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.
NihontoWatchNihontoWatchSummary This blade was signed by Hizen Koku Ju Omi Daijo Fujiwara Tadayoshi (肥前国住近江大掾藤原忠吉). The maker’s name Tadayoshi lasted nine generations during the Edo period (1603-1868) in Hizen province (today’s Saga prefecture), and this blade was forged by 4th-gen Tadayoshi, who was active during the Genroku era (1688-1704: Mid Edo period). The fourth-generation Tadayoshi was born in the 8th year of the Kanbun era (1667) as the son of the third-gen Tadayoshi, also known as Mutsu no Kami Tadayoshi. The fourth gen’s birth name was Hashimoto Gensuke. He learned most of the sword-forging techniques from the second-gen Tadahiro, his grandfather because his father died in the third year of Jokyo (1686) when Tadayoshi was just 19 years old. The 4th gen Tadayoshi mastered excellent craftsmanship from his grandfather until the grandfather died in the 6th year of the Genroku era (1693). It is said that the 4th-gen Tadayoshi often did a Daisaku for his grandfather, the second-gen Tadahiro. 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 Sadakuni’s craftsmanship. Considering the fact that the 4th-gen Tadayoshi did Daisaku for the second-gen Tadahiro, they must have had a very close relationship and trusted each other. The fourth-gen Tadayoshi received the honorable official title of Omi Daijo in the 13th year of the Genroku era (1700). He kept forging superb quality blades until he died at 80 years old. The First Generation Tadayoshi The first-gen Tadayoshi was born and raised in the Saga domain. In 1596, under the domain’s order, he went to Kyoto to learn the sword-forging technique from Umetada Myojyu (埋忠明寿), one of the greatest swordsmiths in the early Edo period. He improved his craftsmanship and returned to the Saga domain two years later (1598). The first head of the Nabeshima clan, Nabeshima Katsushige, appreciated the work of the first-gen Tadayoshi very much. Then, Katsushige appointed him as his Okakaekaji, a swordsmith who exclusively forged swords for a specific domain or clan. And Tadayoshi started to stay near Saga castle, which is the headquarter of the Nabeshima clan. And, he founded Hizen Tadayoshi school, which trained more than 100 swordsmiths during the Edo period. The generation of Tadayoshi served Nabeshima clan by the end of the Edo period. Hizen Province The swordsmiths in the Hizen province worked under the auspices of the Nabeshima clan like Tadayoshi. They could produce beautiful Jigane-patterned blades, also known as Hizen To, using and mixing carbon steel made in western countries. Hizenkoku had been flourishing by international trading. The geographic location of this domain made it possible to have easy access to western carbon steel. Appraisal 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). Fuchi-Kashira We assume that the motif of this Fuchi-Kashira is the Yuri (百合, lily). The origin of the word “Yuri” is said to be derived from “揺り(Yuri),” meaning the way the flowers sway in the wind, and the combination of the word “百(hundred)” and “合(put together)” is said to have come from the fact that the lily bulb seems to be made up of several scales. Since ancient times, lilies have been a well-known flower in Japan. In the Manyoshu (万葉集), the oldest extant collection of Japanese waka (poetry in classical Japanese) in the Nara period (the 8th century), there are many poems about lily flowers. Also, certain types of lilies were used for food. After the Muromachi period (1336-1573), lilies were used for ornamental purposes, in the tea ceremony, and as a flower arrangement. In the Edo period (1603-1867), ordinary people enjoyed them as potted plants in their gardens. Tsuka and Menuki If you look closely, you can see a dragon wrapping around something rod-shaped. This rod-shaped object is called Riken (利剣), a sword held by Fudo Myoo (不動明王), one of the Buddhist deities in Japan. The design of a dragon wrapping around it is known as 倶利伽羅 (kurikara), and it has long been believed to represent an incarnation of Fudo Myoo. Despite its powerful appearance, Fudo Myoo is a deity who protects people from bad luck and disasters, and this motif was popular among Samurais as a decoration on Japanese swords. Tsuba and Habaki This Tsuba features seven types of plants that represent autumn in Japan. This pattern is called Akikusa (秋草, autumn plants). These plants are native to Japan, and during the autumn season, you can often see them swaying together in the wind. This scene has long been associated with the sadness of passing time and the impermanence of life, which is why these autumn plants are commonly used in designs that express such themes in Japanese culture. Saya This Saya features a chrysanthemum pattern. A long time ago, the chrysanthemum was used as a medicine to obtain a long life in China, and it was brought to Japan with this thought in the Nara period (648-781). The chrysanthemum is one of the flowers that symbolize fall, and people have appreciated it very much since ancient times. As its petals form radially, the chrysanthemum has been likened to the sun. That is why this flower pattern is treated as the symbol of perpetual youth and longevity or good health. “Kiku no Gomon (菊の御紋)” is a kind of chrysanthemum pattern, and it has been used as the crest of the Emperor and the royal family in Japan, so it is well-known as a noble pattern. From the Kamakura (1185-1333) period to the Warring States period (1467-1615), the chrysanthemum crest was given as a reward from the Emperor back then to the warlords who made significant contributions. For example, Ashikaga Takauji (1305-1358), who became the first Shogun of the Muromachi Shogunate, cooperated with Emperor Go-Daigo (後醍醐天皇, 1288-1339) to dissolve the Kamakura Shogunate. And Takauji was given a chrysanthemum crest. In addition, Toyotomi Hideyoshi (1537-1598) was also given a chrysanthemum crest by Emperor Goyouzei. A theory says Hideyoshi was delighted and used this motif for furniture. At that time, the Emperor was regarded as God. Therefore, it was an irreplaceable honor for Samurais to receive the family crest from the Emperor. This is how the chrysanthemum pattern has a deep connection with Samurai culture. Authentication Paper They authenticated the blade on Aug 26th in the 1st year of Reiwa (2019). They appraised it as Tokubetsu Hozon Touken, the blade especially worth preserving for Japanese society.
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Shinto · Hizen · around 1688-1704
Fujishiro Jo saku · Tōken Taikan top 37%
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Where Tadayoshi 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.
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.