Visiting Hikone Castle｜A Journey into the Aesthetics of Samurai Culture
- gallery陽々youyou
- Nov 22
- 4 min read
After the Dai Token Ichi, we felt drawn to visit a place with historical ties to sword fittings. This trip led me to the National Treasure, Hikone Castle, where we explored the samurai culture of the Ii clan and the refined beauty found in their sword fittings. Along the way, we also reflected on the works left by Mogarashi Sōten, an artisan deeply connected to this region. This blog traces the aesthetics that continue to live within history.
Hikone Castle — A National Treasure Standing in Serene Majesty
The origins of Hikone Castle in Shiga prefecture trace back to the aftermath of the Battle of Sekigahara in Keichō 5 (1600). Ii Naomasa, rewarded with 180,000 goku for his military service, was placed in charge of Sawayama Castle, the former stronghold of Ishida Mitsunari. However, Tokugawa Ieyasu soon ordered him to relocate from Sawayama to Isoyama, a site closer to the shores of Lake Biwa.
Tragically, Naomasa passed away at Sawayama Castle in Keichō 7 (1602) from wounds sustained at Sekigahara. His young son, Ii Naotsugu, succeeded him as the second lord of the Hikone domain in Ōmi province. In Keichō 8 (1603), after a careful process of selecting the site for the new castle, the decision was made to build Hikone castle on Mt. Hikone, facing Lake Biwa—fulfilling Naomasa’s final wishes.
Construction began in Keichō 9 (1604). The tenshukaku (main keep), which survived the Battle of Sekigahara, was moved from Ōtsu castle, while the Tenbin Yagura (turret) was relocated from Nagahama castle. Hikone castle was completed in Keichō 12 (1607). Beyond its elegant architecture, this castle excelled in its defensive functions as a fortress. It was designated a National Treasure in 1952.
Hikone’s Garden Retreat – Genkyūen
Genkyūen, known in the Edo period as “Keyaki no Onniwa,” is a large pond-style stroll garden created by the 4th lord, Ii Naooki, between Enpō 5 and 7 (1677–1679). It was designated a National Place of Scenic Beauty in 1951. In the pond at the garden’s center lie four islands connected by bridges of various designs, forming a path that seems to gently invite guests toward the teahouse.
When we visited, the garden was quiet, almost empty. It felt as though we had it entirely to ourselves. Imagining the successive lords seeing their reflections in the water created a curious sense of timelessness. The teahouses, it seems, served not only as social spaces but as places of contemplation.
Yumekyōbashi Castle Road
Crossing Kyōbashi, which spans the outer moat of Hikone Castle, you enter Yumekyōbashi Castle Road—a beautifully unified townscape evoking the atmosphere of an Edo-period castle town. Local specialties can be enjoyed or purchased here, making it a delightful area to explore.
We realized there are a middle school, a high school, and even a university around the castle. Walking through the area, we felt how strongly the people of modern-day Hikone cherish their old traditions and live alongside them with quiet pride.
Tosogu and Hikone
The Hikone Castle Museum preserves a pair of shakudō daishō tsuba by Mogarashi Sōten depicting warriors-in-battle scenes—heirloom of the Ii family. We would like to introduce Sōten as an artisan closely associated with Hikone.
The Kitagawa Sōten school, is often referred to collectively as “Hikone-bori” (Hikone engraving). Some works bear the signature:“Gōshū Hikone Nakayabu-jū Mogarashi Kitagawa Nyūdō Sōten sei (kaō)” (江州彦根中藪住藻柄子喜多河入道宗典製(花押)) which indicates that Sōten lived in the Nakayabu town of Hikone—about 1.8 km, or roughly a 30-minute walk, from the top of Hikone Castle.
The historical reference called “Ōmi no kuni yochi shiryaku” (近江国興地志略) records that the red armor (Akagusoku) of Hikone was produced in Nakayabu Dobashi village. This suggests that the district was home to craftsmen involved in armaments and related crafts.
Dated signatures such as Enkyō 5 (Kan’en 1, 1748) and Kan’en 3 (1750) indicate that Sōten was a mid-Edo period kinko. He produced many tsuba, and although less common, also kozuka, fuchigashira, and menuki. Among his representative styles are:
High-relief (Takabori) iroe depictions of spring, autumn, birds and flower designs on iron or shakudō ground.
Figurative scenes of warriors or Chinese sages rendered in nikubori (carved relief) and ji-sukashi (ground openwork), often accompanied by pine trees and other motifs
This tsuba features lustrous, high-quality shakudō with slightly thickened plate construction. Elaborate chrysanthemums and floral motifs are carved in sukidashi-bori and accented with gold iroe. Holding it in the palm feels as though a splendid garden is captured within one’s hand—a work of elegance and refined beauty, leaving the heart quietly enriched.
Petit Kantei Point♡
Because Sōten’s works were immensely popular during the Edo period and dominated fashion at the time, many imitations and copies were produced. The variety of signatures makes assessment by mei alone quite challenging. However, the essential difference becomes obvious when comparing the genuine pieces.
As noted in “Tōsō Kodōgu Kōza, Vol. 7 (Shokoku-hen, Part II)”:“The mass-produced tsuba with iron ground, maru-gata (rounded form), warrior or sage designs in nikubori and ji-sukashi, and gold fukurin cannot be considered true works by Sōten.”
These inferior examples, said to have been produced in Aizu or Kyoto, have rough and crude carving—far removed from the refined elegance seen in works like the piece shown above. With an honest eye, the distinction becomes quite clear.
Closing thoughts
The quiet resonance of samurai culture felt at Hikone Castle is very much alive in tosogu as well. In the splendid works of Mogarashi Sōten, one senses a poised and refined beauty. In our next blog, “Samurai Journey II: Chikubushima”, we will continue exploring the beauty of samurai culture and the quiet charm found within tosogu.
References:
Tōsō Kodōgu Kōza 7 – Shokoku-hen (Part II) by Wakayama Hōmatsu
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