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.
NihontoWatchNihontoWatchNihontoWatchOffered by Aoi Art
This piece has sold
Hizen Tadayoshi main line, second-generation Masahiro (Saga) · Hizen · around 1658-1661
Fujishiro Jo saku · Tōken Taikan top 26%
3 pieces on the market now
The second-generation Masahiro was the son and successor of the first-generation Kawachi Daijo Masahiro, born in Kan'ei 4 (1627) and known by the common name Sadenji. In his father's lifetime he signed Masanaga. He received the title Musashi no Daijo in Manji 3 (1660) and was promoted to Musashi no Kami the following year. His father died on the fifth day of the second month of Kanbun 5 (1665), when he was thirty-nine, and on the thirteenth day of the fourth month he was transferred to Kawachi no Kami. A court appointment document, the kuzen-an, addressed to him as Musashi no Kami Fujiwara Masahiro[[c:1]] leads the published sources to conclude that he took the Masahiro name almost immediately after his father's death. He died in Genroku 12 (1699) at seventy-three, and the published record counts him, like his father, among the collaborators of the main Hizen house.
The judges set him remarkably close to his father. In both suguha and midareba, they write, he is skilled second only to his father, with virtually nothing to choose between them[[c:2]]. His work in either manner is described as exactly like that of the first Masahiro, and his technique as in no way inferior to his father's. He was above all adept at the irregular temper, and one record names his showy choji-midare as his own domain, 「正に彼の独壇場である」.
That midareba is a choji-based temper mixed with gunome, set wide and broadly undulating. Two features within it are named as characteristic of the second generation's hataraki: gunome with rounded heads and an arrow-notch, yahazu-like element. Long ashi and yo enter, the nioi is deep and the nie thick, gathering in places in the valleys, and kinsuji and sunagashi run through the hamon in abundance. Some blades add tobiyaki, and one is described as the showiest work in his record[[c:3]]. As with the waki-Hizen generally, a straight yakidashi may appear at the base. The jigane is a tightly packed ko-itame with dust-fine ji-nie laid thickly and fine chikei entering, several entries naming it the komenuka-hada peculiar to Hizen swords, and on one robust piece the hada is said to stand slightly. The boshi runs straight to a ko-maru.
The suguha is the second register of his record, and the published sources draw attention to it: 「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」. His suguha works are fewer than his midareba, yet more numerous than his father's, and even and consistent in quality. On a typical chu-suguha katana the jigane is said to be packed even more tightly than usual, and one deep-nioi chu-suguha is described as recalling the suguha of the main house. Two further chu-suguha katana are singled out because the temper is deeper in nioi and thicker in nie than his usual straight work, with ashi and hataraki in abundance, and they are said to show a certain boldness[[c:4]]. His bodies are often broad, thick and heavy in the hand, at times with an extended or large kissaki.
The two generations are told apart by signature. The second Masahiro most often signs Hizen no Kuni Kawachi no Kami Fujiwara Masahiro, occasionally Fujiuji in place of Fujiwara, and the published sources set out how the forms of the characters Fuji and Hiro differ between father and son, the second generation's Hiro carrying one more stroke. Carving on his blades is described as extremely rare. One katana, dated Kanbun 12, carries carving added later by Nobukuni Yoshinao and a cutting-test inscription of Kanbun 13 by Yamano Kanjuro.
Masahiro is graded Jo saku by Fujishiro. He has no National Treasures and no Important Cultural Properties, and his record lies in the Juyo rank, where twenty-six of his works have been designated. One katana with a broad, irregular temper and tobiyaki in the shape of sun and moon is called his finest and a sword representative of Hizen work[[c:5]]; it carries a gold-inlaid cutting-test inscription by Yamano Kanjuro Hisahide and the sword name Tsugi-kosode. Another bears a cutting test with the name Senpu, and the published sources note that test inscriptions are extremely rare on Hizen swords. A dated wakizashi of Kanbun 7 is valued as a reference piece. Recorded provenance is slight, and a signed example of the Juyo rank comes to market only from time to time.
Where Masahiro 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.
Select a lens to see how it's measured.
Shinto · Hizen
107 pieces on the market now
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 |
| Tadakuni忠國 | 1648-1652 | 32 |
| Masahiro正廣 | 1624-1655 | 30 |
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.
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 siteIf you wish to return an item, please notify us within 3 days of receipt. After this period we cannot accept cancellations. Please ship the return to us within 5 business days. Cancellation is conditional on the item being kept in the same condition as at the time of sale, so please handle it with care.