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.
NihontoWatchNihontoWatchSummary This blade was signed by “Hizen no Kuni Jū Minamoto no Tanehiro” (肥前国住源種広), a swordsmith active during the early Edo period, around the Kan’ei era (1624–1644). The name Tanehiro was passed down through two generations during the Edo period, and we assume this blade was forged by the first-generation Tanehiro. He is also known to have later received the honorary court title of “Higo Daijō” (肥後大掾). The title “Daijō” was an honorary court rank granted to distinguished swordsmiths and artisans, signifying prestige and official recognition of their skill and status. Historical records also indicate that Tanehiro belonged to the Ichita lineage of swordsmiths, who were active in Hirado, in present-day Nagasaki Prefecture, and used the name “Ichita(市太)” as part of their lineage tradition. The Ichita lineage is regarded as a separate tradition from the mainstream Tadayoshi school, which dominated Hizen sword production. Because of this, blades forged by the Ichita lineage possess distinctive characteristics in their hamon and jigane that differ from those of the Tadayoshi tradition. Hizen Province Swordsmiths of Hizen Province worked under the patronage of the Nabeshima clan. Hizen swordsmiths became especially famous for producing beautifully refined jigane (steel surface patterns), known collectively as Hizen-tō. It is said that they achieved this distinctive quality by skillfully using and mixing high-quality imported steel from the Netherlands. It is appraised as a Tokubetsu Hozon Token (特別保存刀剣) issued by NBTHK (Nihon Bijutsu Touken Hozon Kyokai: 日本美術刀剣保存協会). *Please keep in mind that there are a a couple of Kitae Kizu on this blade. Fuchi-Kashira The theme of this Fuchi-Kashira is the hatō-zu motif (波濤図), a traditional Japanese design depicting turbulent ocean waves. The wave motif symbolizes the dynamic and ever-changing power of nature, as well as resilience, strength, and the ability to overcome adversity. Such patterns were favored in sword fittings because the movement of water was seen as a metaphor for a Samurai’s unyielding spirit and determination. Tsuka and Menuki The theme of this menuki appears to be Suimon (水紋), or water ripples. In Japanese art and sword fittings, water motifs often symbolize purity, fluidity, adaptability, and the constant flow of nature. This water motif may also relate to the traditional Kikusui-mon (菊水紋), a design combining chrysanthemums and flowing water. The chrysanthemum symbolizes longevity and nobility, while flowing water represents purity and continuity. Together, the Kikusui motif came to embody wishes for long life, protection from misfortune, and enduring prosperity, and was widely used in Japanese decorative arts and family crests. Tsuba and Habaki This square tsuba features a depiction of a small bird alongside plum blossoms. While the exact species is difficult to determine, in Japan, the bird most commonly associated with plum blossoms (梅, ume) is the Japanese bush warbler (鶯, uguisu). The combination of “plum blossoms and the warbler” (梅に鶯) is one of the most beloved pairings in traditional Japanese aesthetics, alongside “pines and cranes” (松に鶴) and “bamboo and sparrows” (竹に雀). This motif is regarded as a symbol of spring’s arrival and natural harmony and has long been featured in paintings and decorative arts. Furthermore, since the time of the Man’yōshū (万葉集, Japan’s oldest anthology of poetry), numerous waka poems have celebrated plum blossoms and the warbler. This elegant imagery, deeply rooted in Japanese sensibilities, has been cherished by many, from Heian-period aristocrats to generations of admirers. The sight of plum blossoms heralding spring and the clear song of the warbler has long been regarded as a refined and poetic scene. Saya This saya (scabbard) features a decorative lacquer technique known as Fuemaki-nuri (笛巻塗). The name literally means “flute-wrap lacquer” and refers to a method in which thin cords or strings are wrapped around the scabbard before being coated with multiple layers of lacquer. Once dried and polished, the surface reveals a textured, ridged pattern reminiscent of the wrapping found on a traditional Japanese flute (fue, 笛). *Please note that there is some minor wear on the Saya due to age. Authentication Paper They authenticated the blade on December 4th in the 6th year of Reiwa (2024). They appraised it as Tokubetsu Hozon Touken, the blade especially worth preserving for Japanese society.
Tanehiro種廣
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Hizen · around 1624-1644
Where Tanehiro 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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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 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.