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.
NihontoWatchNihontoWatch銘文『肥前国住陸奥守忠吉』『肥前国河内守正広』 種別 刀 長さ 二尺五寸 反り 六分 元幅32.8ミリ 元重8.5ミリ 先幅24.3ミリ 先重6.4ミリ 刀身1099グラム （すべて約です） 福岡県教育委員会 大大名３桁登録 銀無垢と銅に金着せを施した最高傑作のハバキ付属 三代陸奥守忠吉と河内守正廣の最高傑作です。田野辺道宏先生の鞘書きによると同合作の遺例はもう一振りのみあるようですが、いずれにしても僅か二振りしか存在しないようでこちらは鍋島家伝来の上、人間国宝小野光敬氏の研磨と思われます。 三代陸奥は５０歳で亡くなってしまっているため作品は極めて少ないのは周知の事実ですが極まれに父近江大掾忠廣との合作が存在してました。それの希少性をはるかに凌駕する組み合わせであり、関係性を調べて推測できるのは 「寛永１４年生まれの陸奥守忠吉は寛永４年生まれの河内守正広より１０年若いことが分かっています。お互い万治三年に大掾を受命し、翌寛文元年に守を受領しています。如何に三代陸奥が天才だったかを判る出来事ですが、本家と分家の垣根を外してお互いが切磋琢磨し、ライバル関係にあったことが推認されます。従って、この本家と分家、師弟関係の垣根が全くない本作はお互いの持てるお互いが得意な技量のすべてを詰め込んだ渾身の一振りであり、豪壮な重ねとバランスの良い身幅がまさに鍋島家によらなければ実現できなかった肥前刀の最高傑作の一振りと云えると思います」 出来は流石は最上作と云わんばかりの大迫力の動乱刃の様な大互ノ目乱れの出来で、特有の梨地肌は大変良く詰み、地沸厚くつき地景入り強く冴える高難易度の三代陸奥の仕事に正広の得意な金筋頻りに走り、沸匂深く、仕事を刃の基礎として最後両者によるありとあらゆる働きを詰め込んだ一線を逸脱したこれぞ日本刀の最骨頂と云える一振りです。 出来で明らかに群を抜いており物凄い出来ですが、写真では１００分の１もうまく写っておりません。 一線を逸脱したこの上なき最高の出来であり、地刃共に忠吉、正広の特色と見所を存分に示した最高の傑作刀で夢のような一振りと言えると思います。 二度と出ない名刀を是非とも家宝にお加え下さい。 陸奥守忠吉は名を橋本新三郎といい、寛永１４年に近江大掾忠広の長男として生まれ、万治三年に陸奥大掾を受領、翌寛文元年には陸奥守に改名。貞享三年、八十歳の高齢をもって天寿を全うした父に先立って、五十歳の若さで没しています。二代近江大掾忠広が嫡子陸奥守忠吉（三代目）の亡き後は孫の近江大掾忠吉（四代目）を指導したと伝えられています。このように陸奥守忠吉は作刀期間が短かった事、父の代作に任じていた期間が長かったことで、在銘遺作は極めて少なく、 長命であった祖父や父と比べて三代忠吉自身の作刀は少なく、地鉄の精緻さや地刃の冴えにおいては初代を凌駕する作品が多く、初代忠吉よりも技能だけではなく価格に於いても最も高い忠吉と云われております。 河内守正広は河内大掾正広の子として寛永四年に生まれ、初め佐伝次と称し初銘は正永ときっています。万治三年に武蔵大掾を受領して、翌寛文元年武蔵守に転じました。その後、彼が三九歳の寛文五年二月に父初代正広が没し、同年四月に河内守を受領しています。正広は元禄十二年、七三歳で没しています。 4,800,000円 (税込) img src="https://www.kusanaginosya.com/pic-labo/mututada1.jpg" alt=""> img src="https://www.kusanaginosya.com/pic-labo/mututada7.jpg" alt="">
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Hizen Tadayoshi, waki-Hizen (Saga) · Hizen · around 1624-1655
Fujishiro Jo-jo saku · Tōken Taikan top 23%
2 pieces on the market now
Masahiro, the first of his name at Saga, was the son of Yoshinobu, a pupil and son-in-law of the first-generation Tadayoshi, which makes him the founder's grandson and the elder brother of Dewa no Kami Yukihiro. He first signed Masanaga and changed his name to Masahiro in the eleventh month of Kan'ei 2 (1625). After the founder's death he served the second-generation Omi no Daijo Tadahiro as a close attendant and assistant, and the published sources call him a most able collaborator of the main house. They also judge him the most skilled of all the collateral Hizen smiths, the waki-Hizen, 「傍肥前の中でも最も技量が優れており」. He is said to have died in Kanbun 5 (1665) at the age of fifty-nine.
The date of his title is a matter the published record treats with care. Tradition places his appointment as Kawachi Daijo in Kan'ei 5, yet works dated as late as Kan'ei 16 are still signed Hizen no Kuni Saga-ju Masahiro or simply Hizen no Kuni Masahiro, and the title first appears on a katana dated the eighth month of Kan'ei 18. The modern view therefore places the appointment about Kan'ei 18, shortly after Tadahiro himself received the Omi no Daijo title, which accords with the tradition that Masahiro worked throughout as the assistant of the main house. One Juyo katana whose signature combines the features of his pre-title and post-title hands is valued for exactly this reason, as a work made soon after the appointment.
His manner stands against that of the main line. Where the Tadayoshi house excels in suguha, Masahiro preferred the irregular temper, and the published sources state it plainly: 「作風は乱れた刃を好んで焼き」. His typical hamon is a choji mixed with gunome and ko-notare, and the clove pattern is likened to that of Musashi no Daijo Tadahiro. Several blades begin with a straight yakidashi at the base, and in places the clusters of midare are linked by a low, shallow, suguha-toned stretch, both of which the judges call a main point of the waki-Hizen temper. The temper is set high and low, long ashi and yo enter well, the nioiguchi is deep and bright, and thick nie gathers in the valleys of the midare. Kinsuji and sunagashi run through the hamon, and on several blades the kinsuji are recorded as notably long. Gunome with rounded heads are named as a point of his hataraki, and a wide temper of showy choji-midare is called his own domain.
The jigane beneath it is, on most blades, the refined Hizen forging: a tightly packed ko-itame with ji-nie, on some laid dust-fine and thick with fine chikei entering, while a few pieces run instead an itame that stands. The boshi runs straight to a ko-maru and turns back with hakikake, at times slightly midare-komi. The sugata is often broad and long, and one katana with a greatly extended kissaki is described as powerful and full of movement. The published sources find in his work more natural vigor than in that of the main house, 「本家忠吉家の作よりも自然, 覇気のある作が多く」.
He also commanded the suguha, though it is comparatively rare in his record. One wakizashi with a deep-nioi chu-suguha, the ko-nie evenly attached and the nioiguchi bright and clear, is singled out as among the finest of his suguha works, the published sources concluding that it shows the height of his skill in suguha as well as in midareba[[c:1]]. A Kan'ei 11 katana of gunome mixed with small choji is named the finest of his works, 「この刀はその白眉である」. The judges add two kantei points that separate him from the main line. His katana are signed on the sashi-ura, and his yasurime are sujikai, unlike those of the main house, becoming a large sujikai on early works whose tangs narrow toward the tip. His signature grows smaller in his last years.
Masahiro is graded Jo-jo saku by Fujishiro. He has no National Treasures and no Important Cultural Properties, and his record runs through the Juyo rank, where thirty of his works have been designated. Dated pieces survive in small numbers, from Kan'ei 9 through Keian 1 and Joo 4 to a naginata of Kanbun 4, his last years. Several carry carving by his compatriot Yoshinaga, and on one wakizashi the Shigetsu Hotei in relief within the koshi-hi is called an extremely rare design among Hizen blades, paralleled only on a wakizashi of Musashi no Daijo Tadahiro. Another wakizashi is mounted in a Yagyu koshirae and carries the ownership inscription of Yagyu Renyasai Toshikane. Recorded provenance is otherwise slight. A signed Masahiro of the Juyo rank comes to light from time to time, with patience, as the work of the most accomplished of the waki-Hizen.
Where Masahiro 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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Years he was demonstrably active, proven by signed-and-dated blades
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.
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