NihontoWatch-Katana This blade was signed by Echizen no Kami Minamoto Rai Nobuyoshi (越前守源来信吉), who was active during the mid Edo period (around the mid-late 17th century). His real name was Takai Kinzaburo, and he was the third son of the first-gen Shinano no Kami Nobuyoshi (信濃守信吉), who belonged to Mishina school. Mishina school’s founder was originally from Mino province (today’s Gifu prefecture), exclusively forging blades for Shingen Takeda, a famous feudal lord. Later on, he moved to Yamashiro province (today’s Kyoto) by bringing his four sons and founded his school in Kyoto. The first-gen Shinano no Kami Nobuyoshi (信濃守信吉) was known as one of the skilled swordsmiths. He also became one of Kyoto Gokaji (京都五鍛冶), five prestigious swordsmiths forging in Kyoto in the early Edo period. Kinzaburo was also from Yamashiro province and forged swords in Abura-no-Koji, Kyoto, as one of Mishina’s school swordsmiths. He received an honorable official title from the imperial court for his excellent craftsmanship and began signing Echizen no Kami Minamoto Rai Nobuyoshi and so on. Later, he moved to Settsu province. And, together with Tanba no Kami Yoshimichi and others, he devoted himself to developing the Mishina school. Among other swordsmiths who had Nobuyoshi in their maker’s name, this Nobuyoshi was known as the most skilled one. Same as the first-gen Shinano no Kami Nobuyoshi, Echizen no Kami Rai Minamoto Nobuyoshi was allowed to inscribe a chrysanthemum emblem, which is the symbol of the Japanese emperor. His sword-forging technique was so great that the emperor licensed him to use this emblem, which was quite honorable for any swordsmiths. 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 the blade. -Wakizashi This blade bears the signature Kiyomitsu (清光). Many swordsmiths used this name, but after consulting the NTHK, we understand that this blade is thought to be the work of a smith from the Etchū Kiyomitsu (越中清光) line. The Etchū Kiyomitsu lineage is said to have begun with Kiemon Kiyomitsu (吉右衛門清光), who moved from Kaga (加賀) to Moriyama (守山) in Etchū Province (越中国, today’s Takaoka, Toyama Prefecture) during the Tenshō era (天正年間, 1573–1592). His eldest son, Yohei Kiyomitsu (与兵衛清光), is said to have later moved to Toyama, where he began forging swords. Kiemon’s second and third sons, Han’emon Kiyomitsu (半右衛門清光) and Mataemon Kiyomitsu (又右衛門清光), remained in Takaoka. Each of their family lines continued to use the name Kiyomitsu for generations. The signature on this blade invites us to reflect on that enduring swordmaking tradition. What is Daisho? Daisho is a pair of two Japanese swords Samurai carried. During the Edo period, having Daisho in public places was considered social status for Samurai. Furthermore, Samurai were required to wear them under the law back then. Daisho is written as 大=Big and 小=Small. Dai part means Katana, and Sho part means Wakizashi. We are confident you would find this pair of Daisho Koshirae gorgeous. *Please note that there are a couple of kitae-kizu and a tiny chip on both Katana and Wakizashi blade. If you would like to know more about its detailed condition, please feel free to contact us. –Katana Jimon(Jihada) –Katana -Wakizashi Fuchi-Kashira The Fuchi-Kashira (縁頭, hilt collar and pommel) of the Katana are decorated with maple leaves (紅葉, momiji) against a Shakudō (赤銅) ground. Shakudō is a traditional Japanese alloy composed primarily of copper with a small amount of gold. Through a specialized patination process, it develops a lustrous blue-black surface that was highly prized for sword fittings. Maple leaves are among the most beloved symbols of autumn in Japan. Their transformation from green to brilliant shades of yellow, orange, and red evokes the beauty of seasonal change. The motif is also sometimes associated with longevity, adaptability, and the wisdom to live harmoniously through life’s changing circumstances. When maple leaves are depicted floating upon running water, the design is known as Ryūsui Momiji Mon (流水紅葉文, “maple leaves on flowing water”). The Fuchi-Kashira of the Wakizashi, meanwhile, feature wild geese (雁図, kari-zu) against an Oborogin (朧銀) ground. Oborogin, also known as Shibuichi (四分一), is a traditional copper-and-silver alloy that develops a subdued gray surface through patination. Its softly muted appearance is reminiscent of moonlight seen through mist, which is reflected in the poetic name Oborogin, meaning “hazy silver.” Wild geese are migratory birds traditionally associated with autumn in Japan. Because of their distinctive calls and their return from distant lands, they have long been regarded as messengers bringing good tidings from afar. Their graceful forms have been cherished for centuries and frequently appear in sword fittings, paintings, poetry, and family crests. Tsuka and Menuki The Menuki (目貫, ornamental hilt fittings) of the Katana feature a motif of traditional equestrian equipment (馬道具図, uma-dōgu-zu). They are crafted in gold using Katachi-bori (容彫), a sculptural carving technique that renders the individual objects in three-dimensional form. Horses and their equipment were closely associated with the samurai, for whom horsemanship was both an essential martial skill and a symbol of status and prestige. The Menuki of the Wakizashi are likewise sculpted in gold using the Katachi-bori technique and decorated with floral motifs. Judging from the rounded shape of the petals, the flowers appear to represent plum blossoms (梅, ume). Plum blossoms bloom toward the end of winter, often before the arrival of warmer weather. For this reason, they are admired in Japanese culture as symbols of perseverance, resilience, renewal, and the promise of spring. Tsuba and Habaki The Tsuba of both the Katana and Wakizashi are circular iron guards decorated with a Tabane Noshi motif (束熨斗図, “bundled ceremonial ribbons”), skillfully rendered in openwork carving (透彫, sukashi-bori). Noshi originally referred to thin strips of dried abalone presented as part of formal gifts in Japan. Over time, these strips were stylized as long, decorative ribbons and became an auspicious motif associated with longevity, good fortune, and celebration. Tabane Noshi depicts several of these ribbons gathered and tied into an elegant bundle. The matching design of the two Tsuba creates a sense of harmony and visual unity between the Katana and Wakizashi. Kozuka The motif on the Wakizashi’s Kozuka is the Yoshino River (吉野川図, Yoshinogawa-zu), depicted against a Shakudō (赤銅) ground. Shakudō is a traditional Japanese alloy composed primarily of copper with a small amount of gold. Through a specialized patination process, it develops a lustrous blue-black surface that was highly prized for sword fittings. Yoshino, located in present-day Nara Prefecture, has been celebrated as one of Japan’s most famous cherry-blossom viewing destinations for centuries. Its association with cherry blossoms became so renowned that the popular Somei Yoshino variety was originally sold under the name “Yoshino-zakura,” after the celebrated blossoms of Yoshino, although the variety itself was cultivated in Somei village in Edo, present-day Tokyo. This Kozuka portrays cherry-blossom petals drifting gracefully along the flowing waters of the Yoshino River. The individual petals are delicately highlighted with gold inlay, creating a vivid contrast against the deep blue-black Shakudō ground. The scene captures the fleeting beauty of spring and reflects the Japanese appreciation of impermanence—the idea that beauty is especially precious because it does not last forever. Saya *Please keep in mind that there are some minor damage on these two Saya (scabbards). The Saya (鞘, scabbards) of both the Katana and Wakizashi are coated with black lacquer. Lacquer has been used throughout Asia since ancient times for its excellent resistance to moisture. As Japanese sword blades are made of iron, protecting them from humidity, rain, and snow was essential to prevent corrosion. Multiple layers of lacquer were therefore carefully applied to the exterior of the scabbards, forming a durable protective coating. The complexity of this process gave rise to highly skilled specialist artisans known as Nushi (塗師, lacquerers). The scabbards are further embellished with Raden (螺鈿), a traditional decorative technique in which pieces of iridescent shell are set into a lacquered surface. Finely fragmented shell produces a shimmering blue effect across the black lacquer, while the floral motifs are delicately rendered with pieces of pale, pearlescent shell. As the viewing angle and light change, the shell decoration reflects subtle shades of blue, silver, and white, creating a refined and captivating contrast against the deep black ground. We believe the theme of this Saya is cherry blossom, also known as Sakura (桜) in Japanese based on the shape of the petal.For the Japanese people, cherry blossoms hold deep cultural significance. They symbolize the fleeting nature of life, beauty 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. This motif was especially favored by samurai, who identified with these values and incorporated cherry blossom designs into their arms and armor. Authentication Paper-1 They authenticated the Katana on April 2nd in the 9th year of Heisei (1997). They appraised it as a Tokubetsu Hozon Touken, the blade especially worth preserving for Japanese society. Authentication Paper-2 NTHK, also known as NPO Nihon Touken Hozon Kai, is the oldest organization for sword authentication of Japanese swords in modern times. It was established in 1910 during the post-Samurai era. They authenticated the blade on September 20th in the 8th year of Reiwa (2026). *The appraisal certificate is expected to arrive around the end of this October. Authentication Paper The koshirae for both Katana and Wakizashi comes with a Kōshu Tokubetsu Kichō (甲種特別貴重) certificate. The Kōshu Tokubetsu Kichō was a classification issued by the Nihon Bijutsu Tōken Hozon Kyōkai (NBTHK, 日本美術刀剣保存協会) in the past. It was considered a higher-level certification than the standard Tokubetsu Kichō (特別貴重) . They authenticated both Koshirae on June 28th in the 51th year of the Showa era (1976). *Please note that there is a section that has been clipped, but this is where the previous holder’s name was originally written, and it had already been clipped when we acquired this Daisho. Registration Number The Board of Education in Fukuoka prefecture issued a registration paper for this Katana blade and the Board of Education in Kagawa prefecture issued a registration paper for this Wakizashi blade.
Offered by Samurai Museum
Settsu · around 1661-1673
Fujishiro Jo saku · Tōken Taikan top 37%
1 piece on the market now
The Edo period (1615 to 1868)
For two and a half centuries of peace the sword was the warrior’s legal badge rather than his weapon. Each great city developed its own manner, Edo’s tested strength against Ōsaka’s polished brilliance, until demand thinned in the era’s last decades.
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.
¥2,350,000