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.
NihontoWatchNihontoWatchThis blade is forged by Yamashiro Koku Jū Fujiwara Nobuyoshi (山城国住藤原信吉) in the Meireki era (1655–1658), during the early Edo period, in Yamashiro Province (today’s Kyoto). Nobuyoshi, known as First Gen Nobuyoshi, was a prominent Kyoto-based swordsmith whose real name was Takai Kinsaburō. He belonged to the highly prestigious Mishina school (三品派), led by Iga no Kami Kinmichi (伊賀守金道), one of the most influential swordsmiths of the early Edo period. Nobuyoshi is recognized as a representative master of Kyoto during the Kanbun era (around 1661), approximately 360 years ago. His younger brother, Echizen no Kami Minamoto Rai Nobuyoshi, later moved to Osaka, where he achieved great success and played a significant role in the development of Osaka Shintō swords. The Mishina lineage is collectively known as the Kyō Go-Kaji (京五鍛冶, Five Great Swordsmiths of Kyoto), which includes renowned masters such as Iga no Kami Kinmichi, Tanba no Kami Yoshimichi, Echigo no Kami Rai Kinmichi, and Etchū no Kami Masatoshi. Iga no Kami Kinmichi earned extraordinary recognition by forging 1,000 swords for Tokugawa Ieyasu in preparation for the Battle of Sekigahara. As a result, he was granted the distinguished title of Nihon Kajishōshō (Master Swordsmith of Japan). Throughout the Edo period, the authority to bestow official court titles such as Kami and Daijō upon swordsmiths was exclusively held by the Kinmichi family, highlighting the Mishina school’s exceptional status. It is appraised as a Hozon Token (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, black rust and minor chip in the blade. Fuchi-Kashira The theme of this Fuchi-Kashira is Aoi (葵, hollyhock ). The hollyhock has deep cultural significance in Japan, historically associated with nobility and sacred rituals. Most famously, it is the emblem of the Tokugawa shogunate, one of the most powerful ruling families in Japanese history, and can be seen in their family crest, the aoi-mon. Hollyhock leaves were also revered in ancient Shinto rituals, particularly in the Aoi Matsuri (Hollyhock Festival) of Kyoto, one of the oldest festivals in Japan, dating back over a thousand years. In this context, the aoi leaf symbolizes purity, protection, and a connection to the divine. The sukashi technique used in this tsuba not only lightens the piece but also gives it an elegant, airy feel, allowing the motif to stand out in silhouette. It reflects both technical mastery and an appreciation for nature—a hallmark of Japanese aesthetics during the Edo period. Tsuka and Menuki The theme of this Munuki is a dragon (龍, ryu). Initially, the dragon is an imaginary creature found in ancient Chinese traditions or 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, belly is Mizuchi (蛟, mythical animal in Japan which looks like a snake and have a horn and four legs), scales are fish, claws are falcons, palms are tigers, and ears are cows. It was thought that the dragon would reign at the top of all animals because of its odd-looking appearance. In ancient China, the dragon pattern was used for emperors’ clothing so that people strictly defined its shape or even the number of nails. On the other hand, the dragon pattern does not have detailed rules to represent classes in Japan. However, still, it maintains its meaning as the all-purpose auspicious pattern. Also, in Japan, there is a belief that worships dragon as a water god and is called Ryujin Shinkou (竜神信仰). Since rice cultivation flourished in this country, water is always an essential resource. Therefore, the dragon motif has been familiar to Japanese people since a long time ago. Tsuba and Habaki The theme of this Tsuba is the same as Fuchi-Kashira: Aoi (葵, hollyhock). Saya This scabbard is covered with black lacquer. Due to its high waterproof effect, lacquer has been used since ancient times in Asia. The blade of a Japanese sword is made of iron, and moisture is the greatest enemy of iron. For the purpose of carrying the blade without degrading it, people devised a method of coating the scabbard with lacquer. To prevent not only moisture but also rain and snow from penetrating the inside of the scabbard, it was necessary to apply multiple layers of lacquer. The Nurushi (塗師, lacquerers) was born precisely because advanced techniques were required to handle the complicated processes. ※ Please be aware that there are some scratches on the scabbard. Authentication Paper They authenticated the blade on August 22nd in the 7th year of Reiwa (2025). They appraised it as Hozon Touken, the blade worth preserving for Japanese society.
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Yamashiro · around 1644-1648
Fujishiro Chu-jo saku · Tōken Taikan top 49%
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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.
Certifies a genuine blade worth preserving: a signature confirmed correct, or, if unsigned, an era, province, and school that the NBTHK can reliably identify.
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.
Certificate reading — 銘 山城国住藤原信吉