Hizen swords were a domain enterprise: the Nabeshima sent Tadayoshi to study under Umetada Myōju around 1596, then built a licensed school around him. Nine generations carried its famously consistent konuka-hada work into the Meiji era.
NihontoWatchNihontoWatchMei: "Hizen no Kuni Ju Mutsu no Kami Tadayoshi" "Hizen no Kuni Kawachi no Kami Masahiro" Type: Katana Nagasa: 2 shaku 5 sun Sori: 6 bu Motohaba: 32.8 mm Motokasane: 8.5 mm Sakihaba: 24.3 mm Sakikasane: 6.4 mm Weight of blade: 1099 grams (All measurements are approximate) Fukuoka Prefecture Board of Education Great Daimyo 3-digit registration Accompanied by a masterpiece habaki made of solid silver and copper with kin-kise. This is a masterpiece by the third generation Mutsu no Kami Tadayoshi and Kawachi no Kami Masahiro. According to the sayagaki by Tanobe Michihiro Sensei, there appears to be only one other surviving example of a gassaku by these two; in any case, it seems only two such blades exist. This one is a Nabeshima family heirloom and the polishing is believed to be by the Living National Treasure Ono Kotsuyu. It is a well-known fact that works by the third generation Mutsu are extremely rare because he passed away at the age of 50, though very rarely gassaku with his father Omi Daijo Tadahiro existed. This combination far surpasses that in rarity, and by researching their relationship, one can infer: "Mutsu no Kami Tadayoshi, born in Kan'ei 14, is known to be 10 years younger than Kawachi no Kami Masahiro, who was born in Kan'ei 4. Both received the title of Daijo in Manji 3, and received the title of Kami the following year in Kanbun 1. This event shows what a genius the third generation Mutsu was, but it is presumed that they removed the barriers between the main family and the branch family, honing their skills together in a rival relationship. Therefore, this work, which has absolutely no barriers of main/branch or master/disciple relationships, is a soul-stirring blade packed with all the skills each was best at. With its magnificent kasane and well-balanced mihaba, it can be called a masterpiece of Hizen-to that could only have been realized through the Nabeshima family." The workmanship is a powerful o-gunome midare resembling doranba, as if to proclaim its status as Saijo-saku. The characteristic nashiji-hada is very tightly forged, with thick ji-nie and strong chikei entering with great clarity—the high-difficulty work of the third generation Mutsu. In addition, Masahiro's specialty of frequent kinsuji running through, deep nie and nioi, and every possible hataraki by both smiths packed into the foundation of the ha make this a blade that deviates from the ordinary and can be called the pinnacle of the Japanese sword. The quality is clearly outstanding and tremendous, but the photographs do not capture even 1/100th of it well. It is a supreme masterpiece of the highest order that deviates from the ordinary, a dream-like blade that fully demonstrates the characteristics and highlights of both Tadayoshi and Masahiro in both the ji and ha. Please by all means add this masterpiece, the likes of which will never appear again, to your family treasures. Mutsu no Kami Tadayoshi's name was Hashimoto Shinzaburo; he was born in Kan'ei 14 as the eldest son of Omi Daijo Tadahiro, received the title of Mutsu Daijo in Manji 3, and changed his name to Mutsu no Kami the following year in Kanbun 1. He passed away at the young age of 50, preceding his father who lived to the ripe old age of 80 in Jokyo 3. It is said that after the death of the heir Mutsu no Kami Tadayoshi (3rd generation), the second generation Omi Daijo Tadahiro instructed his grandson Omi Daijo Tadayoshi (4th generation). Because Mutsu no Kami Tadayoshi had a short production period and spent a long time performing daisaku for his father, his extant works with mei are extremely few. Compared to his long-lived grandfather and father, the 3rd generation Tadayoshi's own productions are few, but in terms of the refinement of the jigane and the clarity of the ji and ha, many of his works surpass the first generation. He is said to be the Tadayoshi who is highest not only in skill but also in price, even more so than the first generation Tadayoshi. Kawachi no Kami Masahiro was born in Kan'ei 4 as the son of Kawachi Daijo Masahiro, originally called Sadenji, and his first mei was Masanaga. He received the title of Musashi Daijo in Manji 3 and changed to Musashi no Kami the following year in Kanbun 1. Later, in Kanbun 5, February, when he was 39 years old, his father the first generation Masahiro passed away, and he received the title of Kawachi no Kami in April of the same year. Masahiro passed away in Genroku 12 at the age of 73. 4,800,000 yen (Tax included) img src="https://www.kusanaginosya.com/pic-labo/mututada1.jpg" alt=""> img src="https://www.kusanaginosya.com/pic-labo/mututada7.jpg" alt="">
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Hizen Tadayoshi, waki-Hizen (Saga) · Hizen · around 1624-1655
Fujishiro Jo-jo saku · Tōken Taikan top 23%
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Masahiro, the first of his name at Saga, was the son of Yoshinobu, a pupil and son-in-law of the first-generation Tadayoshi, which makes him the founder's grandson and the elder brother of Dewa no Kami Yukihiro. He first signed Masanaga and changed his name to Masahiro in the eleventh month of Kan'ei 2 (1625). After the founder's death he served the second-generation Omi no Daijo Tadahiro as a close attendant and assistant, and the published sources call him a most able collaborator of the main house. They also judge him the most skilled of all the collateral Hizen smiths, the waki-Hizen, 「傍肥前の中でも最も技量が優れており」. He is said to have died in Kanbun 5 (1665) at the age of fifty-nine.
The date of his title is a matter the published record treats with care. Tradition places his appointment as Kawachi Daijo in Kan'ei 5, yet works dated as late as Kan'ei 16 are still signed Hizen no Kuni Saga-ju Masahiro or simply Hizen no Kuni Masahiro, and the title first appears on a katana dated the eighth month of Kan'ei 18. The modern view therefore places the appointment about Kan'ei 18, shortly after Tadahiro himself received the Omi no Daijo title, which accords with the tradition that Masahiro worked throughout as the assistant of the main house. One Juyo katana whose signature combines the features of his pre-title and post-title hands is valued for exactly this reason, as a work made soon after the appointment.
His manner stands against that of the main line. Where the Tadayoshi house excels in suguha, Masahiro preferred the irregular temper, and the published sources state it plainly: 「作風は乱れた刃を好んで焼き」. His typical hamon is a choji mixed with gunome and ko-notare, and the clove pattern is likened to that of Musashi no Daijo Tadahiro. Several blades begin with a straight yakidashi at the base, and in places the clusters of midare are linked by a low, shallow, suguha-toned stretch, both of which the judges call a main point of the waki-Hizen temper. The temper is set high and low, long ashi and yo enter well, the nioiguchi is deep and bright, and thick nie gathers in the valleys of the midare. Kinsuji and sunagashi run through the hamon, and on several blades the kinsuji are recorded as notably long. Gunome with rounded heads are named as a point of his hataraki, and a wide temper of showy choji-midare is called his own domain.
The jigane beneath it is, on most blades, the refined Hizen forging: a tightly packed ko-itame with ji-nie, on some laid dust-fine and thick with fine chikei entering, while a few pieces run instead an itame that stands. The boshi runs straight to a ko-maru and turns back with hakikake, at times slightly midare-komi. The sugata is often broad and long, and one katana with a greatly extended kissaki is described as powerful and full of movement. The published sources find in his work more natural vigor than in that of the main house, 「本家忠吉家の作よりも自然, 覇気のある作が多く」.
He also commanded the suguha, though it is comparatively rare in his record. One wakizashi with a deep-nioi chu-suguha, the ko-nie evenly attached and the nioiguchi bright and clear, is singled out as among the finest of his suguha works, the published sources concluding that it shows the height of his skill in suguha as well as in midareba[[c:1]]. A Kan'ei 11 katana of gunome mixed with small choji is named the finest of his works, 「この刀はその白眉である」. The judges add two kantei points that separate him from the main line. His katana are signed on the sashi-ura, and his yasurime are sujikai, unlike those of the main house, becoming a large sujikai on early works whose tangs narrow toward the tip. His signature grows smaller in his last years.
Masahiro is graded Jo-jo saku by Fujishiro. He has no National Treasures and no Important Cultural Properties, and his record runs through the Juyo rank, where thirty of his works have been designated. Dated pieces survive in small numbers, from Kan'ei 9 through Keian 1 and Joo 4 to a naginata of Kanbun 4, his last years. Several carry carving by his compatriot Yoshinaga, and on one wakizashi the Shigetsu Hotei in relief within the koshi-hi is called an extremely rare design among Hizen blades, paralleled only on a wakizashi of Musashi no Daijo Tadahiro. Another wakizashi is mounted in a Yagyu koshirae and carries the ownership inscription of Yagyu Renyasai Toshikane. Recorded provenance is otherwise slight. A signed Masahiro of the Juyo rank comes to light from time to time, with patience, as the work of the most accomplished of the waki-Hizen.
Where Masahiro 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
Shinto · Hizen
105 pieces on the market now
The Hizen school began with a single domain commission. In Keicho 1 (1596) the Nabeshima of Hizen ordered Hashimoto Shinzaemon, the smith who would sign Tadayoshi, up to Kyoto with the carver Munenaga; there he entered the gate of Umetada Myoju and studied forging while Munenaga learned the chisel. The two returned to the province in Keicho 3 (1598), and Tadayoshi settled in the castle town below Saga, where under the domain's patronage the line grew into the dominant sword-making house of Kyushu. His own work runs from Keicho 5 (1600) to his death in Kan'ei 9 (1632); in Genna 10 (1624) he received the court title Musashi Daijo, changed his name to Tadahiro, and shifted his clan name from Minamoto to Fujiwara, so that the late Musashi Daijo blades are the founder under a second name. From him the house became a true generational institution: his son the second-generation Omi Daijo Tadahiro carried it forward as its most prolific hand, the third-generation Mutsu no Kami Tadayoshi returned its highest finish, and a Tosa no Kami branch took the founder's signature when he set it aside. Around this main line grew a circle of disciples and collateral hands, the waki-Hizen or Soba-Hizen smiths, several of them, like Yoshiie and Hironori, working as daisaku substitute makers whose own signed pieces are therefore scarce. The school's signature is its steel. Over a ko-itame forged so tightly it shows no slackness, fine ji-nie gathers in minute particles until the surface takes on the rice-bran konuka-hada (also written komenuka-hada) that no other school produces, fine chikei entering throughout and the ji notably clear and bright.
The orthodox temper laid upon it is a chu-suguha or hiro-suguha, sometimes tinged with a shallow notare and ko-gunome, the nioiguchi deep with finely clustered ko-nie and tightened to a bright clarity, the boshi running straight to a quiet ko-maru. The founder aimed this suguha toward the Rai school yet departed from it, his nioiguchi tighter and his forging carrying more vigor; the third generation refined it to what the published sources call the strongest and most precise hand of the first three generations. Against that calm register the house also worked a showier one, the Hizen choji-midare mixing gunome, long ashi, kinsuji and sunagashi, a manner the published sources already find more often in the founder's late Musashi Daijo work than in his Tadayoshi years, and one the second generation made his own. The branches pushed further from the suguha standard: Tadakuni of the Ogi domain ran sunagashi more conspicuously than any other Hizen hand and reached toward old Ichimonji in his o-choji; Masahiro and Yukihiro favored a flamboyant long-ashi choji over the calm main line; and the Iyo no Jo Munetsugu line worked apart in the Soshu-den, building a midareba on notare with a pointed togariba and a jihada that tends to stand and tone slightly blackish. A collector seeks Hizen-to first for that steel, and reads it the same way the appraiser does: a bright suguha lying over a clear, tight konuka-hada identifies the school before the signature is consulted, and the quiet ko-maru boshi on the ura-signed tang confirms the main-line practice. Generation and branch are then told within that frame, the third generation's powerful sugata recalling not his father but his grandfather, the waki-Hizen hands set apart by their irregular temper, their sujikai file marks and a sashi-ura signature, the Munetsugu line by its Soshu togari. The main line, made in real numbers across so long a span, reaches the market more readily than any Kamakura master, so a papered example is within reach of a patient collector, while the founder's own work and the finest konuka-suguha of the third generation come to open hands only from time to time. Provenance runs back through the house the school served, blades recorded to Nabeshima Katsushige and Nabeshima Naomoto and passing onward to the Owari Tokugawa, the Satake and the Imperial families; documentary inscriptions sharpen the picture further, a Myoju soemei attesting the founder's discipleship, Umetada carving adding flowers to brocade on his late blades, and the gold-inlaid cutting tests of Yamano Kanjuro and Yamano Ka'emon, rare on Hizen work, naming the edge as well as the hand. Learn more →
| Smith | Era | Designated |
|---|---|---|
| Tadayoshi忠吉 | 1596-1632 | 155 |
| Tadayoshi忠吉 | 1660-1686 | 61 |
| Tadahiro忠廣 | 1633-1693 | 133 |
| Masahiro正廣 | 1624-1655 | 30 |
| Tadakuni忠國 | 1648-1652 | 32 |
Hizen: a domain enterprise
Hizen swords were a domain enterprise: the Nabeshima sent Tadayoshi to study under Umetada Myōju around 1596, then built a licensed school around him. Nine generations carried its famously consistent konuka-hada work into the Meiji era.
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.
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