2025 Dai Token Ichi (Part 2): Juyo Tosogu by Mumei Hirata Hikozo “Warabite Sukashi” Listed in Higo Kinko Taikan
- gallery陽々youyou
- Oct 23
- 5 min read
Continuing from the previous post, this article features one of the Juyo tosogu that will be presented at the upcoming Dai Token Ichi, to be held on November 1st and 2nd, 2025.
In this blog, we will focus on Hirata Hikozo, who can rightly be called the founder of the Higo Kinko. Along with introducing his background, we will share a few petit kantei points that highlight his artistry. Each work conveys the refined aesthetic sense of a truly exceptional artisan.
Who was Hirata Hikozo?
Hirata Hikozo was one of Higo kinko. Higo Kinko comprises four main lineages — Hirata, Shimizu, Nishigaki, and Hayashi — each of which left behind highly individualistic works.These four schools can be traced to two distinct origins: One branch descends from the lineage of Hirata Hikozo, who served Hosokawa Sansai while the Hosokawa family was still in Buzen. From this lineage came his nephew Shimizu Jinbei (Jingo from the second generation) and his disciple Nishigaki Kanshiro. The other line descends from Hayashi Matashichi, who had been a ronin because he was artisan of the Kato family before the Hosokawa’s transfer to Higo.
Since three of the four schools stem from Hikozo, he occupies an exceptional place among Higo metalworkers. According to Higo Kinko Roku by Nagaya Shigenaga, Hayashi Matashichi—praised in the text as “the foremost of Higo kinko”—received a stipend of 20 koku from the Hosokawa family. In contrast, Hikozo was granted a stipend of 100 koku, indicating a considerably higher social standing. When Hikozo passed away around the age of 50 on November 9, Kan’ei 12 (1635), Matashichi was only 22 years old. This suggests that Hikozo was indeed the pioneer who established the foundation of Higo Kinko.
About twenty years ago, my father wrote a book, “Works of Hirata・Shimizu” that the old Hirata family grave could still be found at the temple named Kichijo-ji in Yokote, Kumamoto city. When I visited there this spring with my family and dearest friends, I tried to locate it, but was caught in a sudden downpour and could not find the exact grave stone. It seems the descendants may have arranged the family graves into a single plot, which is a common practice in Japan. I was able to discover a more modern gravestone, inscribed with the name of a later “Hirata Hikozo,” (平田彦三) who passed away in Meiji 40 (1907). Although a bit disappointing, seeing that name carved there filled me with a strange sense of emotion and connection across time. Hirata Shosaburo, who moved to Kumamoto and died in 1686 (Jokyo 3), was the last kinko among the family. His adopted son Saburobei inherited the official post of appraiser of gold and silver (hanyashoku). Although later generations continued to use the name “Hikozo,” they no longer practiced kinko work. Therefore, the person who died in Meiji 40 likely did not work as a kinko either.
Hikozo’s Aesthetic and Sensibility
Higo kinko stands apart from that of other Edo-period schools through its refined samurai aesthetics, modern sensibility, and exceptional artistry. This was due to the guidance and influence of Hosokawa Sansai —one of the Seven Disciples of Sen no Rikyu. Sansai was not only a formidable general who survived the Battle of Sekigahara, but also a nobleman of old Kyoto lineage, a scholar of classical poetry and court rituals, and one of the foremost cultural figures of his age. Gifted with a deep aesthetic sensitivity that embraced both Momoyama culture and Rikyu’s wabi-cha tea aesthetics, Sansai was also known as a connoisseur of swords. It is only natural that he also took a special interest in the metal fittings that adorned the sword—the foremost symbol of the samurai.
In the Higo Kinko Roku, the section on Hikozo notes:
“He received a stipend of 100 koku… It is said that Hikozo declined samurai service in Buzen Kokura and, by special appointment of Lord Hosokawa, oversaw the official appraisal of gold and silver.” Hikozo’s father, descended from the Sasaki Genji clan, had served the Hosokawa while Sansai was still in Tango province and distinguished himself in defending Tanabe castle during the battle of Sekigahara. After the Hosokawa were transferred to Buzen, Hikozo is said to have served both as an appraiser of gold and silver, and a kinko, learning his craft at Sansai’s command. It follows that Sansai’s aesthetic sensibility was the greatest influence on Hikozo’s artistry. Because Hikozo was the only Higo kinko active during Sansai’s lifetime, he is the exceptionally important.
Hikozo was active as a kinko during the early Genna era (1615–1624), a time when talents such as Kano Tanyu, Hon’ami Koetsu, Tawaraya Sotatsu, Umetada Myoju, 6th Goto Eijo, 7th Goto Kenjo, Horikawa Kunihiro, Echizen Yasutsugu, Hizen Tadayoshi, and Nanki Shigekuni flourished in their respective fields.
Amid this extraordinary artistic milieu, Hikozo’s individuality stands out for its cultivated elegance, warmth, and refined human depth. The warabite motif and overall form of his tsuba convey dignity and sensitivity, while his delicate color sense reflects the brilliant and stylish spirit of the Momoyama culture.
This piece is a large tsuba of suaka base with brass fukurin, showing a softly corroded surface subtly enlivened by Amida-yasuri file marks, giving it a powerful presence. It is recorded in the Higo Kinko Taikan and once belonged to the noted Saitama collector Matsumoto Kintaro, later becoming part of a sword fittings museum collection. Among the roughly 20 known works attributed to the first-generation Hikozo, this is one of the largest examples.
Petit Kantei Points ♡
Only one signed work by Hirata Hikozo is known to exist — an iron tsuba with the design of “Sanko no zu” (design of star, moon, and sun), bearing the signature “Hiko / Hikozo.” (ひこ 彦三). We occasionally receive inquiries asking, “Does this one have a signature? Oh no it doesn’t…”However, Hikozo’s tsuba are typically unsigned (mumei), so you need not worry — if one bears a signature, it is more likely to be suspicious.
Regarding the unique Odawara fukurin (rim fitting) seen on this tsuba, Mitsuru Ito, author of Works of Hirata・Shimizu, notes: In contrast to the Higo Kinko Taikan, which states that fittings were usually of matching metal (for example, brass fukurin on brass tsuba or yamagane fukurin on yamagane tsuba), every Hikozo tsuba he had admired and examined featured fukurin made of a different metal. Furthermore, no early examples with silver Odawara fukurin have ever been confirmed — silver rims of this type are considered either later additions or forgeries made after the Meiji period.
Closing thoughts
Hikozo created works infused with the spirit of wabi-sabi — artworks that touch the viewer’s heart at its deepest level. While showing hints of the Shoami style, his work remains distinguished by refinement, sophistication, and the cultured taste of a true samurai artisan. We warmly invite you to visit the 2025 Dai Token Ichi and experience it in person.
In our next post, we will bring you a preview of “gallery youyou’s presentation at the 2025 Dai Token Ichi part 3.” Until then stay Tosogu & Sword Minded :)
参考文献：
Works of Hirata・Shimizu 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 62nd Juyo zufu, NBTHK
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