Hizen swords were a domain enterprise: the Nabeshima sent Tadayoshi to study under Umetada Myōju around 1596, then built a licensed school around him. Nine generations carried its famously consistent konuka-hada work into the Meiji era.
NihontoWatchNihontoWatchThis blade is attributed to Hizen Kunihiro (肥前国広). Hizen is the province located in today’s Saga prefecture. He resided in this province in his career. Kunihiro was especially active during the Kanei- Manji era (1624-1661-:Early Edo Period). Kunihiro’s birthname was Hashimoto Rokurozaemon. He was born as the first son of Hirosada, a renowned swordsmith in the same province. Hirosada was a younger brother of the first-gen Tadayoshi, one of the most famous swordsmiths during the early Edo period. According to the book (Kaihou Kenjyaku) published by Yamada Asaemon in the late Edo period, a blade forged by Kunihiro was ranked as Wazamono (good sharpness). Asaemon was hired by the Edo government as an expert on Tameshigiri or testing cutting. And in this book, he judged how sharp Japanese swords forged by prestigious swordsmiths were. The swordsmiths in the Hizen province worked under the auspices of the Nabeshima clan. They could produce beautiful blades with Konuka Hada, whose steel surface is very smooth. This Hada is one of the most well-known characteristics of the blades produced in Hizen province. The swordsmiths also used and mixed carbon steel made in western countries. Since Hizenkoku flourished through international trading, it had easy access to western carbon steel. The first-gen Tadayoshi (His uncle) The first-gen Tadayoshi was born and raised in the Saga domain. In 1596, under the domain’s order, he went to Kyoto to learn the sword-forging technique from Umetada Myojyu(埋忠明寿), one of the greatest swordsmiths in the early Edo period. He improved his craftsmanship and returned to the Saga domain two years later (1598). The first head of the Nabeshima clan, Nabeshima Katsushige, appreciated the work of the first-gen Tadayoshi very much. Then, Katsushige appointed him as his Okakaekaji, a swordsmith who exclusively forged swords for a specific domain or clan. And Tadayoshi started to stay near Saga castle, the Nabeshima clan’s headquarters. And he founded Hizen Tadayoshi school, which trained more than 100 swordsmiths during the Edo period. Kunihiro is one of them. Tachi Koshirae This blade is stored in Tachi(太刀) Koshirae. Tachi was mainly used by an armored Samurai with one hand on horseback from the Heian period (794-1185 A.D.) until the early Muromachi period. TACHI was suspended loosely on the left waist with its edge facing the ground so that you could draw it faster to cut down soldiers on the ground. Because of its gorgeous looking, having a Tachi-style sword mounting became a social status among Samurai. This blade 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). Fuchi-Kashira The Kabutogane (冑金/兜金) is a metal fitting that is attached to the end of a handle. And a Sarute/Sarude (猿手) is attached to this Kabutogane. The user of a sword passed the Udenukio (腕貫緒, a cord wrapped around the wrist to prevent a sword from falling out of the hand, mainly used when riding a horse) through this ring. In addition, the Fuchi Kanamono (縁金物) is also a metal fitting attached to the handle, but on the opposite side of Kabutogane. It seems all these metal parts of this handle initially had black color on each surface with golden borders. However, some colorings have faded due to aging, and now several parts, especially the Fuchi Kanamono show copper’s brown color. About the design, cherry blossoms are engraved on the Kabutogane and Fuchi Kanamono. It is the same motif as the Tsuba and Ishiduki Kanamono (石突金物, a metal fitting that is attached to the end of the scabbard). Cherry blossom is one of the seasonal things of spring, and it has been loved for a long time in Japan. A theory says that the god of grain exists in cherry blossoms. Therefore, this flower pattern has been treated as the symbol of a plentiful harvest. Tsuka and Menuki We believe the center part of this Menuki; circle-shaped motif is designed here as a family crest. We would say this crest is one of the most well-known family crests: the Aoi-Domoe / Mitsuba-Aoi-no Mon (葵巴/三つ葉葵の紋 ). It is a plant pattern in which each stem branches and has characteristic heart-shaped leaves. And today, it is known as the family crest of the Tokugawa Shogunate family led by Tokugawa Ieyasu (徳川 家康, 1543-1616), a famous military commander of the Warring States period. This plant pattern has also been used for the crest of the Kamo shrine in Kyoto prefecture. As mentioned above, the famous Shogunate family, the Tokugawa family, had their family crest with three leaves of Aoi due to their relationship with the Kamo shrine. As its leaves have a habit of always facing the sun, and the word “Aoi” is taken as “Aogu (仰ぐ, looking up)” for the sun, people thought the Aoi pattern would bring good fortune. Tsuba and Habaki This is a typical shape of Tachi Goshirae Tsuba (太刀拵鐔). The difference between Tachi Tsuba (太刀鐔) and Katana Tsuba (刀鐔) is that the top and bottom positions of the Nakago hole (茎櫃, center hole) are reversed. The Tsuba of this Koshirae has Aoi (葵) Tsuba shape. If you focus on four corners, you will find a heart mark-shaped hole is engraved on each edge. It is called the Inome (猪の目) pattern. The Inome pattern has been used since ancient times. As its name implies, the boar’s eyes are the origin of this pattern. Some people believed the Inome design would work as an amulet to protect them from evil spirits or fire. Also, it is said it would bring good luck. About the engraved design, it might be a little challenging to see because of its metal color, but you would see the same cherry blossom patterns with the metal fittings of the handle. Authentication Paper They authenticated the blade on August 25th in the 4th year of Reiwa (2022). They appraised it as Hozon Touken, the blade worth preserving for Japanese society.
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The Hizen school began with a single domain commission. In Keicho 1 (1596) the Nabeshima of Hizen ordered Hashimoto Shinzaemon, the smith who would sign Tadayoshi, up to Kyoto with the carver Munenaga; there he entered the gate of Umetada Myoju and studied forging while Munenaga learned the chisel. The two returned to the province in Keicho 3 (1598), and Tadayoshi settled in the castle town below Saga, where under the domain's patronage the line grew into the dominant sword-making house of Kyushu. His own work runs from Keicho 5 (1600) to his death in Kan'ei 9 (1632); in Genna 10 (1624) he received the court title Musashi Daijo, changed his name to Tadahiro, and shifted his clan name from Minamoto to Fujiwara, so that the late Musashi Daijo blades are the founder under a second name. From him the house became a true generational institution: his son the second-generation Omi Daijo Tadahiro carried it forward as its most prolific hand, the third-generation Mutsu no Kami Tadayoshi returned its highest finish, and a Tosa no Kami branch took the founder's signature when he set it aside. Around this main line grew a circle of disciples and collateral hands, the waki-Hizen or Soba-Hizen smiths, several of them, like Yoshiie and Hironori, working as daisaku substitute makers whose own signed pieces are therefore scarce. The school's signature is its steel. Over a ko-itame forged so tightly it shows no slackness, fine ji-nie gathers in minute particles until the surface takes on the rice-bran konuka-hada (also written komenuka-hada) that no other school produces, fine chikei entering throughout and the ji notably clear and bright.
The orthodox temper laid upon it is a chu-suguha or hiro-suguha, sometimes tinged with a shallow notare and ko-gunome, the nioiguchi deep with finely clustered ko-nie and tightened to a bright clarity, the boshi running straight to a quiet ko-maru. The founder aimed this suguha toward the Rai school yet departed from it, his nioiguchi tighter and his forging carrying more vigor; the third generation refined it to what the published sources call the strongest and most precise hand of the first three generations. Against that calm register the house also worked a showier one, the Hizen choji-midare mixing gunome, long ashi, kinsuji and sunagashi, a manner the published sources already find more often in the founder's late Musashi Daijo work than in his Tadayoshi years, and one the second generation made his own. The branches pushed further from the suguha standard: Tadakuni of the Ogi domain ran sunagashi more conspicuously than any other Hizen hand and reached toward old Ichimonji in his o-choji; Masahiro and Yukihiro favored a flamboyant long-ashi choji over the calm main line; and the Iyo no Jo Munetsugu line worked apart in the Soshu-den, building a midareba on notare with a pointed togariba and a jihada that tends to stand and tone slightly blackish. A collector seeks Hizen-to first for that steel, and reads it the same way the appraiser does: a bright suguha lying over a clear, tight konuka-hada identifies the school before the signature is consulted, and the quiet ko-maru boshi on the ura-signed tang confirms the main-line practice. Generation and branch are then told within that frame, the third generation's powerful sugata recalling not his father but his grandfather, the waki-Hizen hands set apart by their irregular temper, their sujikai file marks and a sashi-ura signature, the Munetsugu line by its Soshu togari. The main line, made in real numbers across so long a span, reaches the market more readily than any Kamakura master, so a papered example is within reach of a patient collector, while the founder's own work and the finest konuka-suguha of the third generation come to open hands only from time to time. Provenance runs back through the house the school served, blades recorded to Nabeshima Katsushige and Nabeshima Naomoto and passing onward to the Owari Tokugawa, the Satake and the Imperial families; documentary inscriptions sharpen the picture further, a Myoju soemei attesting the founder's discipleship, Umetada carving adding flowers to brocade on his late blades, and the gold-inlaid cutting tests of Yamano Kanjuro and Yamano Ka'emon, rare on Hizen work, naming the edge as well as the hand. Learn more →
| Smith | Era | Designated |
|---|---|---|
| Tadayoshi忠吉 | 1596-1632 | 155 |
| Tadayoshi忠吉 | 1660-1686 | 61 |
| Tadahiro忠廣 | 1633-1693 | 133 |
| Masahiro正廣 | 1624-1655 | 30 |
| Tadakuni忠國 | 1648-1652 | 32 |
Hizen: a domain enterprise
Hizen swords were a domain enterprise: the Nabeshima sent Tadayoshi to study under Umetada Myōju around 1596, then built a licensed school around him. Nine generations carried its famously consistent konuka-hada work into the Meiji era.
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.
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