The Allure of Higo Kinko : Answers and Commentary on Three Tsuba from the Petit Bidding-Style Kantei
- gallery陽々youyou
- Jan 22
- 4 min read
In The Allure of Higo Kinko series ①〜④, we have introduced the aesthetic principles and distinctive characteristics of the four principal Higo schools—① Hirata, ② Shimizu, ③ Nishigaki, and ④ Hayashi & Kamiyoshi.As the concluding feature of the series, we previously presented three tsuba as a petit bidding-style kantei exercise. Were you able to give it a try? In this article, we now present the answers and detailed commentary for those three tsuba.
1. Answer: Fifth Generation Shimizu Jingo Shigenaga
The artisan who made this tsuba is Shimizu Jingo Shigenaga, the fifth generation of the Shimizu school. Shigenaga was one of the most celebrated masters of his time and enjoyed great popularity, producing tsuba in a wide variety of styles.
The active periods of Shigenaga and Kamiyoshi Fukanobu fall within the Bakumatsu era, when large-scale tsuba came into fashion. This example features an iron ground treated with yakite, along with rounded hammer marks that appear as if pressed into the surface—elements that suggest the influence of the first-generation Jinbei. At the same time, the hitsu-ana are carefully shaped and orderly.
At first glance, one immediately notices the distinctive round apertures positioned above and below the nakago-ana. This practice of piercing holes both above and below the nakago-ana is found only in the works of the 3rd generation Shimizu Jingo Nagatsugu and the 5th generation Shigenaga. As the shape of these apertures differs from those seen in Nagatsugu’s work, it is most natural to attribute this tsuba to Shigenaga.
Shigenaga employed three different types of these characteristic upper-and-lower apertures. Fortunately, many of his works are signed, and some even include age inscriptions (gyōnen-mei), providing firm evidence that he continued using this distinctive feature at least until the age of 70.For further reference, please see page 58 of “Hirata & Shimizu”, where the shapes of these apertures are illustrated.
👉For a detailed discussion of each generation and stylistic characteristics of the Shimizu school, please refer to “The Allure of Higo Kinko: ② The Shimizu School.”
2. Answer: Fifth Generation Hayashi Matahei
The artisan of this tsuba is Hayashi Matahei, the fifth generation of the Hayashi school. When the 4thgeneration Hayashi Heizō passed away, Matahei was only 14 years old. In “Hayashi & Kamiyoshi”, it is written that: “Fearing that the Hayashi techniques might be lost, the Hosokawa domain lord likely ordered the 3rdgeneration Tōhachi to pass on the Hayashi techniques to the Kamiyoshi family.”
This historical context suggests that Matahei faced considerable difficulty in succeeding to the family headship. Nevertheless, his productive career spanned nearly forty years, and a substantial number of works survive today.
From extant signed tsuba, it is known that Matahei employed distinctive chisel-marks, consisting of 3 square chisel marks above and 5 below the nakago-ana. His style recalls that of Tōhachi, and his work includes larger-scale tsuba comparable to those produced by Kamiyoshi Fukanobu and Rakuju during the Bakumatsu period. Compared to Tōhachi, Matahei’s kebori engraving tends to be bolder—another hallmark of his style.
👉 For a full overview of each generation and stylistic development of the Hayashi school, please see “The Allure of Higo Kinko: ④-1 The Hayashi School.”
3. Answer: First Generation Nishigaki Kanshirō
The artisan of this tsuba is the first-generation Nishigaki Kanshirō.During the Hosokawa clan’s Buzen period, Kanshirō became a disciple of Hirata Hikozō. He later lived in Fukuro-machi, Yatsushiro, alongside Hikozō and Hikozō’s nephew and disciple, Shimizu Jinbei.
All works by the 1st generation Kanshirō are unsigned. His style is highly free and expressive, with kebori engraving and inlay applied in an improvisational manner. The iron is often treated with yakite, and unlike the meticulously finished works of Hayashi Matashichi, Kanshirō’s tsuba show no such restraint.
In wave-design tsuba like this one, there is no kebori engraving; instead, the motif appears as so-called doronami (mud waves), a distinctive feature unique to the 1st generation Kanshirō. If this work were by the 2nd generation Kanshirō Nagahisa, the waves would resemble those seen in Gotō-school works, characterized by engraved wave crests and a triple-peaked form—clearly different from the waves seen here.
👉 For a detailed discussion of each generation and stylistic traits of the Nishigaki school, please see “The Allure of Higo Kinko: ③ The Nishigaki School.”
Closing Thoughts
At the Naniwa Kodōgu Kenkyūkai, Mitsuru Ito delivered a comprehensive lecture on "The Allure of Higo Kinko". Building upon that foundation, this blog series has introduced the four principal Higo schools—Hirata, Shimizu, Nishigaki, Hayashi, and Kamiyoshi—each as an independent lineage.
Higo kinko reflects the philosophical foundations of samurai culture and encompasses a wide spectrum of expression, from refined and meticulous craftsmanship to abstract forms reminiscent of modern art. Each master created works shaped by a distinct worldview, resulting in a remarkably rich and compelling tradition.
In this final installment, we have presented the answers and commentary for the three tsuba featured in the petit bidding-style kantei introduced at the end of The Allure of Higo Kinko: ④-2 The Kamiyoshi School.
In the next blog, we will explore “Sen no Rikyū: Sakai, Osaka, and the Origins of His Aesthetic Sense” Until then stay tosogu & sword minded ♡
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I think I did well overall with two correct out of three on the Petit Bidding-Style Kantei. The only tsuba I was incorrect on was the second tsuba. I was thinking it was Kamiyoshi School and a work of Fukunobu. This makes sense as the only volume I am missing of the Higo School set is the one focused on the Hayashi and Kamiyoshi Schools. I hope to get this book very soon. 😁