Sword Culture in the Hoei-Shotoku Period (1704–1715): The Flourishing of New Swords and the Refinement of Sword-Fitting Craftsmanship from Tokugawa Tsunayoshi's Final Years through the Reigns of Shoguns Ienobu and Ietsugu

What Kind of Era Was the Hoei-Shotoku Period?

The Hoei-Shotoku period, spanning approximately twelve years, began in the final years of the Fifth Shogun Tokugawa Tsunayoshi (Hoei 1, 1704) and extended through the reigns of the Sixth Shogun Ienobu and Seventh Shogun Ietsugu until Shotoku 5 (1715). This period directly followed the height of Genroku culture (1688–1703) and marked a turning point when society as a whole began to reflect on extravagance and moved toward the reconstruction of Confucian order.

In the world of swords, too, this period constituted a distinct watershed. The aesthetics of "decorative swords" that had reached their apex during the Genroku period began to settle into a more restrained approach, and this became an era of seeking refinement in sword-fitting craftsmanship and a return to quality in the blades themselves.

Changes in Sword-Smith Society—Reorganization of the Bannerman Smiths

The succession from the Fifth Shogun Tsunayoshi to the Sixth Shogun Ienobu brought changes to the composition of the shogunate's retained smiths (bannerman smiths). Many sword-smiths who had received patronage from the shogunate or daimyo families during Tsunayoshi's reign lost their backing with the change of lords and were forced to operate as independent workshops.

Meanwhile, the Sixth Shogun Ienobu appointed the Confucian scholar Arai Hakuseki as a close advisor and pursued political reform (the Shotoku administration). Hakuseki's emphasis on Confucian ritual propriety aligned with a direction of redefining swords from "symbols of martial prowess" to "vessels of propriety." The emphasis on elegance and refinement in sword fittings became one of the defining currents of this era.

Characteristics of Blade Forms—The Maturation and Subtle Evolution of New Swords

Looking at blade morphology, swords of the Hoei-Shotoku period show a subtle shift from the thin, light "decoration-focused" design of the Genroku era toward a more practical geometry with greater substance. However, this change was gradual, and no striking "new trend" in blades emerged; rather, this era should be evaluated for the stable production of high-quality new swords.

The blade patterns consisted largely of straight temper lines and gentle checkerboard patterns, with a restrained aesthetic that avoided excessive ornamentation becoming the mainstream. The base metal remained largely influenced by Osaka new sword styles with their characteristic smoothness, though some smiths attempted expressions of the itame (wood-grain) pattern inspired by the Yamashiro tradition.

Notable smiths include the line of Tsuda Echizen-no-Kami Sukehiro II, who carried on the legacy of Soboro Sukehiro I, the master of Osaka new swords, as well as Settsu-no-Kami Tadayuki and others. These smiths all inherited the techniques of previous masters while establishing a solid aesthetic that reflected the calmer character of the age.

Sword-Fitting Craftsmanship—The Refinement of Metalwork and the "Shotoku Fitting"

The most distinctive feature of this era is the refinement of sword-fitting (koshirae) craftsmanship. The style later called the "Shotoku fitting" featured sophisticated chasing and engraving on the pommel cap, ferrule, crossguard, and hilt ornaments, emphasizing overall unity and elegance.

From a technical standpoint, composite engraving techniques combining one-sided carving, fine-line engraving, and full-round carving matured during this period. Regarding crossguards, both the subtle aesthetics of iron work and the more ornate designs featuring gold and silver inlay created by metalworkers gained popularity. The technical foundations that would lead to later masters of metalwork such as Yokotani Soumin deepened during this era.

The design of scabbard lacquering, employing polished finishes and gold-dust decoration, also became increasingly sophisticated. Such refined designs came to be applied not only to swords commissioned by the shogun's family and high-ranking daimyo, but also to the fittings of "semi-formal swords" ordered by wealthy merchants and bannermen.

The Abolition of Tsunayoshi's "Edict on Compassion for All Living Things" and Sword Culture

In Hoei 1 (1704), Tsunayoshi abolished his notorious "Edict on Compassion for All Living Things" (though to be precise, Ienobu fully repealed it in Hoei 6, 1709, after Tsunayoshi's death). This policy shift brought a social psychological climate of renewed affirmation toward "utility and martial values," creating conditions for renewed interest in swords among merchants and other classes.

Furthermore, Tsunayoshi's final years were marked by ongoing fiscal crisis, and members of the samurai class increasingly sold and monetized swords in efforts to maintain their living standards. Sword dealers established themselves firmly as market actors during this period, and the circulation of old swords and masterwork blades became increasingly active. The maturation of this "used sword market" directly led to the later development of sword connoisseurship and sword-collecting culture.

What the Shotoku Administration Left Behind in the World of Swords

Arai Hakuseki's political reforms influenced sword culture through the systematization of ritual propriety in samurai society. Hakuseki revised the reception protocols for Korean embassies, replacing the traditional title "Great Lord of Japan" with "King of Japan" (Shotoku 1, 1711). This change was made because he judged "Great Lord" to carry lower status, intending to elevate Japan's diplomatic standing. Such an orientation toward strengthening ritual propriety was also reflected in elevated standards of elegance demanded of the sword fittings worn by daimyo at official occasions.

The Hoei-Shotoku period was an era in which sword culture was reorganized around elegance over flashiness and propriety over mere decoration. As a transitional period between the heights of Genroku culture and the frugality of the Kyoho era, swords of this period, though modest in appearance, possessed technological maturity and are frequently evaluated by later collectors as "understated yet of high quality."