The Shintō era was largely invented in Kyōto: Umetada Myōju’s workshop trained the movement, Horikawa Kunihiro raised a generation, and the Hon’ami appraisers, who held no forge, governed the meaning of famous blades.
NihontoWatchNihontoWatchThis blade was signed by Dewa Daijo Fujiwara Kunimichi (出羽大掾藤原国路), who was especially active during the early Edo period (1615-1658: Genna-Meireki era) in Yamashiro province (Today’s Yamashiro province). It is said that Kunimichi originally belonged to Mishina school at the beginning of his career and later started to serve Horikawa Kunihiro school. He also signed Heianjo Kunimichi (平安城国道), Heianjo Jyu Kunimichi (平安城住国路), Dewa Daijo Fujiwara Rai Kunimichi (出羽大掾藤原来国路). He was born in the 4th year of the Tensho era (1576: Azuchi Momoyama period). Based on available records, he started to officially appear in Japanese sword history in the 13th year of the Keisho era (1608: The beginning of the Edo period). He first signed Kunimichi (国道). As you can see, the letter of Michi is different from the one seen on this blade. Those who belonged to Mishina (三品) school used Michi (道) as their maker’s names, such as Iga no Kami Kimichi (伊賀守金道). That is why it is believed that Kunimichi originally belonged to Mishina school. Also, at the end of his career, he used Rai (来) in his maker’s name, which is the only characteristic of the swordsmiths who belonged to Mishina school back then. In the 14th year of the Keisho era (1609), he started to use both Kunimichi (国道) and Kunimichi (国路). It is thought that this year was when he shifted his maker’s name to Kunimichi (国路). He received the title of Dawa Daijo (出羽大掾) in the 20th year of the Keisho era (1615). Kami is an honorable official title given by the imperial court for one’s excellent craftsmanship. Since Dewa Daijo is inscribed on this blade, this blade was at least made after 1615 when he had already mastered superb sword-forging techniques. His master, Horkawa Kunihiro, died in the 18th year of the Kisho era (1613). After his master’s decease, it is said that he started to belong to Mishina school again and learned sword-forging techniques from Iga no Kami Kinmichi. Kunimichi was one of the most prominent figures in Horikawa Kunihiro school. He was incredibly excellent at forging blades in Mino DEN, one of the five Japanese sword forging traditions. Two of his works are Important Cultural Property, and five of them are Important Artwork, all of which were designated by the Agency for Cultural Affairs. 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 and minor rust on the blade. Fuchi-Kashira The design of this fuchi-kashira is believed to depict cherry blossoms (桜, sakura), identifiable by their characteristic five rounded petals. Cherry blossoms are among the most iconic symbols of Japan and have been admired for centuries for their delicate beauty. Because the blossoms bloom brilliantly for only a short time before falling, they came to symbolize the fleeting nature of life. For the samurai, this symbolism held special meaning, reflecting the ideal of living honorably while recognizing the impermanence of all things. Tsuka and Menuki The design of this menuki is believed to depict kagura suzu (神楽鈴), a set of sacred bells used in Shinto rituals and traditional kagura performances. These bells are traditionally shaken by shrine maidens (巫女, miko) and performers to purify the surroundings and invite the presence of the gods. In Japanese culture, the sound of bells has long been believed to ward off evil spirits and bring good fortune. As a result, kagura suzu became a symbol of purification, divine protection, and spiritual harmony. Their appearance on a sword fitting may reflect the owner’s wish for protection, good fortune, and the blessings of the gods. Tsuba and Habaki The theme of this circular tsuba is Kiku-Kiri Karakusa (菊桐唐草), a decorative design featuring chrysanthemums, paulownia flowers, and flowing arabesque vines. In Japanese culture, the chrysanthemum (菊, kiku) is a symbol of longevity, nobility, and the Imperial House, while the paulownia (桐, kiri) has long been associated with prosperity and high status. The karakusa vine pattern, which spread to Japan through cultural exchanges along the Silk Road, symbolizes growth, vitality, and the continuation of family lines through its endlessly extending stems. Together, these motifs express wishes for prosperity, longevity, and enduring success, making them a popular decorative theme in Japanese art and sword fittings. 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 Nushi (塗師, lacquerers) was born precisely because advanced techniques were required to handle the complicated processes. Authentication Paper They authenticated the blade on Deceember 1st 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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At Ichijo Horikawa in Kyoto, from Keicho 4 (1599), Horikawa Kunihiro gathered the pupils whose work the published sources name with his own as the opening of the shinto age. Kunihiro himself reached forging late and by a roundabout road. Born Tanaka and serving as a warrior under the Ito of Obi castle in Hyuga, he wandered the provinces after that house fell, forging where he stopped, his earliest dated blade cut in Hyuga in Tensho 4 (1576); his itinerant Tensho-uchi looked to late Soshu and late Seki, often run toward a hitatsura-like effect over devotional carving. The settlement in Kyoto changed that. There his stated aim, the sources write, lay in the revival of the Soshu-den tradition, the leaning strongest toward Shizu, and around that ideal he trained the men who carried his manner forward: Dewa no Kami Kunimichi, Kuniyasu, Osumi no Jo Masahiro, Echigo no Kami Kunitomo, the elder Kunisada and Kunisuke, with later and minor hands reaching Settsu, Echizen and Edo. Many of them, born like the master at Obi, followed him from Hyuga to the capital. The shared vocabulary is read first in the steel. The school forges an itame mixed with mokume that stands up, the grain raised into the loose, granular surface the commentaries name outright, the zanguri hada particular to Horikawa work, with ji-nie lying thick and chikei entering; on many blades a mizukage rises obliquely from the machi. Over that ground the prime manner is the Keicho-shinto sugata, wide with little taper and an extended chu-kissaki or o-kissaki, the build likened to a Nanbokucho odachi cut down, tempered in a notare and gunome with thick nie, sunagashi and long kinsuji, the nioiguchi often sinking into shizumi. Within that frame the pupils diverge sharply.
Kunimichi runs the flamboyant Shizu copy fully out and turns his boshi pointed in the Mishina manner, the Sanpin boshi the school otherwise does not show. Masahiro keeps the same Soshu-den worked at lower temperature, his temper calm and his mokume conspicuous; Kuniyasu and Kunitsugu stand closest of all to the master and signed for him. Kunitomo turns alone toward late Seki, his gunome round-headed and his chisel the finest in the group, and the elder Kunisada and Kunisuke carry the zanguri steel south into Osaka, the latter keeping the Ishido clove he was born to. Hiroyuki holds suguha over a blackish steel that recalls old Yamato, and the two Echizen Kunikiyo forge a dark, dense hokkoku-gane under a calm chu-suguha. A collector seeks Horikawa because the school stands at a hinge: Kunihiro is read as the first hand of the new-sword age, and the line he taught runs forward into the Osaka tradition through Kunisada and Kunisuke and into Echizen through Kunikiyo. To kantei the work, read the steel first, the standing zanguri surface and the oblique mizukage, then the sinking nioiguchi and the Soshu-revival notare with its sunagashi and kinsuji; the individual hand declares itself in the departures, Kunimichi's pointed boshi, Kunitomo's Seki gunome and compact tang, Kuniyasu's reversed file marks and two-character mei, Hiroyuki's kiri-yasuri. The founder and his closest pupils sit at the top of the line, Kunihiro signing almost everything he made, the large kata-ochi two-character mei beside his long residence signatures; because Kuniyasu, Masahiro, Kunitsugu and Hiromi worked as his daisaku, a share of the blades signed Kunihiro are in fact theirs. Provenance runs through the houses of the founder's own story and of the country, the Hyuga Ito he had served, the Shimazu of Kagoshima, the Imperial Family and Toyotomi Hideyori, with the tachi Kunihiro dedicated to the Hataeda Hachimangu still in the shrine's keeping. A signed Horikawa blade reaches a private collection only from time to time, carrying on its nakago the hand with which the new sword begins. Learn more →
| Smith | Era | Designated |
|---|---|---|
| Kunihiro國廣 | 1573-1613 | 147 |
| Kunimichi國路 | 1615-1624 | 75 |
| Kunisada國貞 | 1624-1646 | 87 |
| Kunitomo國儔 | 1596-1615 | 27 |
| Masahiro正弘 | 1596-1615 | 16 |
Kyōto: the revival workshop
The Shintō era was largely invented in Kyōto: Umetada Myōju’s workshop trained the movement, Horikawa Kunihiro raised a generation, and the Hon’ami appraisers, who held no forge, governed the meaning of famous blades.
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.
Certificate reading — 銘 出羽大掾藤原国路