Swords in the Tenwa-Jokyo-Genroku Era (1681-1703): How the Shift from Martial to Civil Rule Transformed the Sword Market

Tokugawa Tsunayoshi and the Era of the "Dog Shogun"

The reign of Tokugawa Tsunayoshi, the fifth shogun of the Edo bakufu (in office 1680–1709), spanned thirty years encompassing three era names: Tenna, Jōkyō, and Genroku. Though Tsunayoshi was mocked as the "Dog Shogun" for his protection of dogs under the Edict on Compassion for Living Things, the influence of his politics on Japanese culture and society was multifaceted, and sword culture was no exception.

This article examines the transformation of sword culture during Tsunayoshi's reign through three perspectives: the decline of the martial ethos, the rise of the civil administration ethos, and economic background.

The Decline of Martial Values and the "Hollowing Out of the Sword"

Whereas previous shoguns had emphasized "martial might," Tsunayoshi advanced "civil administration" that prioritized Confucianism, scholarship, and proper conduct over military force. This policy shift brought subtle changes to the samurai's view of swords.

First, the meaning of wearing a sword shifted from practical use to ceremonial. In the early Edo period, samurai wore swords as a means of "maintaining military power," and functional blades designed for actual combat were preferred. However, by the Genroku period, as more than fifty years of peace continued, the opportunity to draw one's sword became virtually nonexistent, and wearing a sword transformed into a ceremonial act denoting status.

While the Edict on Compassion for Living Things (enforced 1685–1709) primarily aimed at protecting dogs, the underlying concept of "prohibition against killing" also influenced samurai sword training. As kenjutsu training in dojos became formalized, and kata practice was redefined as part of proper conduct, the transformation of swords from "practical tools to cultural artifacts" accelerated.

Genroku Culture and the Rise of the "Decorative Sword"

As samurai swords shifted from practical to ceremonial use, the artistic value of sword fittings (tsuba, menuki, fuchi-kashira, kozuka, etc.) skyrocketed. The Genroku period (1688–1704), backed by economic prosperity, was also an era when merchant culture in the Kamigata region (Kyoto and Osaka) flourished.

As bold designs called "Genroku patterns" spread to kosode robes and obi sashes, the trend of applying elaborate decoration to sword fittings intensified. Metal smiths and sculptors competed to create intricate designs, and value came to be placed more on the craftsmanship of the tsuba and menuki than on the blade itself.

This trend posed a complex problem for sword makers. The tendency to judge the value of a sword more by the lavishness of its koshirae (fittings) than by the technical skill of the smith created market distortion that prioritized the production of "display swords" over improving quality as cutting instruments.

Regional Shifts in Sword Production: From Bizen to Osaka and Edo

The center of sword production also shifted around this period. Bizen (Okayama Prefecture), traditionally a major sword-producing region, had already shown signs of decline during the Shintō period (early seventeenth century) and further lost ground during the Genroku period.

In their place, the sword makers of Osaka and Edo rose to prominence. Osaka produced sharp, practical blades called "Osaka Shintō," meeting the demand of merchants in this commercial hub. Meanwhile, Edo's smiths, positioned as official blade makers for the shogunal household and daimyo, produced refined works.

Among the prominent smiths of the Tenna and Jōkyō periods in Edo were the successors of Tsuda Echizen no Kami Sukehiro, while the Genroku period in Osaka saw activity from smiths in the line of Kawachi no Kami Kunisuke II. These smiths focused on "the beauty of the hamon" and "the quality of the jihada" over practical utility, creating aesthetically refined works.

Authenticating "Genroku Blades": Characteristic Features

Modern sword authentication recognizes certain common characteristics in the concept of "Genroku blades."

In terms of blade profile, these swords show a shallow curve (transitioning from medium curve to shallow curve), a tendency toward shorter blade length, frequent use of thin cross-section emphasizing elegant appearance, and a trend toward slightly larger points (from medium to large).

As for hamon characteristics, Osaka Shintō typically feature clear, straight-style hamon, while some Edo smiths adopted bold notare patterns. This was also an era when fine, uniform nie with the "nioi appearance" was favored.

Regarding jihada quality, flowing itame and kō-itame patterns were aesthetically valued, and jihada with abundant jinie that sparkled when lit was highly prized.

The Abolition of the Edict on Compassion and Kyōhō-Era Sword Revival

When Tsunayoshi died in 1709, his successor, the sixth shogun Tokugawa Ienobu, immediately abolished the Edict on Compassion for Living Things. The restoration of martial values was advocated, and interest in swords revived.

As a reaction, under the "Tōtoku governance" centered on Arai Hakuseki, Confucian proper conduct was systematized, while the eighth shogun Tokugawa Yoshimune's "Kyōhō Reforms" made the restoration of the "spirit of valuing martial arts" a policy goal. The cultural foundation for sword collecting and preservation had accumulated during the Genroku period, and the subsequent flourishing of "famous blade collections" from the Kyōhō era onward was a continuation of this trend.

Conclusion: The Legacy of Sword Culture Left by the Genroku Era

The sword culture of the Tenna, Jōkyō, and Genroku periods (1681–1703) represents a decisive transformation from "practical weapons" to "aesthetic cultural artifacts." Samurai sword-wearing became a ceremonial act, the artistry of sword fittings flourished, and standards for sword appreciation were established.

The "Genroku blades" produced by smiths of this era are still evaluated in modern authentication with their historical context in mind. Understanding Tsunayoshi's era provides an essential perspective for comprehending swords not merely as weapons, but as a nexus of history and culture.