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 Omi no Kami Fujiwara Tsuguhira(近江守藤原継平) during the early-mid Edo period in Shimosaka (today’s Fukui prefecture). The signature also says that this blade was made from western carbon steel called Nanban Tetsu (南蛮鉄: mixed with traditional Tamahagane). Foreign carbon steel was very expensive back then and either swordsmith or the person who ordered it wanted to be pround of the social status by inscribing this fact. The sword maker’s name Tsuguhira lasted a few generations and from the second-gen, they resided in Edo (today’s Tokyo). Considering this record, we believe this blade was signed by the first-gen Tsuguhira. The first-gen Omi no Kami Fujiwara Tsuguhira(近江守藤原継平) was an apprentice of the third-gen Yasutsugu (康継) and belonged to Shimasaka school in Echizen province (today’s Fukui prefecture). Tsuguhira’s birthname was Fujita Kyoheibei (藤田興兵衛). It is said that the first-gen Tsuguhira moved to Edo when the third-gen Yasutsugu, his master, was relocated there. The second-gen Tsuguhira The second-gen Tsuguhira was another famous figure among the generations of Tsuguhira. He wrote a book called “Tsuguhira Oshigata,” where he hand-traced swords stored and inherited among Tokugawa shogun family for generations. He was allowed by the eighth Shogun Tokugawa Yoshimune to publish this book. This fact indicates that the second-gen Tsuguhira was a reputable swordsmith trusted by Tokugawa Shogunate family. Echizen Shimosaka School It is said that the first-gen Yasutsugu was the founder of the Echizen Shimoasaka school. He was born in Shimosaka town in Shiga prefecture at the end of the Muromachi period(Late 16 century ). He built his career there until the beginning of the Keicho era(1596). However, he moved to Echizen province due to the relocation of the lord he served. He eventually was noticed and supported by Matsudaira Hideyasu, the third son of Tokugawa Ieyasu, who was the founder of the Edo government. Hideysu was the feudal lord of Echizen province during the early Edo period. With the support of Hideyasu, the first-gen Yasutsugu was able to establish the Echizen Shimosaka school. And his school’s fame became nationwide. By Hideyasu’s recommendation, the first-gen Yasutsugu became Okakaekaji for the Tokugawa shogun family, meaning that he exclusively forged swords for the Shogun family. Yasutsu was acknowledged by the first and second Tokugawa Shoguns, Tokugawa Ieyasu, and Tokugawa Hidetada. The first-gen Yasutsugu received 康(YASU) from Tokugawa Ieyasu and changed his maker’s name. He was also allowed to inscribe the holly oak symbol(family crest of Tokugawa) on the tang. The school flourished during the Edo period and trained many skilled apprentices. Echizen province Echizen Province was famous for forging razor-sharp, practically designed swords. The Edo government, run by the Tokugawa clan, ordered many blades from the swordsmiths in this province during the Edo period(1603-1868). 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 is noticeable Kitae Kizu on the groove near the Kissaki area. Tsuka and Menuki The Menuki (目貫, ornamental grips) feature a consistent dragon (龍, Ryū) motif, a powerful symbol in both Chinese and Japanese cultures. Originally an imaginary creature from ancient Chinese myths, the dragon is believed to bring good fortune and strength. Its body is described as a fusion of nine animals: deer antlers, a camel’s head, demon eyes, a snake’s neck, the belly of a Mizuchi (蛟, a mythical Japanese serpent with a horn and legs), fish scales, falcon claws, tiger palms, and cow ears. Due to its majestic form, it was seen as the ruler of all creatures. In ancient China, the dragon symbol was strictly controlled, appearing only on the emperor’s robes, with even the number of claws indicating rank. In Japan, however, the dragon motif was widely used without such restrictions, remaining an auspicious symbol of power, protection, and good fortune (吉祥, Kisshō). Today, dragons continue to appear in samurai armor, sword fittings, temples, and traditional art, embodying strength and divine influence. Authentication Paper They authenticated the blade on March 10th in the 5th year of Reiwa (2023). They appraised it as Tokubetsu Hozon Touken, the blade especially worth preserving for Japanese society.
Offered by Samurai Museum
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Shinto · Musashi · around 1661-1673
Fujishiro Jo saku · Tōken Taikan top 49%
Where Tsuguhira 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 · Echizen
37 pieces on the market now
The Shimosaka name began not as a single hand but as a trademark shared by a band of Echizen smiths at the dawn of the shinto era, and the designated record gathers their work under that one signature rather than parsing it into individuals. The published sources read the early inscriptions, the generic Echizen no Kuni Shimosaka and the titled Higo Daijo Fujiwara Shimosaka, as the product of a group, of which the first-generation Yasutsugu served as the representative. Born in Shimosaka village of Sakata district in Omi, Yasutsugu moved to Echizen under the patronage of Yuki Hideyasu, signing in his early years Higo no Daijo Shimosaka before his Keicho 10 to 11 summons to Edo, where he forged before Ieyasu and Hidetada and received the character Yasu and the right to cut the Tokugawa hollyhock crest on his nakago. The titled signature was carried by several Echizen hands at once, and the texts list Yasutsugu, Sadakuni and Kanenori among the smiths whose chisel movement and brush intent are too alike to part on present evidence. From this band the Echizen Yasutsugu line descended, dividing after the second generation into the Edo and Echizen Shimosaka houses, and around it formed the deep relief carving the province made its own. The school is recognized first in its steel. The forging is itame mixed with mokume that stands and opens, often flowing into nagare, carrying thick ji-nie and fine chikei, the kane taking on the blackish cast the sources name outright as Echizen-gane; the same dark, standing jihada recurs from Yasutsugu through his son, through Sadatsugu, Shigetaka and the unnamed Shimosaka hands, and the commentary returns to it as the group's signature. Over it the hamon favors a suguha to chu-suguha or shallow notare into which linked gunome and ko-gunome mix, ko-ashi and yo entering, the nie thick and gathering unevenly into rough patches, kinsuji and sunagashi streaming through, the nioiguchi tending to a sinking shizumi.
The boshi is the steadiest tell, running to a ko-maru swept in hakikake and turning back long, with a Sanpin-flavored reminiscence of the Mishina and Echizen-Seki inheritance. Yet the house is not uniform: Sadakuni works an austere suguha over an unusually refined ji with little of the blackish mokume, Sadatsugu fires the brightest, most choji-laden midare of the circle, and the third generation cleans the forging and brightens the nioiguchi toward his Edo contemporaries. Binding the registers is the carving, the deep Echizen-bori and Kinai-bori of kurikara, Fudo Myoo, bonji and gomabashi set in relief within the hi, which Sadakuni may have first supplied to Yasutsugu's blades. For the collector the school rewards reading by register rather than by a single famous holding. Yasutsugu is its summit, rated Jo-jo saku, retained smith to the shogunal house, whose Sadamune and Toshiro copies (the Namazuo, the lost Oyako, the Shishi) show his own Echizen hand under the model, and whose best katana carry the possession inscriptions of his patron Honda Hida no Kami Narishige and provenance in the Echizen and Kishu Tokugawa houses. The second generation follows so faithfully that his finest blades part from the father chiefly by the form of the character tsugu; the Edo third generation continues the suguha and ko-notare manners with a straight yakidashi and a Hojoji affinity. Around them the specialists define the edges of the idiom: Sadakuni and his quiet suguha with a pair of tanto recorded in Honma's inventory of the Imperial collection, Sadatsugu with his Narishige-crested cutting-test blades, and Shigetaka, the most skilled of Yasutsugu's pupils, whose chestnut-tailed kurijiri nakago and Kinai carving (the Honebami and Hossho copies among his masterworks) name him at a glance and whose finest work approaches the master. A signed Shimosaka blade, whether a titled Yasutsugu beneath the aoi-mon, a named piece by one of the band, or a Higo Daijo pre-Yasutsugu register, comes to market only from time to time, valued as the wellspring from which the Echizen Yasutsugu line and its carving tradition arose. Learn more →
| Smith | Era | Designated |
|---|---|---|
| Yasutsugu康繼 | 1596-1615 | 76 |
| Yasutsugu康繼 | 1624-1644 | 25 |
| Yasutsugu康繼 | 1661-1673 | 8 |
| Sadakuni貞國 | 1596-1615 | 11 |
| Shigetaka重高 | 1596-1615 | 7 |
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.