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.
NihontoWatchNihontoWatchThis blade was signed by Hizen Saga Jyu Kunihiro (肥前佐賀住国広). Hizen is the province located in today’s Saga prefecture. He resided in this province in his career. Kunihiro was especially active during the Kanei- Manji era (1624-1661-:Early Edo Period). Kunihiro’s birthname was Hashimoto Rokurozaemon. He was born as the first son of Hirosada, a renowned swordsmith in the same province. Hirosada was a younger brother of the first-gen Tadayoshi, one of the most famous swordsmiths during the early Edo period. His first son was Kanehiro, another prominent swordsmith in the province. According to the book (Kaihou Kenjyaku) published by Yamada Asaemon in the late Edo period, a blade forged by Kunihiro was ranked as Wazamono (good sharpness). Asaemon was hired by the Edo government as an expert on Tameshigiri or testing cutting. And in this book, he judged how sharp Japanese swords forged by prestigious swordsmiths were. The swordsmiths in the Hizen province worked under the auspices of the Nabeshima clan. They could produce beautiful blades with Konuka Hada, whose steel surface is very smooth. This Hada is one of the most well-known characteristics of the blades produced in Hizen province. The swordsmiths also used and mixed carbon steel made in western countries. Since Hizenkoku flourished through international trading, it had easy access to western carbon steel. The first-gen Tadayoshi (His uncle) 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, the Nabeshima clan’s headquarters. And he founded Hizen Tadayoshi school, which trained more than 100 swordsmiths during the Edo period. Kunihiro is one of them. 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 couple of Kitae Kizu on the Mune (backbone of the blade). Fuchi-Kashira The surface of this Fuchi Kashira’s Kashira part is decorated with the Nanako-Ji (魚子地) technique. This process makes a uniform minimal protrusions pattern by hitting the Nanako-Ji Tagane (魚子地鏨, a chisel for this technique) on a metal surface. This decorative technique is often seen on sword mountings. On the other hand, the Kashira part has a simple look. About the design, the Fuchi and Kashira, each part is decorated with different motifs. On the Fuchi part, you would find small birds. And the principal motif of the Kashira part is the Shirasagi (白鷺, egret). The figure of an egret standing by the water and the aquatic plants growing at its feet are engraved. Egret is a popular motif because of its beautiful white feathers and elegant appearance. The plants are probably Kiri (桐, paulownia) flowers. Golden paint is applied to both Fuchi and Kashira parts, and these motifs remain relatively in good condition. Tsuka and Menuki Gold-colored Ebi (海老, shrimp) is the motif of each Menuki. While this coloring has been partially faded due to aging, it adds decorativeness to this work. Judging from the shapes of these shrimps visible through gaps of the Tsukamaki thread, we believe this Menuki’s motif is an Iseebi (伊勢海老, spiny lobster). According to a theory, Japanese people already ate shrimp in the Heian period (794-1185). However, it was an expensive ingredient for ordinary citizens, so only the nobility and high-class people could enjoy it. People started using shrimp as a good-omen pattern and appreciated designing it for their family crests in the Muromachi period (1336-1573). In the Samurai’s society, as a shrimp is covered with a hard shell, it was thought that a shrimp represents the figure of a brave Samurai who wears armor. It has the meaning that wishes the fate of a Samurai will last for a long time. Shrimps have been likened to older adults because of their long feelers. Also, shrimps actively jump even though they are bowed. That is the reason why the shrimp pattern is treated as a symbol of perpetual youth and longevity. This animal shed its molt several times to grow up; therefore, some people have considered it is a symbol of success in life. Tsuba and Habaki Yotsu-Mokkou (四ツ木瓜)-shaped Tsuba that has Kozuka and Kougai holes. The same as the Fuchi Kashira of this Katana Koshirae, this Tsuba’s surface is also decorated with the Nanako-Ji technique. The Mimi (耳, edge) is thickly finished, and a dragon is designed on this part. Initially, the dragon is an imaginary creature found in ancient foreign traditions and myths. Furthermore, it is regarded as a symbolic beast of auspicious signs. Its body is likened to nine animals: antlers are deer, the head is a camel, eyes are demons, the neck is a snake, the belly is the Mizuchi (蛟, a mythical animal in Japan that looks like a snake and has a horn and four legs), scales are fish, claws are falcons, palms are tigers and ears are cows. The dragon was thought to reign at the top of all animals because of its odd appearance. Another motif designed on this Tsuba is the Hanaguruma (花車). It is the design of the combination of multiple flowers and a graphic representation of an oxcart. It is said the Hanaguruma would invite gods. People used this pattern, wishing to obtain happiness. It is considered that each flower has its meaning. In this Tsuba, Kikus (菊, chrysanthemum) and probably Kuzu (葛, kudzu vine) are the primary plants of this Hanaguruma. Authentication Paper They authenticated the blade on Feb 5th in the11th year of Heisei (1999). They appraised it as Tokubetsu Hozon Touken, the blade especially worth preserving for Japanese society.
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Shinto · Hizen · around 1644-1648
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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 |
| Masahiro正廣 | 1624-1655 | 30 |
| Tadakuni忠國 | 1648-1652 | 32 |
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.