The Shintō era was largely invented in Kyōto: Umetada Myōju’s workshop trained the movement, Horikawa Kunihiro raised a generation, and the Hon’ami appraisers, who held no forge, governed the meaning of famous blades.
NihontoWatchNihontoWatchSummary This blade is attributed to Echizen Daijō Kunitsugu (越前大掾国次) from around the Kanei era of the early Edo period (1624–1644). Kunitsugu is said to have been either the son of the first-generation Kunimichi or a disciple of Dewa Daijō Kunimichi (出羽大掾国路), one of the most renowned swordsmiths active in Yamashiro Province (present-day Kyoto) during the early Edo period. Born in Echizen Province (present-day Fukui Prefecture), Kunitsugu later moved to Yamashiro Province to study under Kunimichi. Both swordsmiths belonged to the prestigious Horikawa school, which had been founded by the famous swordsmith Horikawa Kunihiro. Kunimichi (his master) and Kunitsugu also collaborated to make blades, which is called Gassaku. It is said that Kunitsugu regularly did Daisaku for Kunimichi. Daisaku is a regular act where an apprentice or a child of the swordsmith signs his master’s name with his master’s permission or forges a blade on behalf of the master. That means that his master highly acknowledged Kunitsugu’s craftsmanship. That is also why there aren’t many remaining blades signed by Kunitsugu, who dedicated his career to helping his master. Considering the fact that they forged blades together and Kunitsugu did Daisaku for Kunimichi, they must have had a very close relationship and trusted each other. Kunitsugu received an honorable official title of Echizen Daijo in the 11th year of the Kan-Ei era (1634) and was promoted to Echizen no Kami by the 14th year of the Kan-Ei era (1637). Daijo or Kami was given by the emperor for one’s excellent craftsmanship. 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). *Please keep in mind that there are a few Kitae Kizu on the blade. Fuchi-Kashira The fuchi-kashira is decorated with an Ami-Sakura-zu motif (網桜図), a traditional Japanese design combining a fishing net (網, ami) and cherry blossoms (桜, sakura). This motif has long been appreciated in Japanese decorative arts and crafts as an auspicious design symbolizing both elegance and seasonal beauty. For Japanese people, cherry blossoms hold profound cultural significance. They symbolize the fleeting nature of life, the beauty found in impermanence, and the changing of the seasons. Because the blossoms bloom brilliantly yet fall quickly, they have long been associated with both renewal and transience. These ideas especially resonated with the samurai class, who identified with the brief yet honorable life represented by the cherry blossom, and thus frequently incorporated sakura motifs into their arms, armor, and sword fittings. Tsuka and Menuki The theme of the menuki is a dragon (龍, ryu). The dragon is an imaginary creature originating in ancient Chinese traditions and myths, and it has long been regarded as an auspicious and symbolic beast. Its form is traditionally described as a composite of nine animals: antlers of a deer, the head of a camel, eyes of a demon, the neck of a snake, the belly of a mizuchi (a mythical Japanese creature resembling a horned, four-legged serpent), scales of a fish, claws of a falcon, paws of a tiger, and ears of a cow. Because of this extraordinary composite appearance, the dragon was believed to reign at the pinnacle of all animals. In Japan, dragons have also been revered as water deities in a belief system known as Ryujin Shinkō. As rice cultivation flourished, water became an indispensable resource, and for this reason, dragon motifs have been familiar and meaningful to the Japanese people since ancient times. Tsuba and Habaki This tsuba features the heart-shaped openings can be seen at the four corners of the tsuba. These are called inoshime (猪の目), a traditional Japanese design element resembling a boar’s eye. The inoshime motif has long been used in architecture and sword fittings as a symbol of protection and good fortune. Saya The tsuba is of a plain oval form. Its surface is finished in ishime-ji (石目地), a texture created by striking the base with a tagane (鏨, metalworking chisel), resulting in a rough, stone-like appearance. The rim is further reinforced with a fukurin (覆輪), a metal edging that encircles the tsuba, protecting its perimeter while adding a subtle decorative accent. Authentication Paper They authenticated the blade on August 27th in the 3rd year of Reiwa (2021). They appraised it as Hozon Touken, the blade worth preserving for Japanese society.
Offered by Samurai Museum
3 on the market
As written by the shop
Shinto · Echizen · around 1615-1624
Fujishiro Jo saku · Tōken Taikan top 49%
3 pieces on the market now
Echizen Daijo Fujiwara Kunitsugu is represented by a signed wakizashi designated Juyo Token at the 46th session in 2000. The published sources introduce him as one of the leading pupils of Dewa Daijo Kunimichi, together with the first-generation Shinano Daijo Tadakuni. His working dates are fixed by a katana signed Heianjo Fujiwara Kunitsugu and dated Kan'ei 11 (1634), whose reverse inscription records that it was forged in Edo in Bushu; from this the published sources suggest that in his comparatively early years he worked for a time in Edo. A further work signed Echizen no Kami Fujiwara Kunitsugu, with the reverse inscription 「於熊本以南蛮鉄」 (in Kumamoto, with imported nanban iron), shows that he later worked in Kumamoto as well.
The Kokon Kaji Biko records that in old age he signed as Hokyo Rai Kunitsugu Nyudo Jutetsu and worked in Higo around the Kanbun era, while noting that some regard Jutetsu as a different person. The published sources compare the Jutetsu signatures with his usual Echizen Daijo Kunitsugu signature, find the two characters of the name entirely in accord, and judge them to be one man, the Jutetsu works then belonging to his late years. They also consider that 「師国路の晩年には, その代作・代銘に任じていたと思われる」 (in the later years of his master Kunimichi he probably served as his substitute maker and substitute signer).
The designated wakizashi is a hira-zukuri blade with iori-mune, a notably wide mihaba, extended length and shallow sori, the characteristic shape of Keicho shinto. Its jigane is itame mixed with mokume and nagare-hada, standing and rough in the zanguri texture peculiar to Horikawa work, with very fine ji-nie adhering thickly and fine chikei. The temper is broad, ko-notare mixed with gunome, large gunome and angular elements, with ashi, deep nioi, thick and in places coarse nie, sunagashi, vigorous kinsuji and nie-suji, muneyaki in the upper half and a subdued nioiguchi; the boshi is rounded in a jizo-like form with hakikake, and futasuji-hi are carved on both sides. The published sources find in it, from shape to ji and ha, a result just like that of his master Kunimichi.
They note that 「大模様で華やかな志津風のこの手の作域は, 国次にはあまり経眠しないが」 (this large-patterned, showy Shizu-like manner is seldom seen in Kunitsugu), and that a work of this kind strengthens the view that he made substitute work for Kunimichi. They judge it of excellent workmanship and powerful in its large build, and add that 「加えて国次の作風を研究する上で, 資料的にも貴重である」 (it is moreover valuable as material for the study of Kunitsugu's style).
Where Kunitsugu 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 · Yamashiro
64 pieces on the market now
At Ichijo Horikawa in Kyoto, from Keicho 4 (1599), Horikawa Kunihiro gathered the pupils whose work the published sources name with his own as the opening of the shinto age. Kunihiro himself reached forging late and by a roundabout road. Born Tanaka and serving as a warrior under the Ito of Obi castle in Hyuga, he wandered the provinces after that house fell, forging where he stopped, his earliest dated blade cut in Hyuga in Tensho 4 (1576); his itinerant Tensho-uchi looked to late Soshu and late Seki, often run toward a hitatsura-like effect over devotional carving. The settlement in Kyoto changed that. There his stated aim, the sources write, lay in the revival of the Soshu-den tradition, the leaning strongest toward Shizu, and around that ideal he trained the men who carried his manner forward: Dewa no Kami Kunimichi, Kuniyasu, Osumi no Jo Masahiro, Echigo no Kami Kunitomo, the elder Kunisada and Kunisuke, with later and minor hands reaching Settsu, Echizen and Edo. Many of them, born like the master at Obi, followed him from Hyuga to the capital. The shared vocabulary is read first in the steel. The school forges an itame mixed with mokume that stands up, the grain raised into the loose, granular surface the commentaries name outright, the zanguri hada particular to Horikawa work, with ji-nie lying thick and chikei entering; on many blades a mizukage rises obliquely from the machi. Over that ground the prime manner is the Keicho-shinto sugata, wide with little taper and an extended chu-kissaki or o-kissaki, the build likened to a Nanbokucho odachi cut down, tempered in a notare and gunome with thick nie, sunagashi and long kinsuji, the nioiguchi often sinking into shizumi. Within that frame the pupils diverge sharply.
Kunimichi runs the flamboyant Shizu copy fully out and turns his boshi pointed in the Mishina manner, the Sanpin boshi the school otherwise does not show. Masahiro keeps the same Soshu-den worked at lower temperature, his temper calm and his mokume conspicuous; Kuniyasu and Kunitsugu stand closest of all to the master and signed for him. Kunitomo turns alone toward late Seki, his gunome round-headed and his chisel the finest in the group, and the elder Kunisada and Kunisuke carry the zanguri steel south into Osaka, the latter keeping the Ishido clove he was born to. Hiroyuki holds suguha over a blackish steel that recalls old Yamato, and the two Echizen Kunikiyo forge a dark, dense hokkoku-gane under a calm chu-suguha. A collector seeks Horikawa because the school stands at a hinge: Kunihiro is read as the first hand of the new-sword age, and the line he taught runs forward into the Osaka tradition through Kunisada and Kunisuke and into Echizen through Kunikiyo. To kantei the work, read the steel first, the standing zanguri surface and the oblique mizukage, then the sinking nioiguchi and the Soshu-revival notare with its sunagashi and kinsuji; the individual hand declares itself in the departures, Kunimichi's pointed boshi, Kunitomo's Seki gunome and compact tang, Kuniyasu's reversed file marks and two-character mei, Hiroyuki's kiri-yasuri. The founder and his closest pupils sit at the top of the line, Kunihiro signing almost everything he made, the large kata-ochi two-character mei beside his long residence signatures; because Kuniyasu, Masahiro, Kunitsugu and Hiromi worked as his daisaku, a share of the blades signed Kunihiro are in fact theirs. Provenance runs through the houses of the founder's own story and of the country, the Hyuga Ito he had served, the Shimazu of Kagoshima, the Imperial Family and Toyotomi Hideyori, with the tachi Kunihiro dedicated to the Hataeda Hachimangu still in the shrine's keeping. A signed Horikawa blade reaches a private collection only from time to time, carrying on its nakago the hand with which the new sword begins. Learn more →
| Smith | Era | Designated |
|---|---|---|
| Kunihiro國廣 | 1573-1613 | 147 |
| Kunimichi國路 | 1615-1624 | 75 |
| Kunisada國貞 | 1624-1646 | 87 |
| Kunitomo國儔 | 1596-1615 | 27 |
| Masahiro正弘 | 1596-1615 | 16 |
Kyōto: the revival workshop
The Shintō era was largely invented in Kyōto: Umetada Myōju’s workshop trained the movement, Horikawa Kunihiro raised a generation, and the Hon’ami appraisers, who held no forge, governed the meaning of famous blades.
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.
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.
¥955,000
Certificate reading — 無銘（越前大掾国次）