Continuing from the previous post, this article features another sword fitting that will be presented at the upcoming 2025 Dai Token Ichi, held on November 1 and 2.

In this entry, we would like to introduce a rare signed tsuba by Hayashi Shigemitsu, the second generation of the celebrated master Hayashi Matashichi. It is a superb work that conveys the refined aesthetic sensibility of a distinguished artisan.

Who Was Hayashi Shigemitsu?

As introduced in our previous blog, Higo Kinko comprises four main lineages — Hirata, Shimizu, Nishigaki, and Hayashi — each leaving behind distinctly individualistic works.These four schools can be traced to two primary origins:

One lineage stems from Hirata Hikozo, favored by Hosokawa Sansai when the Hosokawa family resided in Buzen. From Hikozo’s school came his nephew Shimizu Jinbei (Jingo from the second generation) and his disciple Nishigaki Kanshiro. The other branch originates with Hayashi Matashichi, who had served the Kato family and was a ronin prior to the Hosokawa’s move to Higo.

According to Hosokawa Tadatoshi by Inaba Tsuguharu published in 2018, when the Hosokawa were transferred from Kokura in Buzen to Kumamoto in Higo, Tadatoshi resided in Kumamoto while Sansai lived separately in Yatsushiro. Their relationship had deteriorated to the point that they had no communication whatsoever, and Tadatoshi even required his retainers to swear not to associate with samurai in Yatsushiro.

According to Mitsuru Ito, author of “ Works of Hayashi・Kamiyoshi”, this newly uncovered fact proves that the traditional view — “Matashichi was influenced or trained under Sansai” — is mistaken. It is highly likely that Matashichi and Sansai never even met. With that in mind, we can see why Hirata Hikozo, Shimizu Jinbei, and Nishigaki Kanshiro share a unified aesthetic lineage, while Matashichi developed a distinctly different style.

"Works of Hayashi ・Kamiyoshi" states that Matashichi was born in 1613 (Keicho 18) and died in 1699 (Genroku 12) at the age of 87.Shigemitsu was born in 1667 (Kanbun 7) and passed away in 1744 (Enkyo 1) at the age of 78, which means he was born when Matashichi was already 54 years old — Given that it would have been quite late in life to have a child at that age, and in light of the Edo-period custom of passing one’s lineage to a talented disciple, it is highly probable that he was adopted.

Last year, I visited Kasugamachi in Kumamoto with my family and dearest friends, located behind Kumamoto Station, surrounded by gentle hills. Today, it is a quiet residential area, and the original site of the Hayashi family is unfortunately no longer identifiable. It was interesting to realize that they had worked quite a distance away from Kumamoto Castle.

Shigemitsu’s Aesthetic and Style

Unlike Matashichi, who produced extremely precise and flawless works, Shigemitsu’s tsuba often display slight irregularities and a distinctive sense of wabi-sabi charm.Approximately twenty signed examples are known. Among them, only about 10% show the same precision of sukashi found in Matashichi’s pieces; the remaining 90% have a subtly uneven or relaxed character, beautifully embodying wabi and sabi. His iron also differs — rather than the taut, highly refined surfaces of Matashichi’s works, Shigemitsu’s iron feel slightly softer and more organic, sometimes resembling those of Nishigaki Kanshiro. This shows that he did not merely preserve Matashichi’s manner but sought to develop his own individuality and originality.

Another interesting characteristic is the larger size of many of Shigemitsu’s tsuba. Similar trends can also be seen in Choshu tsuba of the same era. This period coincides with the “Kyoho Reforms” (1716–1736) under the 8th Tokugawa shogun Yoshimune, which emphasized frugality, efficiency, and the promotion of scholarship and martial discipline. During this time, swordsmithing had declined, prompting competitions to revive the craft. It is well known that Ippei Yasuyo of Satsuma and Mondo no Shou Masakiyo demonstrated their skill at the Ohama goten (palace), where they were granted the right to use the aoi mon. The restrictions on blade length under the Buke Shohatto were also relaxed, resulting in a fashion for longer swords and larger tsuba — the environment in which Shigemitsu’s large-scale works were created.

This tsuba is slightly larger, in a mokko-gata resembling a chrysanthemum, and features an sukashi design of irises and Yatsuhashi (eight bridges). The hiraji (surface) is rather thin and flat, and the outlines of the kozuka and kogai-ana cut into the seppa-dai, much like Matashichi’s workmanship. However, the composition is unique — the design divides into thirteen sections, not an even number, making it an original and unprecedented composition.The hiraji is finished with tsuchime (hammer marks), then yakite was applied, giving it both activity and depth — a hallmark of Shigemitsu’s individuality. The seppa-dai bears the characteristic signature: “Hayashi” on the front and “Shigemitsu” on the reverse, and its state of preservation is excellent.

Where Does the “Iris and Yatsuhashi” Motif Come From?

Do you know where the Iris and Yatsuhashi design originates? It appears in many early Kyo sukashi and is derived from a famous episode in The Tales of Ise (Ise Monogatari) — the story of Ariwara no Narihira.

In this tale, Narihira and his companions leave Kyoto for the Eastern provinces (azuma kudari), roughly corresponding to today’s Tokyo region. When they reach Yatsuhashi in Mikawa Province (present-day Chiryu city, Aichi prefecture), they see the beautiful blooming kakitsubata (irises).One of them suggests composing a poem using the five syllables of ka-ki-tsu-ba-ta as the opening of each line.

Narihira then composed this celebrated verse:

“Karagoromo / kitsutsu narenishi / tsuma shi areba / harubaru kinuru / tabi wo shi zo omou”

I think of my wife, long accustomed to sharing our robes beside me, as I travel this distant road. 

Although this romantic theme may seem unrelated to the world of samurai, it reminds us that a cultured samurai was expected to know classical literature and understand the emotions expressed in love poetry — an endearing glimpse into the refined education of Edo-period samurai.

Petit Kantei Points ♡

Compared to the 15 known signed works by Matashichi (plus one youthful mei) and a few by Tohachi (the third generation), there are relatively many signed examples by Shigemitsu. Examining these, we can see that Shigemitsu’s openwork is less sharp and more rounded than Matashichi’s. Even in his more precise designs, the pierced edges tend to have gentle curves and raised contours reminiscent of Tohachi's style. His tsuba shapes are often slightly asymmetrical, and very few are perfectly balanced. No signed examples with inlay are known, so identifying inlaid works by Shigemitsu relies mainly on stylistic comparison. It is likely that his inlay work, if any, would share the same subtle, tasteful quality as his iron carvings — more emotional and nuanced than the crisp precision of Matashichi or Tohachi.

Closing thoughts

This rare signed and large tsuba by Hayashi Shigemitsu evokes a heartfelt sense of fascination.We warmly invite you to visit the 2025 Dai Token Ichi and see this masterpiece in person. In our next post, we will bring you a preview of “gallery youyou’s presentation at the 2025 Dai Token Ichi part 4.” Until then stay Tosogu & Sword Minded :)

参考文献：

Works of Hayashi・Kamiyoshi by Mitsuru Ito.

Limited numbers of its English translation are available. Contact us.

Higo Kinko Roku by Nagaya Shigenaga

Higo Kinko Taikan by Sato Kanzan

The 69nd Juyo zufu, NBTHK

Kyoto National Museum Data base

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