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.
NihontoWatchNihontoWatchIt has appeared, it has appeared; a meito by Shinano Daijo Fujiwara Tadakuni, famous as a retained smith of the Ikeda family of the Inshu Tottori Domain, has appeared. The father, the first generation Shinano Daijo Tadakuni, was a pupil of the famous Dewa Daijo Kunimichi, a high disciple of Horikawa Kunihiro; he moved from Kyo Yamashiro to Tottori around Kanei as a retained smith of the Inshu Ikeda Domain, received the title of Shinano Daijo in Kanei 11 (1634) (392 years ago), and was a swordsmith of a prestigious lineage that lasted nine generations, prospering as retained smiths of the Ikeda Domain until the end of the Edo period. This sword is by the second generation Shinano Daijo Fujiwara Tadakuni, an author of wazamono; he was so famous at the time and such an honorable swordsmith for the Ikeda family that he was ordered by the Tokugawa Bakufu to produce nihonto to be presented to the Chosen Tsushinshi, the diplomatic envoys dispatched from the Joseon Dynasty to Japan to celebrate the Shogun Senge of Tokugawa Ienobu becoming the 7th Shogun in Shotoku 1 (1711) (315 years ago). During the Edo period, there were 12 dispatches of Chosen Tsushinshi to Japan, and the envoys spent 8 to 10 months traveling between Korea and Edo; the cost of reception on the Japanese side was enormous, a major project for Japan that cost over ¥50,000,000,000 in current value. The sugata of this sword remains in its ubu state, with only the nakago-jiri shortened by 1 cm due to the koshirae, but it shows a magnificent, good sword sugata with a wide moto-mihaba and a distinct difference from the saki-mihaba; the jigane shows a strong, well-tightened jigane mixing itame-hada with mokume-hada, and the hamon is a spirited sugu-cho blade tempered in nioi-deki with ko-nie, appearing as a blade that would cut extremely well. The Edo period koshirae is also precious and adds further splendor to this sword by Shinano Daijo Fujiwara Tadakuni. This sword has been passed down through a family for generations, but as they have grown old, we have received it with the request to pass it on cheaply to someone who will cherish it; therefore, we are offering this meito by Shinano Daijo Fujiwara Tadakuni, famous as a hanko of the Inshu Tottori Ikeda family, at an unbelievably low price. Please do enjoy it.
Offered by Nipponto
Tadakuni is a name with Jūyō-designated work, and we couldn’t find current papers for this piece. Treat the name as unproven until papers say otherwise. It is also priced far below papered work by makers of this standing. — Hoshi Ask me first
107 on the market
As written by the shop
Machine translation from the shop's Japanese · may contain errors ·
Shinto · Hizen · around 1673-1681
Fujishiro Jo saku · Tōken Taikan top 31%
The second-generation Harima no Kami Tadakuni of Hizen is known through three signed katana designated Juyo Token in 1964, 1992 and 1995. The published sources record that he was the son of the first-generation Tadakuni, used the common name Danzaemon, first signed Harukuni (治国), and took the name Tadakuni after his father retired. His dated works run from the eighth month of Enpo 5 (1677) to the second month of Jokyo 2 (1685), and his period of activity is placed in the Jokyo and Genroku eras; surviving works are described as rare. On most of his tangs he cut a chrysanthemum crest on the omote and a crab-and-peony crest on the ura, which the published sources take to indicate 「恐らく近衛家と深い関係があったものであろう」 (probably a close connection with the Konoe family). One of the three tangs also bears the inscription 「以南蛮鍛作」, made with imported nanban iron.
Like his father he worked in two manners, a midare-ba of gunome mixed with choji and a straight suguha, and the three designated blades show both. His jigane is consistently a well-packed ko-itame with very fine ji-nie adhering thickly and fine chikei. The katana of 1995 begins with a straight yakidashi and rises into gunome mixed with ko-notare, choji-like elements and ko-gunome, with abundant ashi and yo, deep nioi, thick nie with some coarser particles, kinsuji, and sunagashi running throughout; the nioiguchi is bright. The published sources read the deep nioi, thick nie and bright nioiguchi as evidence of his skill, and 「また刃中総体に砂流しのかかった態には, 忠国一派の伝統的な特色が察知される」 (in the sunagashi running throughout the ha, the traditional character of the Tadakuni line can be discerned). They add that the straight yakidashi is often found among other Hizen smiths, and call the blade a full display of the second generation's ability.
The katana of 1964 has a shallow notare with gunome and choji, deep nioi and well-formed ko-nie, sunagashi and ashi. Of it the published sources write that the technique 「ところがこの作刀に見る技術は, 父に優るものがあり, この時代の肥前刀工中でも屈指の一人であることがわかる」 (surpasses his father in places, showing him to be one of the foremost Hizen smiths of his day), and that besides midare work he was skilled in suguha as well.
The suguha side is represented by the katana of 1992, a blade with a somewhat wide mihaba, funbari at the base, thick kasane and deep sori, tempered in a chu-suguha with a hint of small ashi, ko-nie adhering evenly, fine kinsuji and sunagashi, and a bright nioiguchi. The published sources describe it as a refined work and place it at the summit of his small output: 「作品の少ない同作の中でも白眉であり」 (among the few works of this smith it is the finest).
Where Tadakuni 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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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 |
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.
We could not find an authenticity certificate on the seller’s listing. Japanese swords and fittings are normally papered by the NBTHK (or the NTHK). Without one, the attribution is the seller’s own assessment and has not been independently verified — treat it with caution and ask the dealer about certification before buying.
For returns due to customer circumstances, the cost is the customer's responsibility. For returns due to our mis-shipment or a defective item, we bear the cost.
¥380,000