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 Chikushu Jyu Minamoto Nobukuni Yoshimasa (筑州住源信国吉政) in August, the second year of the Jokyo era (1685). Chikushu, also known as Chikuzen, is the province’s name located in Fukuoka prefecture today. Jyu means living. Minamoto Nobukuni is the name of his school, and Yoshimasa is his maker’s name. Those who belonged to Nobukuni School in Chikuzen province were called Tsukushi Nobukuni, one of the most prospered sword forging schools in Kyushu island during the Edo period. The maker’s name Yoshimasa lasted three generations, and we believe it was signed by the second generation. The second-gen Yoshimasa is also known as Nobukuni Heishiro (信国平四郎). He was born as the second son of Nobukuni Yoshisada (信国吉貞) in the fifth year of the Gen-Na era (1618). Yoshisada was the founder of Tsukushi Nobukuni school, and his older brother was the first-gen Yoshimasa. The second-gen Yoshimasa was especially active during the Kanbun-Enpo era (1661-1681: Early Edo Period). There is also a record of him forging a sword in the second year of the Jyokyo era (1685). Based on these records, we believe this blade was forged at the end of his career when he mastered superb craftsmanship. The Fondation of Nobukuni School The Nobukuni school was initially founded by the first generation Nobukuni in Kyoto. The school stayed there for a few generations. However, the 4th generation Nobukuni SADAMITSU had to evacuate Kyoto city because the battle between the south emperor court and the north emperor court became severe. And as a result, Kyoto city was burnt(in the late 1300s). We called it the Nanbokucho war when the Japanese imperial court was separated into two. Nobukuni SADAMITSU managed to escape and arrive at Usaha(Ohita prefecture)to serve the Ajimu clan. Nobukuni school prospered there from third to 11th generation. However, Toyotomi Hideyoshi, one of the three unifiers of Japan, destroyed the Ajimu clan during the late Azuchi Momoyama period (1582). And the 12th generation Nobukuni YOSHISADA moved to Chikuzen(Fukuoka prefecture), being invited by Kuroda Nagamasa, a famous feudal lord who served Toyotomi Hideyoshi (1602). It is said that the second-gen Yoshimasa also followed his father. Since then, Nobukuni school had been under the auspices of Kuroda clan for generations during the Edo period, and they exclusively forged for this clan. This blade 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). Fuchi-Kashira The theme of this Fuchi Kashira is the Shukaidou Zu (秋海棠図, begonia grandis pattern). It is a perennial herb native to the continent that grows naturally in the fields and mountains of Japan. This plant is characterized by having heart-shaped leaves, and you would find it on this Fuchi Kashira. Although some colorings have already faded due to aging, golden paint partially remains on petals, leaves, and buds. The combination of black and gold colors creates an elegant atmosphere. The surface of this Fuchi Kashira is decorated with the Nanako-Ji (魚子地) technique. This process makes a uniform minimal protrusions pattern by hitting the Nanako-Ji Tagane (魚子地鏨, a chisel for this technique) on a metal surface. This decorative technique is often seen on sword mountings. There is an engraved inscription on the side of Fuchi part. It is written as follows: 正永 鐫. It means Masanaga (正永) made this work. Since there were several metalworkers whose name was Masanaga, we are unsure which Masaga is. However, here is a bare minimum of the fact that whoever he was, he was a virtuoso for producing this fine work. Tsuka and Menuki You would find a small boat-designed Menuki is attached to both sides of the handle. There is a bird perched on the edge of each boat. According to the certificate, the theme of this design is called the Ichiro Heian Zu (一路平安図). Initially, it was a prayer for safety on a journey that was expected to be challenging. However, today, it is also used as a word to pray for peace on the way to those who go on short trips. If we were to translate it into English, we think the following phrase would be appropriate: Have a nice trip. After understanding the meaning of the words in this way, when we look at this work again, we realize that the design of birds and boats is not just a landscape depiction but a profound motif. In one ship, the bird sits on the boat’s bow; in the other, the bird is looking back on the ship’s stern. A bird staring forward might imply the safety of the voyage. The figure of a bird staring back might represent the nostalgia of a person who will start a journey. This interpretation is just one example, but the wish for a safe voyage is certainly included here. Tsuba and Habaki This Tsuba’s Mimi (耳, edge) is framed with a thin gold plate. This decorative process is called the Fukurin (覆輪), and one of its purposes is to add beauty to works. In addition, it has practicality, such as preventing the wear of the edge part. Also, it prevents wear and tear on the Kimono if the edge damages it by touching the cloth. This Tsuba’s design is made of a unique subject that combines furniture and animals, and plants. The certificate says it is the Choudo Sukashi (調度透) theme. The Choudo (調度) is a word that means familiar tools and furniture used in everyday life. Indeed, objects with short legs that seemed to be tables were engraved. A three-legged pot with an Oni (鬼, a monster with a human body with horns and fangs)-like decoration is probably an incense burner. You would find the figure of an animal similar to a dog. We believe this animal is the Karajishis (唐獅子). The Shishi (獅子) means a lion in Japanese, and the Karajishi is a lion brought from the continent to Japan in the Toh period (唐, Tang dynasty, 618-907). The Karajishi typically has curly hair for its head, neck, body, and tail. A simplified pattern of this curly hair is carved as the body hair pattern of the Karajishi on this Tsuba. In Buddhism, the Karajishi is regarded as a symbol of wisdom, and Monju Bosatu (文殊菩薩, Manjushri Bodhisattva) rides lions. According to a theory, the Karajishi is the origin of Komainu (狛犬, stone guardian dogs that exorcize evil spirits). It shows this beast motif has been familiar to Japanese people since ancient times. Authentication Paper They authenticated the blade on May 24th in the 3rd year of Reiwa (2021). Its Koshirae (sword mounting) was also authenticated in the same year. They appraised them as Tokubetsu Hozon Touken＆ Tosogu, the blade＆sword mounting especially worth preserving for Japanese society.
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Yamashiro-den · Chikuzen · around 1661-1673
Fujishiro Jo saku · Tōken Taikan top 49%
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Where Yoshimasa 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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Yamashiro-den · Yamashiro
22 pieces on the market now
Few Kyoto houses bridged two traditions as deliberately as Nobukuni (信国), the Yamashiro-den lineage whose work runs from the Nanbokucho period through Muromachi and on, in a western branch, into the shinto age. The first generation, the smith the NBTHK counts as shodai, is the master of the Enbun, Koan and Joji years; the older registers placed a founding Nobukuni back in the Kenmu era, but the published sources set that legend aside, since no work survives so early and the style of the oldest dated blades connects directly with that of Sadamune. Two inheritances meet in him. By blood he belongs to the Ryokai line, recorded as son or grandson of Ryo Hisanobu and therefore of Rai descent; by training he is said to have studied under Soshu Sadamune, counted among the Sadamune Santetsu, the three brilliant pupils. The name then passed on: a change-of-generation Nobukuni with Eitoku, Shitoku and Meitoku dates stands at the close of Nanbokucho, and in early Muromachi come the so-called Oei Nobukuni, Saemon-no-jo and Shikibu-no-jo, conventionally the third generation. The published commentary keeps these hands apart and notes that several smiths of the same signature appear within the Nanbokucho period alone. Through Muromachi the line moved to Buzen and then Chikuzen, where it served the Kuroda house of Fukuoka as retained smiths and flourished as the Chikuzen Nobukuni group of Yoshisada, Yoshimasa, Yoshitsugu, Yoshikane and Shigekane. A single steel underlies the whole school. The jigane is an itame mixed with mokume that flows toward the ha and stands into masame, with thick ji-nie and chikei entering frequently; on the finer-forged pieces a streak-like nie-utsuri rises, and that masame-tinged surface is read as the visible token of the Ryokai pedigree.
Over it the temper divides into the manners the sources name together: a suguha expressing the Kyoto tradition, refined in ko-nie with fine hotsure and a niju-ba tendency, carried on tanto and ko-wakizashi; and a ko-notare mixed with gunome inheriting the Sadamune style, laid thick in nie, with kinsuji, sunagashi, hotsure and conspicuous yubashiri, on the most flamboyant pieces stringing into a two-tiered ha. From the late Nanbokucho succession into the Oei generation a third range enters, a gunome-led midare whose tell is paired gunome linked across the valleys by a low ko-notare into a yahazu, arrow-notch, profile, with muneyaki, tobiyaki and niju-ba on the liveliest blades. Above all stands the carving the sources call the house art, the horimono of bonji, kurikara, suken, gomabashi, sanko-ken and the invocation of Hachiman Daibosatsu, often layered one over another in kasanebori; few smiths of the age are so consistently identified by what they carved. The Chikuzen branch carried the masame-leaning itame forward and added a choji-midare with midare-utsuri, Yoshikane reaching toward Soshu-den with deep nioi and thick nie, Shigekane ranked highest in skill within his group and noted as a copyist of meibutsu who emulated Fudo Kuniyuki at the Hama Palace. To kantei Nobukuni is to read the Kyoto traces that part him from Sadamune: the nie-utsuri, the niju-ba, and the hada that drifts into masame along the ha. Within the long succession the shodai remains the touchstone, his dated work the standard against which unsigned blades and generation questions are resolved, the reversed left-form kuni marking the Oei Saemon-no-jo, the yahazu the daigawari hand. The best members rank Jo-jo saku under Fujishiro, and the carving reputation is the constant thread, distinguishing these blades from the plainer utilitarian grooving of contemporary Bizen. Provenance runs through the great houses: the Kuroda wakizashi once carried by Kuroda Nagamasa, a Hongan-ji meibutsu held to have been cherished by Rennyo Shonin, the signed Arao Nobukuni descended in the Asano of Geishu, pieces in the Sanada, Tosa Yamauchi and Tamura families, and a tachi bestowed on the Owari Tokugawa. Examples rest today in the Tokugawa Art Museum, the Kyoto National Museum, shrines such as Atsuta and Ise, and long-held private collections, with the Chikuzen smiths' shogunal-command pieces preserving the historical episodes that produced them. Learn more →
| Smith | Era | Designated |
|---|---|---|
| Nobukuni信國 | 1356-1368 | 70 |
| Nobukuni信國 | 1383-1392 | 33 |
| Nobukuni信國 | 1394-1428 | 44 |
| Yoshikane吉包 | 1661-1686 | 6 |
| Masanobu正信 | 1356-1361 | 4 |
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.