NihontoWatchNihontoWatchHeianjo zogan tsuba inherit the techniques of Onin tsuba from the Muromachi period, and are characterized by patterns created by performing brass zogan on iron plate tsuba. While Onin tsuba use only brass for zogan, older Heianjo zogan tsuba use only brass, but in later periods, works using a combination of gold, silver, suaka, yamagane, and other materials can be seen, developing into more gorgeous and varied expressions. This work is an impressive piece featuring grape leaves and vines in brass zogan, and fresh grape clusters expressed using suaka. Since ancient times, "budo" (grapes) has been known as an auspicious design greatly favored by warriors because its sound is the same as "budo" (martial arts). The grape design is not only beautiful but is also a design that reflects the spirit of the samurai; particularly when a squirrel is added, it signifies even greater luck as "budo ni rissu" (abiding by martial arts) and was cherished by samurai families. The exquisite zogan standing out against the iron ground and the design that combines strength with elegant taste can be called a very attractive piece both as tosogu and for appreciation; it coexists with simplicity and splendor, and is an attractive piece that I would like everyone from those starting the hobby of tosogu to experienced collectors to hold in their hands.
NihontoWatchOffered by Toushin
We couldn’t find current papers for this piece. Ask the dealer whether it has been, or can be, submitted to shinsa. — Hoshi
11 on the market
As written by the shop
Machine translation from the shop's Japanese · may contain errors ·
Yamashiro-den · Kyoto
11 pieces on the market now
The Heianjō school (平安城) of swordsmiths represents the principal lineage of Kyōto sword production during the Muromachi period. "Heianjō" is the classical name for Kyōto (Heian-kyō), and the school's smiths — resident in the Sanjō district of the capital — signed variously with the 平安城 (Heianjō) and 三条 (Sanjō) prefixes, a usage that has often caused them to be confused with the far earlier Sanjō school of Munechika. They are an entirely distinct, late group: its two representative masters, Heianjō Nagayoshi (平安城長吉, also read Chōkichi) and Sanjō Yoshinori (三条吉則, of the Fuse 布施 family), are counted as the leading makers of Muromachi-period Kyō-mono (Kyoto-made blades), carrying forward the capital's swordmaking after the Nanbokuchō-period Nobukuni and Hasebe lineages. Both names continued through several generations from the late Nanbokuchō era into the sixteenth century, and the smiths are known to have travelled to forge (desaku) in provinces such as Izumi, Mikawa, and Echizen during the late Muromachi period. The Heianjō style is dominated by a flamboyant hitatsura (full-temper) idiom adopted from Sōshū tradition: a foundation of large gunome-midare mixed with chōji, togariba, and yahazu-ba, with abundant tobiyaki and muneyaki spreading temper across the entire blade surface, nie adhering strongly, and sunagashi and kinsuji coursing through a bright, clear nioiguchi.
The finest examples are so accomplished that they are difficult to distinguish from late Sōshū (Sue-Sōshū) work. A quieter suguha- and ko-notare-based mode close to the Nobukuni tradition is also seen. High-quality horimono — kurikara, bonji, suken, and gomabashi — frequently accompany the blades. The school is not to be confused with the unrelated Heianjō-zōgan (平安城象嵌) inlay tradition of tōsōgu makers. Learn more →
| Smith | Era | Designated |
|---|---|---|
| Nagayoshi長吉 | 1469-1492 | 15 |
| Yoshinori吉則 | 1469-1487 | 3 |
| Nagayoshi長吉 | 1449-1452 | 0 |
| Nobusada信貞 | 1346-1370 | 0 |
| Yoshinaga吉長 | 1381-1384 | 0 |
We could not find an authenticity certificate on the seller’s listing. Japanese swords and fittings are normally papered by the NBTHK (or the NTHK). Without one, the attribution is the seller’s own assessment and has not been independently verified — treat it with caution and ask the dealer about certification before buying.
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¥132,000