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.
NihontoWatchNihontoWatchSummary This blade was signed by Kaga no Kami Fujiwara Sadahiro(加賀守藤原貞広), who was born in 1640 in Echizen Shimosaka(today’s Fukui prefecture) and forged swords in the middle of the Edo period, specifically the Genroku Era(1688-1704). Sadahiro belonged to Shimosaka school, initially founded in Shimosaka town in Shiga prefecture at the end of the Muromachi period. And the school moved to Echizen city(Fukui prefecture) at the beginning of the Edo period. Sadahiro engraved the title “(Kaga no Kami),” and his maker’s name “藤原貞廣(Fujiwara Tsuguhiro)” on the front. There was also a record where Sadahiro forged swords in Settsu province(Osaka prefecture) after leaving Echizen province. The back of the tang says this blade was made of Nanbantesu. Nanban-tetsu refers to high-quality iron imported into Japan from overseas during the late Muromachi to early Edo period. Rather than being seen as foreign material, it was highly valued by Japanese swordsmiths for its unique properties and was carefully selected to enhance the quality of their work. Its use reflects the spirit of innovation within the traditional Japanese sword-making craft. The tang also says Snashoku (三色:Three colors), which might indicate that three kinds of the steel was used for this blade while we are not certain about the exact meaning. About Echizen Shimosaka School It is said that the first-gen Yasutsugu was the founder of the Echizen Shimoasaka school. He was born in Shimosaka town in Shiga prefecture at the end of the Muromachi period(Late 16 century ). He built his career there until the beginning of the Keicho era(1596). However, he moved to Echizen province due to the relocation of the lord he served. He eventually was noticed and supported by Matsudaira Hideyasu, the third son of Tokugawa Ieyasu, who was the founder of the Edo government. Hideysu was the feudal lord of Echizen province during the early Edo period. With the support of Hideyasu, the first-gen Yasutsugu was able to establish the Echizen Shimosaka school. And his school’s fame became nationwide. By Hideyasu’s recommendation, the first-gen Yasutsugu became Okakaekaji for the Tokugawa shogun family, meaning that he exclusively forged swords for the Shogun family. Yasutsu was acknowledged by the first and second Tokugawa Shoguns, Tokugawa Ieyasu, and Tokugawa Hidetada. The first-gen Yasutsugu received 康(YASU) from Tokugawa Ieyasu and changed his maker’s name. He was also allowed to inscribe the holly oak symbol(family crest of Tokugawa) on the tang. The school flourished during the Edo period and trained many skilled apprentices. The first-gen Sadatsugu is one of the most famous apprentices among many swordsmiths who resided in Echizen province. About Echizen province Echizen Province was famous for forging razor-sharp, practically designed swords. The Edo government, run by the Tokugawa clan, ordered many blades from the swordsmiths in this province during the Edo period(1603-1868). There were so many swordsmiths in Echizen province, originally from the Mino province(Gifu prefecture), which is known as one of the five great Japanese sword styles MINO-DEN 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 few kitae kizu and tiny chip on this blade. Fuchi-Kashira The theme of this Fuchi-Kashira is a crab (蟹, kani )motifs. As crabs walk sideways, they were compared “Oukou Kunshi (横行君子),” which means to stick to one’s intention against authority. Samurais might have felt the strong will that they would not bow before power from this motif. Tsuka and Menuki The theme of this menuki is Ebisu (恵比寿天), one of the Seven Lucky Gods (七福神, Shichifukujin) of Japan. Ebisu is the only deity among the Seven Lucky Gods who originated in Japan, rather than being introduced from other Asian cultures. He is widely worshiped as the god of prosperity, especially associated with fishing and commerce. He is typically depicted holding a fishing rod in his right hand and a red sea bream (鯛, tai) tucked under his left arm. The sea bream is an important symbol in Japanese culture. Not only does it represent a bountiful catch—reflecting Ebisu’s role as a god of fishing—but it is also considered an auspicious fish. This is partly due to a wordplay in Japanese: “tai” sounds like “medetai,” meaning “joyous” or “celebratory.” In addition, the sea bream’s red-and-white coloring and its association with longevity further enhance its status as a symbol of good fortune. For these reasons, Ebisu holding a sea bream has long been regarded as a powerful emblem of success, happiness, and prosperity in both business and daily life. Tsuba and Habaki This tsuba is intricately decorated with a design featuring two dragons. The dragons are depicted in dynamic, flowing forms, their bodies coiling gracefully across the surface. Their expressions and finely carved scales convey both power and vitality, a common symbolic representation in Japanese art. In Japanese culture, dragons are revered as mythical creatures associated with water, clouds, and the forces of nature. They are considered protectors and symbols of strength, wisdom, and good fortune. Kozuka *Please keep in mind that Hosaki (blade part of the Kozuka) is simple dummy blade made of metal. The motif of this Kozuka is also decorated with dragon (龍, Ryū) motif, a powerful symbol in both Chinese and Japanese cultures. Originally an imaginary creature from ancient Chinese myths, the dragon is believed to bring good fortune and strength. Its body is described as a fusion of nine animals: deer antlers, a camel’s head, demon eyes, a snake’s neck, the belly of a Mizuchi (蛟, a mythical Japanese serpent with a horn and legs), fish scales, falcon claws, tiger palms, and cow ears. Due to its majestic form, it was seen as the ruler of all creatures. In ancient China, the dragon symbol was strictly controlled, appearing only on the emperor’s robes, with even the number of claws indicating rank. In Japan, however, the dragon motif was widely used without such restrictions, remaining an auspicious symbol of power, protection, and good fortune (吉祥, Kisshō). Today, dragons continue to appear in samurai armor, sword fittings, temples, and traditional art, embodying strength and divine influence. Saya The surface of this Saya is decorated with the Ishime-Ji (石目地). Its base was hit by Tagane (鏨, chisel for metalworking), and it makes a rough surface that seems stone. *Please note that there are signs of restoration. If you would like more detailed information about the condition, please feel free to contact us. Authentication Paper They authenticated the blade on August 23rd in the 7th year of Reiwa (2025). They appraised it as Tokubetsu Hozon Touken, the blade especially worth preserving for Japanese society.
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Echizen · around 1661-1673
Fujishiro Chu saku
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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.
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.