one signature rather than parsing it into individuals. The published sources read the early inscriptions, the generic Echizen no Kuni Shimosaka and the titled Higo Daijo Fujiwara Shimosaka, as the product of a group, of which the first-generation Yasutsugu served as the representative. Born in Shimosaka village of Sakata district in Omi, Yasutsugu moved to Echizen under the patronage of Yuki Hideyasu, signing in his early years Higo no Daijo Shimosaka before his Keicho 10 to 11 summons to Edo, where he forged before Ieyasu and Hidetada and received the character Yasu and the right to cut the Tokugawa hollyhock crest on his nakago. The titled signature was carried by several Echizen hands at once, and the texts list Yasutsugu, Sadakuni and Kanenori among the smiths whose chisel movement and brush intent are too alike to part on present evidence. From this band the Echizen Yasutsugu line descended, dividing after the second generation into the Edo and Echizen Shimosaka houses, and around it formed the deep relief carving the province made its own. The school is recognized first in its steel. The forging is itame mixed with mokume that stands and opens, often flowing into nagare, carrying thick ji-nie and fine chikei, the kane taking on the blackish cast the sources name outright as Echizen-gane; the same dark, standing jihada recurs from Yasutsugu through his son, through Sadatsugu, Shigetaka and the unnamed Shimosaka hands, and the commentary returns to it as the group's signature. Over it the hamon favors a suguha to chu-suguha or shallow notare into which linked gunome and ko-gunome mix, ko-ashi and yo entering, the nie thick and gathering unevenly into rough patches, kinsuji and sunagashi streaming through, the nioiguchi tending to a sinking shizumi.
The boshi is the steadiest tell, running to a ko-maru swept in hakikake and turning back long, with a Sanpin-flavored reminiscence of the Mishina and Echizen-Seki inheritance. Yet the house is not uniform: Sadakuni works an austere suguha over an unusually refined ji with little of the blackish mokume, Sadatsugu fires the brightest, most choji-laden midare of the circle, and the third generation cleans the forging and brightens the nioiguchi toward his Edo contemporaries. Binding the registers is the carving, the deep Echizen-bori and Kinai-bori of kurikara, Fudo Myoo, bonji and gomabashi set in relief within the hi, which Sadakuni may have first supplied to Yasutsugu's blades. For the collector the school rewards reading by register rather than by a single famous holding. Yasutsugu is its summit, rated Jo-jo saku, retained smith to the shogunal house, whose Sadamune and Toshiro copies (the Namazuo, the lost Oyako, the Shishi) show his own Echizen hand under the model, and whose best katana carry the possession inscriptions of his patron Honda Hida no Kami Narishige and provenance in the Echizen and Kishu Tokugawa houses. The second generation follows so faithfully that his finest blades part from the father chiefly by the form of the character tsugu; the Edo third generation continues the suguha and ko-notare manners with a straight yakidashi and a Hojoji affinity. Around them the specialists define the edges of the idiom: Sadakuni and his quiet suguha with a pair of tanto recorded in Honma's inventory of the Imperial collection, Sadatsugu with his Narishige-crested cutting-test blades, and Shigetaka, the most skilled of Yasutsugu's pupils, whose chestnut-tailed kurijiri nakago and Kinai carving (the Honebami and Hossho copies among his masterworks) name him at a glance and whose finest work approaches the master. A signed Shimosaka blade, whether a titled Yasutsugu beneath the aoi-mon, a named piece by one of the band, or a Higo Daijo pre-Yasutsugu register, comes to market only from time to time, valued as the wellspring from which the Echizen Yasutsugu line and its carving tradition arose. Learn more →
| Smith | Era | Designated |
|---|---|---|
| Yasutsugu康繼 | 1596-1615 | 76 |
| Yasutsugu康繼 | 1624-1644 | 25 |
| Sadakuni貞國 | 1596-1615 | 11 |
| Yasutsugu康繼 | 1661-1673 | 8 |
| Shigetaka重高 | 1596-1615 | 7 |
The Edo period (1615 to 1868)
Edo was the sword’s age of connoisseurship: the Hon’ami appraisers, the shogunal register of famous blades of 1719, and a thriving literature turned the sword into an object of study even as it ceased to be drawn in war.
Certifies a genuine blade worth preserving: a signature confirmed correct, or, if unsigned, an era, province, and school that the NBTHK can reliably identify.
The NBTHK (Nihon Bijutsu Tōken Hozon Kyōkai, the Society for the Preservation of Japanese Art Swords) is a public-interest incorporated foundation founded in 1948 and supervised by Japan’s Agency for Cultural Affairs (Bunkachō); it is based at the Japanese Sword Museum in Tokyo. Its expert panels physically examine each submitted work (shinsa) and issue a certificate (kanteishō) ranking it by artistic and historical merit. NBTHK papers are the most widely recognized standard of authentication for Japanese swords and fittings.
NBTHK official siteReturns/exchanges limited to defects caused by shipping (except willful misconduct or gross negligence by the company); customers must contact within 72 hours of receiving the product.
¥690,000
Certificate reading — 無銘（越前三代康継）