In the Sengoku era the school served a second warrior court: the Later Hōjō at Odawara, whose patronage kept the Tsunahiro line forging hitatsura for the uchigatana age until the castle fell to Hideyoshi in 1590.
NihontoWatchNihontoWatchThis blade was signed by Hiromasa (広正) during the late Muromachi period in Sagami province (today’s Kanagawa prefecture). The swordsmith’s name Hiromasa continued for several generations, and we estimate that this sword was made by one of the later Hiromasa. The first generation was a disciple of the famous swordsmith Masamune (正宗), and he inherited the techniques of the Soshu Den from him. He produced many swords in Sagami province (today’s Kanagawa prefecture) around 1356 to 1361. However, very few of his works have survived. Later, around 1469, a swordsmith who inherited the name Hiromasa moved from Sagami province to the Kouzuke province (today’s Gunma prefecture), where he began making swords for the Obata family (小幡家), who were local lords. Hiromasa swords became well-known for their exquisite carvings, with designs such as Fudo Myoo (不動明王, acalanātha) and Kurikara (倶利伽羅, a pattern where a dragon is entwined around the sword) being particularly popular. Soshu Den It is said that the generations of Sukemune mastered a particular sword-forging tradition called Soshu Den. 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. Background During the late Muromachi period, which corresponds to the Sengoku period (戦国時代, the Warring States period), Japan was marked by constant military conflict and political instability. Samurai played a crucial role in these tumultuous times, and their need for high-quality weapons, especially swords, became more pronounced. The samurai relied heavily on swords not only as a symbol of their status and power but also as essential tools in battle. Swords were seen as extensions of the samurai’s spirit and were used for both combat and ceremonial purposes. The demand for swords, particularly those forged by renowned swordsmiths, grew as different feudal lords (daimyō) sought to arm their warriors with the best possible weapons. During this period, the production of swords was not only for military use but also for ceremonial purposes, as samurai were expected to maintain a strong connection to traditional values and the aesthetics of their culture. High-quality swords with intricate designs, such as those featuring symbols of Buddhism or dragons, became highly sought after for their beauty as well as their functionality. As the Sengoku period progressed, swordsmiths who could produce superior weapons like Hiromasa gained renown, and their blades were seen as vital for the success of the samurai in both war and in their role as protectors of their territories. Horimono (Engraving) On this blade, you would find Horimo (彫物, blade sculpture) on each side. These are the elements of this blade’s beauty. On one side, you may notice a fierce figure holding a sword against a backdrop of blazing flames. This is Fudo Myo-O (不動明王, acalanātha), a popular deity in Japanese Buddhism. Despite his appearance, he is known as a protector who guides people through life’s challenges and uncertainties. The flame behind him represents the burning away of desires that obstruct the path to an ideal life, while the large sword in his right hand symbolizes cutting through confusion. His name, ‘Fudo (不動)’ meaning ‘immovable’, reflects his steadfast wisdom and his vow to protect wisdom and his vow to protect those who seek his guidance. On the other side, you would find the Gomahashi (護摩箸) and Bonji (梵字) are engraved. Gomahashi (護摩箸) is a horimono in the form of the ritual chopsticks used in both Shinto and Buddhist rites. Bonji (梵字) is Sanscrit characters carved into the blade invoking Buddhist deities. Sword carvings often depict Fudo Myo-O or his incarnations, and there are also Sanskrit characters that represent this god. Among the various Buddhist Buddhas, Fudo Myo-O was deeply worshiped by Samurai warriors. According to a theory, this god is the incarnation of Dainichi Nyorai (大日如来, Mahāvairocana, the principal image of esoteric Buddhism). Perhaps the most common type of Sanskrit character carved on the blades is the character “Kahn (カーン)”, which means Fudo Myo-O. There is also a Sanskrit character called “Kanmarn (カンマーン),” which is combined with the word “Man.” There was once a trend that Samurai warriors incorporated motifs with religious meaning into their battle costumes, such as armor and helmets, and this sword carving was also a way to express their religious beliefs. 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). *Please keep in mind that there are a couple of Kitae Kizu one this blade. Tsuka and Menuki One side depicts an horned owl perched on a harvest basket. In Buddhism, owls are considered to be symbols of knowledge, and they are often regarded as guardians or symbols of wisdom in temples and shrines. In Japan, as seen in the design of this pattern, owls are also seen as heralds of a good harvest. On the other side, a cow is depicted. The cow holds significant importance in Buddhism, partly because the name “Gotama” (the Buddha’s birth name, Gautama Siddhartha) means “the most sacred cow.” In Japan, the cow is also considered a symbol of compassion. Kozuka This Kozuka depicts a crow perched on a tree. The crow has long been regarded as a symbol of wisdom and mystery in Japan, and in Japanese Buddhism, it is considered a messenger of the gods. Kougai The Kiri (桐, Paulownia) is designed on this Kougai. The Kiri (桐) pattern is generally composed of three standing straight inflorescences and three leaves. The number of flowers that are blooming at each inflorescence means the ranks of this design. It is also famous that one of the most popular Samurais in Japan: Toyotomi Hideyoshi used the Kiri pattern for his family crest. According to a theory, Hideyoshi used Omodaka (沢瀉, arrowhead) pattern as his family crest. However, Oda Nobunaga, a well-known military commander in the Warring States period, permitted Hideyoshi to use Kiri design. This plant pattern was once used by the imperial family and national leaders of the time. Today, this plant pattern is used as the crest of the Japanese Government. Saya The cloud-like arabesque pattern is depicted entirely on this Saya. It is called the Kumo Karakusa (雲唐草), which is a combination of Kumo (雲, cloud) and Karakusa (唐草, arabesque) pattern. The cloud pattern has been associated with magical power, and people thought it an omen of lucky things. In addition, some people wished to obtain a leisurely life in comfort by seeing clouds’ movements (that floats in the sky). Or, as clouds appear repeatedly, its design represents reincarnation. Samurais were always on the verge of life and death on the battlefield. They might have believed in the power of this pattern. And they had incorporated it into the design of their sword mountings. Regarding the Karakusa pattern, it is a pattern in which stems and leaves of vines are twined and make curves. Since ivy has a strong vitality and grows up without interruption, people regarded this design as a symbol of prosperity and longevity. Vine, called Tsuru (蔓) in Japanese, has another pronunciation; “Man.” There is a word 万 (it is also read Man), which means ten thousand. In the Karakusa pattern, leaves and vines are connected like Obi (帯, belt). The word “帯” can also be read “Tai.” Due to its pronunciation, the term “代 (Tai)” is associated. From this word-association game, an idiom 万代 is associated, and it means a thousand generations. In other words, we could imagine that people used this design wishing prosperity and longevity for their clans for a long time. And the Kumo Karakusa pattern is said to be one of the arabesque patterns, which was made to resemble a large spreading cloud. Also, If you look close, you would find a heart mark-shaped hole is engraved. It is called the Inome (猪の目) pattern. The Inome pattern has been used since ancient times. As its name implies, the boar’s eyes are the origin of this pattern. Some people believed the Inome design would work as an amulet to protect them from evil spirits or fire. Also, it is said it would bring good luck. Authentication Paper They authenticated the blade on August 23rd in the 6th year of Reiwa (2024). They appraised it as Tokubetsu Hozon Touken, the blade especially worth preserving for Japanese society.
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Soshu-den · Sagami · around 1469-1487
Tōken Taikan top 37%
2 pieces on the market now
Where Hiromasa 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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Years he was demonstrably active, proven by signed-and-dated blades
Soshu-den · Sagami
Phase: Sue-Sōshū末相州· 1356–1868
21 pieces on the market now
When the great Kamakura masters had passed and the country slid into the wars of the late Muromachi, a residual Soshu-den held on in Sagami under a new patron. The Later Hojo, ruling from Odawara castle, kept smiths at hand, and it was from this orbit that the leading name of the window emerged: Tsunahiro, transmitted as a retained smith of the Odawara Hojo who took the character tsuna from Hojo Ujitsuna. The first generation's earliest dated works fall in the Tenbun era, and the line runs forward in the conventional reckoning through Tensho, Keicho, Kan'ei, and Manji, the third generation drawn west to Tsugaru by Tamenobu to forge daisho before returning home. Around him stood a wider Sagami population working the same idiom: Hirotsugu of Kamakura, whose strongest hands cluster near the Meio and Tenbun years; Hiromasa and Soso, names carried across several indistinct generations; Masahiro, reaching back toward Joji; and the Odawara group of Yasuharu, Yasukuni, and Fusamune, the last praised above all for his carving. These smiths inherited the manner of the Nanbokucho apex at a remove of generations rather than by direct descent from the mainline of Masamune and Sadamune. The signature of the phase is the open declaration of the full temper. The forging stays itame mixed with mokume, the grain inclined to stand (hadadachi-gokoro), with ji-nie and chikei; over it the smiths ran a notare-and-gunome ground that climbs the upper half into hitatsura, tobiyaki and muneyaki firing across ji and mune, sunagashi and kinsuji threading the ha. This is the hitatsura and o-midare learned from Hiromitsu and Akihiro, but pushed toward display: the Hirotsugu katana of the 61st Juyo runs its temper so high it reaches the shinogi, mixing choji, togariba, and yahazu-gata into a demonstrative yakidaka pattern.
The contrast with the classic apex is precise and the appraisers mark it. Where Masamune raised nie to its deepest refinement over a bright, clear steel, the Sue-Soshu ji tends to shirake, a whitish cast standing in for that clarity, and the nioiguchi inclines to shizumi, a sunken or subdued quality rather than depth. The 238th Jubi record states the point plainly for the first-generation Tsunahiro: the ji and ha carry abundant nie, yet the very shape of the hamon departs from that of Hiromitsu and Akihiro. The temper is broader and busier across the surface, but it lacks the quiet command and the leaping interior activity of the original. To kantei the window is to separate this demonstrative late temper from the classic Soshu-den it imitates: a standing itame with shirake, a wide hitatsura worked with yahazu and crescent tobiyaki, a nioiguchi that sinks rather than deepens, and signatures reading Soshu-ju with full given names rather than the o-suriage mumei of the great forebears. The named hands carry the distinctions, Fusamune through his dense, precise horimono of kurikara and bonji, Tsunahiro through his crescent tobiyaki and high monouchi fire, Hirotsugu through a hitatsura vigorous enough to recall Hasebe. Provenance keeps these blades close to power: several are recorded in Honma's inventory of the Imperial collection, one bearing the ownership inscription of Akimoto Yoshihide of Kozuke, another the Hachiman Daibosatsu invocation of a Sengoku warrior, the Tsunahiro commission tied by its dated nakago to the Tsugaru house. Learn more →
| Smith | Era | Designated |
|---|---|---|
| Fusamune總宗 | 1504-1521 | 5 |
| Tsunahiro綱廣 | 1532-1555 | 14 |
| Hiromasa廣正 | 1444-1456 | 4 |
| Hirotsugu廣次 | 1492-1501 | 4 |
| Tsunaie綱家 | 1532-1555 | 3 |
Sōshū in the Muromachi period
In the Sengoku era the school served a second warrior court: the Later Hōjō at Odawara, whose patronage kept the Tsunahiro line forging hitatsura for the uchigatana age until the castle fell to Hideyoshi in 1590.
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.