Perry’s arrival in 1853 unraveled the Tokugawa peace and created the first mass demand for working swords in two centuries. Kiyomaro, called the Masamune of Yotsuya, died on its eve; Munetsugu and Yukihide carried the boom to the end.
NihontoWatchNihontoWatchSummary This blade was signed by Nobuhide (信秀). also known as Chikuzen no Kami Nobuhide (筑前守信秀) during the end of the Edo period. He is considered a top-tier swordsmith at the end of the Edo period. Nobuhide was born in Echigo province (today’s Nigata prefecture) in the 12th year of the Bunka era (1815). In the 12th year of the Bunsei era (1829), he moved to Kyoto and became a famous mirror craftsman. Eventually, he relocated to Edo city (today’s Tokyo) to become an apprentice of Kiyomaro in the third year of the Ka-Ei era (1850). Nobuhide was about 34-35 years old when he first studied sword-forging techniques from Kiyamaro, one of the most skilled and renowned swordsmiths at the end of the Edo period. Kiyomaro was just two years older than Nobuhide back then. He was so talented that he mastered superb craftsmanship from Kiyomaro in less than three years. Nobuhide was treated as Kiyomaro’s No.１apprentice. Nobuhide became an independent swordsmith in the fifth year of the Ka-Ei era (1852). In the first year of the Keio era (1865), he received an honorable official title Chikuzen no Kami (筑前守) from the emperor Komei. According to historical records, he stayed in Sagami province (today’s Kanagawa prefecture) during 1853-1854. And he resided in Osaka between 1864-1867. In his early career, he signed Nobuhide (信秀) and then changed it to Kurihara Kenji Nobuhide (栗原謙司信秀). And lastly, he signed Taira Nobuhide (平信秀). Nobuhide was active between 1852-1877 (the 5th year of Ka-Ei～10th year of the Meiji era). He is known as one of the three masters of the sword-forging at the end of the Edo period. The other two are Gassan Sadakazu and Honjo Yoshitane. Nobuhide is considered one of the top-tier swordsmiths among Japanese sword experts and collectors. Even after the Samurai era ended in 1868, Nobuhide kept forging swords. And in the second year of the Meiji era (1869: post Samurai era), he was requested by the emperor Meiji to forge a ceremonial sword, which was considered one of the highest honors for any swordsmiths. The Meiji government also ordered him to create three divine mirrors and a holy blade for a newly built shrine called Shokonsha (today’s Yasukuni shrine). Shokonsha was built to honor the spirits of those who died during the civil war at the end of the Edo period. This fact suggests that Nobuhide was one of Japan’s most respected and acknowledged swordsmiths. He finished this project in the 7th year of the Meiji era (1874). And, he came back to Echigo province and restarted making mirrors for shrines. He died at the of 66 in his house in Tokyo. What is Tanto? Japanese swords under the blade length of 30cm (11.6 inches) are generally called TANTO, and sometimes TSUBA(鍔; Hand-Guard) is not attached to the TANTO. It was easy to carry and convenient for close combats. It was initially used as a supplemental weapon for Samurai on horseback, who used a pole weapon or long sword in the Kamaura-Muromachi period. Samurai aimed at an unprotected area of his enemy’s armor with Tanto while having to fight with close distance. TANTO was named accordingly, depending on how you carry it, such as HUTOKORO-GATANA (懐刀; Stomach-Sword) or KOSHI-GATANA(腰刀; Waist-Sword) or elsewise. TANTO was also a gift for a bride from her family in a traditional Japanese wedding, as it is believed that TANTO would be divine protection from evil power. This blade is appraised as a Hozon Touken (保存刀剣) issued by NBTHK (Nihon Bijutsu Touken Hozon Kyokai: 日本美術刀剣保存協会). Fuchi-Kashira The motif of this Fuchi-Kashira is pine tree (松, matsu). As pine trees keep their green color throughout the years by withstanding severe heat and cold, people thought this plant pattern represents eternal youth. Furthermore, its color is called Tokiwa-Iro (常盤色, evergreen trees’ dark green color with brown), and pine trees have another name “Tokiwa-Gi (常盤木).” Tokiwa means immutability, so Tokiwa-Iro is a color that praises green with a wish for longevity and prosperity. It is said this color was appreciated, especially in the Edo period, as a good-luck color. The pine tree design gives us an elegant and noble impression; it might be another reason that people love this motif. Tsuka and Menuki The theme of this Menuki is peony (牡丹, botan). Peony represents happiness, wealth, nobleness, and gorgeousness. This flower pattern has been treated as a kind of good-omen motif; people regarded it as a rich harvest sign. Peony is called “Botan” in Japanese. When we write this flower’s name in Japanese, its second letter means mountain hermit medicine that would give us eternal youth. Based on the meaning of this letter, the peony pattern symbolizes eternal youth and longevity. Kozuka The motif of this Kozuka is Gosan-no-Kiri Monyou (五三の桐文様). It is a popular design that the paulownia motif is used. This pattern was once used by the imperial family and people in authority at that time. Today, it is permitted to use by ordinary households and is appreciated as their family crests. According to a tradition, Houou (鳳凰, Fenghuang, a kind of sacred beast) rests its wings at the paulownia tree; therefore, it has come to be regarded as a holy plant. The Kiri (桐) pattern is generally composed of three standing straight inflorescences and three leaves. The number of flowers that are blooming at each inflorescence means the ranks of this design. It is also famous that one of the most popular Samurais in Japan: Toyotomi Hideyoshi used the Kiri pattern for his family crest. According to a theory, Hideyoshi used Omodaka (沢瀉, arrowhead) pattern as his family crest. However, Oda Nobunaga, a well-known military commander in the Warring States period, permitted Hideyoshi to use Kiri design. This plant pattern was once used by the imperial family and national leaders of the time. Today, this plant pattern is used as the crest of the Japanese Government. *This Kozuka has a wooden knife. If you like to have a metal knife for it, please contact us. *In the photos, a wooden blade is fitted inside. However, when we ship it, the metal blade will be included. Kougai The theme of this Kougai is the same as Kozuka: Gosan-no-Kiri Monyou (五三の桐文様). Saya This saya is finished using the traditional Japanese lacquer technique known as kuro-ishime sendan-kizami nuri (黒石目千段刻塗). The ishime-nuri (stone-texture lacquer) creates a black, textured surface that resembles natural stone. This technique not only enhances the visual appeal but also provides a non-slip grip and excellent durability, making it both beautiful and practical. Authentificathentication Paper They authenticated the blade on April 14th in the 7th year of Heisei (1995). They appraised it as Tokubetsu Hozon Touken, the blade especially worth preserving for Japanese society.
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Kurihara Nobuhide, Yamaura Kiyomaro school (shinshinto) · Musashi · around 1857-1867
Fujishiro Jo-jo saku · Tōken Taikan top 10%
4 pieces on the market now
Kurihara Kenji Nobuhide was born at Sanjō in Echigo and began life as a maker of metal mirrors, turning to the sword only around Kaei 3 when he entered the Edo workshop of Yamaura Kiyomaro at Yotsuya. Of the master's pupils he is the one the published sources place nearest the source: examining a blade made before he took his title, the NBTHK writes that 'his technique was, among the members of that school, the closest to approaching the level of his master'[[c:1]]. He received the honorary title Chikuzen no Kami in the fifth month of Keiō 1, lived three years at Osaka, returned to Edo, and after the Haitōrei went home to Echigo and forged only a little until his death in Meiji 13. He signed Nobuhide, often Taira Nobuhide and, after the title, Kurihara Chikuzen no Kami Taira Nobuhide. With Kiyondo he is one of the two hands who carried the Kaei-era Sōshū revival of the Yotsuya Masamune into the Bakumatsu and early Meiji.
What he aimed at is his teacher's manner, and within it the Shizu vein Kiyomaro favoured most. The published commentary states plainly that his workmanship 'resembles his teacher and excels in the Shizu tradition'[[c:2]]. The temper is a gunome-midare into which he sets togariba and an angular kaku-gunome, a chōji feeling entering and at times mixing in, with ashi and yō well in. The activity is that of a deep nie edge: ko-nie adheres well, sunagashi streams through, and long kinsuji enter frequently, the nioiguchi bright and clear. The bōshi runs midare-komi and turns with a pointed tendency, often with hakikake, sometimes thrusting up to a small round. On a wide hira-zukuri wakizashi the judges read exactly this hand at full strength, 'a work full of commanding spirit, sunagashi and kinsuji operating repeatedly, giving a powerful impression'[[c:3]].
The jigane is where his closeness to Kiyomaro tells most. Over an itame that flows and stands a little, at times mixed with masame and mokume, he lays a thick ji-nie with chikei entering frequently, the steel clear. There is no utsuri: this is a shinshintō hand reaching back to Sōshū through Shizu, not a Bizen one, and the brightness lives in the nie of ji and ha rather than in any reflection. His swords are imposing in shape, wide in body, the kasane often thin and the sori shallow, the kissaki extended or run to an ō-kissaki, several with a sakizori tendency. Set against this strength the published sources are candid about the limit of the inheritance: his spirit and forcefulness, they note more than once, do not reach his master's, even as the deftness of the work is beyond question.
His own tell, the feature that is his alone in the school, is the carving. The mirror-maker's training gave him a hand for metal that the others lacked, and the NBTHK records that within the Yamaura line 'there are no blades but his that bear carvings'[[c:4]]. The motifs are diverse and distinctively his: a grass-style kurikara, a jewel-chasing dragon, a dragon-riding Kannon, Ame-no-Uzume-no-Mikoto and mountain cherry at the koshimoto, bonji and suken beneath futasuji-hi and bō-hi. From Meiji 1, after study with the metal-artist Kanō Natsuo, his carving changes markedly into a shallow, low-relief manner. The form that accompanies the carving is the katakiriba-zukuri, which the published sources note is not uncommonly encountered among his swords, alongside the wide hira-zukuri sunobi wakizashi. Carving was so much the point of his work that on one entirely uncarved katana the judges turn the absence into praise: with no horimono to occupy the eye, they write, the blade is 'all the more such that it could be mistaken for his teacher Kiyomaro'[[c:5]].
What separates him from his teacher is named in the commentary itself, and it is a matter of degree, not of kind. He works the same flowing itame with thick ji-nie and chikei, the same gunome-midare deep in nie with sunagashi and kinsuji, the same pointed bōshi; but where Kiyomaro's hand is read as overwhelming in spirit, Nobuhide's is read as the most skillful approach to it, the closest the school came. Among the Kiyomaro pupils his is the carved hand, the Osaka and Echigo wandering hand, the one whose blades can be dated and placed by their signatures and titles. He is therefore the open, knowable face of a school whose founder is the more mythologized for his short and violent life.
For the collector he is an attainable Kiyomaro-school name of real quality. Fujishiro grades him Jō-jō saku, and the Tōkō Taikan values his work highly among shinshintō smiths. He has no National Treasures and no Important Cultural Properties; his record runs instead through the Jūyō Tōken rank, where something over thirty of his signed katana, wakizashi and naginata are designated. His provenance is grounded and historically resonant rather than broad: one katakiriba wakizashi of Keiō 1, the published sources record, 'was presented to Shogun Yoshinobu'[[c:6]], and a blade is preserved at the Hachiman shrine of his native Sanjō in Echigo. Most designated blades are held rather than traded, and only a small share fall in the tradeable tier, so a signed Nobuhide reaches the market only from time to time. When one does, it is among the most rewarding ways a collector can hold the Kiyomaro Sōshū manner, signed, dated, and often carried by his own carving.
Where Nobuhide 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
Shinshinto · Musashi
16 pieces on the market now
The Kiyomaro school gathered in the workshops of Yotsuya in Edo around the middle of the nineteenth century, its founder Yamaura Kiyomaro (清麿) born in Bunka 10 (1813) at Akaiwa village in the Komoro district of Shinano, the second son of the country gentry-warrior Yamaura Nobukaze. He learned forging first under the Ueda-domain smith Kawamura Toshitaka, signing his early blades Masayuki, went up to Edo in Tenpo 6 (1835) under the patronage of the military scholar Kubota Kiyone, and in the autumn of Koka 3 (1846) settled at Iga-cho in Yotsuya and changed his signature to Kiyomaro; he died by his own hand at forty-two in Kaei 7 (1854). Around him moved his elder brother Yamaura Masao (真雄/正雄), who took the same instruction from Toshitaka and walked the same course from choji into Soshu-den, and the pupils who entered the Yotsuya forge in its final years: Kurihara Nobuhide (信秀), a mirror-maker from Sanjo in Echigo whom the published sources place nearest the master's hand; Saito Kiyondo (清人) of Dewa, who afterward settled his teacher's sword debts and carried the manner into early Meiji; and the wider circle of associates and patrons through which the line passed. The shared vocabulary of the school is a powerful Soshu-revival manner. Over an itame that flows and stands a little, well packed and at times opening into mokume and o-itame, the smiths lay thick ji-nie with frequent chikei, the steel clear and without utsuri, for this is a late hand reaching back five centuries to Sagami rather than a Bizen revival. The temper is an o-midare or gunome-midare mixed with ko-notare, the ashi and yo entering, the nie thick and gathering coarse in clusters of ara-nie, with long kinsuji and streaming sunagashi running through nearly every blade; the boshi answers in a midare-komi turning pointed with hakikake. A Bizen-leaning side survives from the early years in the residual choji that shades into the mature work. Within this common ground the hands diverge. Kiyomaro's is read as the overwhelming one, his Soshu-den reaching the upper transmission with the Shizu vein as his forte of fortes, the NBTHK calling his work 「覇気に満ちている」, filled with commanding spirit.
Masao's grounded forging is candidly weighed against his brother's, the texts noting that his chikei, sunagashi, and kinsuji run fewer and the quality does not reach Kiyomaro's level. Nobuhide is named the closest approach to the master and is alone in the school for his carving, a mirror-maker's hand that set kurikara, dragons, and bonji into blades the others left plain. Kiyondo holds the round-headed gunome-midare at full strength and adds a manner of his own, a bright suguha aligned with the Yamato tradition that Kiyomaro never worked. To kantei the school, read first the imposing shape particular to the Yamaura line: a wide body with little taper, the sori toward the point, a chu-kissaki extended or run to an o-kissaki whose fukura is allowed to wither for a sharp impression, often a shobu-zukuri or kanmuri-otoshi wakizashi. Read then the nie, thick in ji and ha, the chikei and the conspicuous kinsuji and sunagashi that mark the force of the steel rather than any borrowed pattern. Carving narrows the field to Nobuhide; a Yamato suguha narrows it to Kiyondo. Kiyomaro stands at the head of the line, ranked by the published sources as high as Kotetsu and named without question the leading master among the shinshinto, the smith called the Yotsuya Masamune (四谷正宗). His extant work is scarce and closely held, passing through documented hands such as the Iwasaki family and the Seikado Bunko, and reaches the market only from time to time and at the very top of it. The pupils and the elder brother offer the more attainable face of the circle, signed and dated blades that come to a collector with patience; a signed example of any of these hands is a document of the moment when Soshu was reborn in Edo. Learn more →
| Smith | Era | Designated |
|---|---|---|
| Kiyomaro清麿 | 1839-1854 | 73 |
| Nobuhide信秀 | 1857-1867 | 34 |
| Kiyondo清人 | 1848-1868 | 10 |
| Masao真雄 | 1844-1866 | 7 |
| Masanao正直 | 1865-1868 | 3 |
Bakumatsu: the last war market
Perry’s arrival in 1853 unraveled the Tokugawa peace and created the first mass demand for working swords in two centuries. Kiyomaro, called the Masamune of Yotsuya, died on its eve; Munetsugu and Yukihide carried the boom to the end.
A Hozon-certified blade judged to show notably superior workmanship and a better state of preservation. The bar is higher: re-tempered blades and most unsigned Muromachi/Edo works are excluded.
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.
