Muromachi turned sword making into an industry: the uchigatana rose with massed infantry warfare, Osafune and Seki produced bundle swords beside custom orders, and the Ming trade carried Japanese blades abroad by the tens of thousands.
NihontoWatchNihontoWatchSummary This blade has an inscription on the tang, saying that Hyoshinshi (氷心子) on one side and Soshu Jyu Sukehiro (相州住助広）on the other side. According to NBTHK that appraised this blade, these signature are Kiritsuke Mei. This means that Hyoshinshi, also known as Hyoshinshi Hideyo (氷心子秀世) was ordered by someone to do Suriage (shortening the blade) . And, the original signature was cut due to this act. Therefore, Hideyo engraved the name of the swordsmith who originally signed this blade. Both sides of the singatures were made by Hideyo. We would like to explain Hyoshinshi Hideyo and Soushu Jyu Sukehiro below. About Hyoshinshi Hideyo Hideyo’s birthname was Tamura Gunpei. He originally learned sword-forging techniques from the Ishido Unju Korekazu, also known as the 7th-gen Ishido Korekazu. Later on, he became an apprentice of Suishinshi Masahide (水心子正秀). Hideyo was active during 1818-1848. Korekazu and Masahide are two of the most famous swordsmiths at the end of the Edo period. He resided in Azabu town, Edo city. And he eventually became the son-in-law of Masahide. And Hideyo received the Hyoshinshi title. It is said that Hideyo often did a Daisaku for his master at the end of Masahide’s career. Daisaku is a regular act where an apprentice or a child of the swordsmith signed his master’s name with his master’s permission or forged a blade on behalf of the master. That means that his master highly acknowledged Hideyo’s craftsmanship. About Soushu Jyu Sukehiro Soushu Jyu Sukehiro is a swordsmith, who was active during the late Muromachi period in Soshu reigion (Today’s Kanagawa prefecture). Sukehiro forged blades with Soshu tradition, one of the five Japanese sword-forging traditions. Shoshu Den was born in the middle of the Kamakura period. Back then, the Yamato and Yamashiro traditions were highly developed, and there were a few renowned swordsmiths from those regions. However, the sword-forging practice was in its infancy in the Kanto area, where the Soshu region was located. At the beginning of the Kamakura government, which was established in 1185, the first Shogun, Minamoto Yoritomo, prioritized making a lot of rules to have its political stability. And he couldn’t afford to hire swordsmiths within the same region or train them. Therefore, the Kamakura government originally ordered weapons to the swordsmiths in the other areas, such as Yamato and Yamashiro. But, since the government was established, the demand for weapons increased exponentially in the government, and they had to figure out how to meet those demands from Samurai who served Kamakura shogunate. Then, the 5th head of the Shogun, Hojo Tokiyori, invited two renowned swordsmiths from other parts of Japan. They were Awataguchi Kunitsuna from Yamashiro province and Bizen Saburo Kunimune from Bizen province. And the 7th-gen Shogun Koreyasu Shino also invited Fukuoka Ichimonji Sukezane from Bizen province. It is said that those three swordsmiths played an essential role in creating the Soshu Den and making the foundation of the Soshu Den. Also another famous figure in the Soshu den is Intou Kunimitsu, an adopted son of Awataguchi Knitsuna. And Kunimitsu passed his excellent craftsmanship to Yukimitsu, his apprentice. And Masamune, one of the most famous swordsmiths in Japanese history, was an apprentice of Yukimitsu. And Masamune was the one that brought Shoshuden to nationwide fame. The tradition Masamune completed became an example of other swordsmiths who learned Soshu Den. Also, Soshu Den influenced many renowned swordsmiths during the Koto- Shinto era. One of examples is Inoue Shinkai from Osaka and Suishinshi Masahide from Edo. This blade is appraised as a Hozon Touken (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 noticeable Kitae kizu and black rust on on this blade. If you like to know more details, please feel free to contact us. Fuchi-Kashira The Fuchi and Kashira parts have different designs. On the Fuchi part, we could find some tools that seem to be feather brooms with short handles are designed. Considering that these motifs are engraved here as a part of a Japanese sword’s decoration, these might represent tools related to the Samurai. One of the possibility is the Saihai (采配), a tool made by attaching strips of cloth or paper to the end of a stick so that it could be seen from a distance. Saihais were generally made of paper or yak tail hair. This item began to be used around the end of the Muromachi period (室町時代, 1336-1573) and is also written as 采幣, 再拝, or 采 in Japanese. This item initially comes from the Sai (旄), a tool used to call a tamed falcon, and its name influenced the name of Saihai. Those who could use a Saihai were limited to the commander of the Ashigaru (足軽, foot soldier) or above or Samurai warriors who had notable military exploits. Being allowed to possess this tool meant commanding a unit, and it was a convenient tool. At the same time, it also had a strong meaning of showing the rank and authority of a military commander. In an actual battle, the movement of the troops was controlled in detail by swinging the Saihai, such as using it as a signal to advance. The signal from this tool differs depending on each military commander, and there is no set pattern. Therefore, it was necessary for the soldiers who received the order to understand the content of the signal perfectly. A theory says that warlords chose their Saihais according to their preferences in the Warring States period. However, in the Edo period, when battles were abolished, this tool became more meaningful than ever as a symbol of authority. The Tokugawa (徳川) family, who ruled the Edo Shogunate, restricted the ownership of these tools based on social status. Tsuba and Habaki It seems golden paint (probably gold or brass inlay) was initially applied to this Tsuba, while most of them have faded due to aging. We could faintly spot the outlines of some geometric shapes. For example, you would find the outline of a pattern that seems rhombuses arranged vertically. We think it shows a part of the Hishi Gata (菱形, rhombus) pattern. And we estimate the design which is engraved here is the Sankai Bishi (三階菱). It is known that the Ogasawara (小笠原) family used this mark. This family was a clan of the Takeda (武田) family. The Takeda family used the Takeda Bishi (武田菱) pattern; it shows the relationship between these families. Branch families of the Takeda family used the Hishi pattern for their family crests; however, they had considered the head of the Takeda family. So, they changed the Hishi pattern. This Sankai Bishi pattern might have been one of these examples. We are unsure whether one of the former owners of this sword was related to the Takeda family. Please note that it is just a possibility. In any case, we hope you enjoyed this description. Saya The Saya is coated with stingray skin. Authentication Paper They authenticated the blade on May 24th in the third year of Reiwa (2021). They appraised it as Hozon Touken, the blade worth preserving for Japanese society.
Sukehiro助廣
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As written by the shop
Sagami · around 1469-1487
Fujishiro Jo saku · Tōken Taikan top 31%
The Muromachi period (1392 to 1573)
Muromachi turned sword making into an industry: the uchigatana rose with massed infantry warfare, Osafune and Seki produced bundle swords beside custom orders, and the Ming trade carried Japanese blades abroad by the tens of thousands.
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.