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更新日：2025年4月26日更新
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Caption notes:
1st Floor｜How to Appreciate Japanese Swords
1
Katana, made by Sukesada
Blade Signature Sukesada of Osafune, Bizen province/ A day, August, 1566
Edge length 70.2cm／Curve 2.5cm Late Muromachi (1566)
Bizen Province (Okayama Pref.) BOJSM Collections
Most Osafune school smiths of the late Edo period (1603–1868) were named Sukesada. Though one can tell between Sukesadas by their administrative title, given name, or Buddhist name, as in the case of Yosōzaemon no Jō Sukesada, it is not recorded exactly which made this particular katana.
This sword has the rather short tang of a one-handed blade of the late Muromachi period (1393–1573); the hamon, a base of koshi no hiraita gunome intermixed with togari gunome, kogunome, & tobiyaki, all capped with a broad, nie-laden border, is typical for Sukesada smiths of the time.
Osafune school = Japan’s most prolific swordsmith group (±1250-1929) Nie = course, individually distinguishable steel grains
Hamon = temper-line Togari gunome = pointed, wavy hamon Kogunome = low hamon design of small waves
Koshi no hiraita gunome = hamon design of broad-based wave Tobiyaki = tempered patches floating above the hamon
2
Katana, made by Yoshimichi
& uchigatana koshirae w/ black stone-texture lacquer scabbard
Blade Signature Tanba no Kami Yoshimichi
Edge length 70.3cm／Curve 1.2cm Mid-Edo (17～18th C)
Settsu Province (Ōsaka Pref.) BOJSM Collections
Yoshimichi, a Mishina school smith, moved from Seki, Mino province (Gifu pref.), to Settsu province (Osaka pref.) in the early Edo period (1603–1868). The school he founded is known for difficult, picturesque hamon like sudareba & kikusuiba.
This blade has a classic, almost curveless, mid-Edo (1603–1868) shape. The hamon has two sections, with lots of coarse nie crystals near the point, & very little near the hilt, the pointed kikusuiba & small pointed wave elements of the hamon extending to the left & right like outstretched wings.
Hamon = temper line Sudareba = hamon design of multiple parallel lines. Resembles rattan blinds (sudare)
Kikusuiba = hamon design of chrysanthemum flower on water Nie = course, individually distinguishable steel grains
3
Katana, made by Sukenari
and uchigatana koshirae w/ lacquered scabbard with fine spiral grooves (nawamenuri)
Blade Signature Made by Yokoyama Sukenari, who lives in Fukuyama, Bingo Province
Long live the Emperor/ A lucky day in August, 1858
Edge length 77.3cm／Curve 1.6cm 1858
Bingo Province (Hiroshima Pref.) Private Collection
Apprentice of mid-19th century master swordsmith Kaga no Suke Sukenaga, Sukenari began in Bizen Province, before moving to Fukuyama, Bingo Province (Hiroshima Pref.) around 1830-1844.
This imposing blade’s breadth & long point are typical for the early-mid 19th C., while its hamon strongly resembles those of swords by both Sukenaga featuring clusters of jūka chōji in places. Here, as in other Sukenari works, the main differentiator is his use of rounded gunome across the hamon.
Hamon = temper line Jūka chōji = layered clove petal hamon design Gunome = hamon design of regular narrow waves
4
Wakizashi, made by Norimitsu
and wakizashi koshirae w/ gold-speckled ‘kin nashiji’ lacquered scabbard
Blade Signature Made by Norimitsu of Bishū Osafune/ A day in August, 1509
Edge length 55.5cm／Curve 1.1cm Late Muromachi (1509)
Bizen Province (Okayama Pref.) BOJSM Collections
Compared to his late-Muromachi (1393–1573) contemporaries Katsumitsu & Sukesada surviving works by Norimitsu are few, but the quality of those that do exist are easily on par with theirs.
Here, the hamon is mostly koshi no hiraita gunome in konie, with areas of nioi-based kogunome, kochōji, kakubatta gunome, & togari gunome, as well as typically Osafune school ashi & yō.
Osafune school = Japan’s most prolific swordsmith group (±1250-1929) Hamon = temper line
Konie = fine, but individually distinguishable steel grains Nioi = fine steel grains indiscernible to the naked eye
Koshi no hiraita gunome = broad-based wave hamon Kogunome = low, regular narrow wave hamon
Kakubatta gunome = angular, undulating hamon Togari gunome = pointed, wavy hamon Kochōji = low clove-buds hamon
Ashi = small lines stretching from the hamon border towards the edge Yō = small patches/points within the hamon
5
Tantō, made by Gassan
Blade Signature Gassan
Edge length 21.4cm／No curve Late Muromachi (16th C)
Dewa Province (Yamagata Pref.) BOJSM Collections
This blade is by one of the Gassan smiths, a group named for its original home, Mt Gassan, which, along with Mt Haguro & Mt Yudono, form the Yamagata prefecture Dewa Sanzan. These mountains hold a central position in the religious system of ascetic mountain-worship known as Shugendō.
The Gassan smiths are famous for their highly technical, undulating wave-like grain pattern known as ayasugi hada. This blade, too, features a konie-based suguha hamon, applied over brilliant ayasugi hada grain pattern.
Ayasugi hada = zig-zagging, wavy steel grain Hamon = temper line Suguha = straight hamon
6
Wakizashi, made by Yasutsugu
Blade Signature [+Engraved hollyhock crest] Echizen Yasutsugu made this/ Using nanban tetsu
Edge length 49.6cm／Curve 0.8cm Mid-Edo (17th C)
Echizen Province (Fukui Pref.) BOJSM Collections
The first two generations of Yasutsugu smiths worked both in Echizen & Edo, moving every other year, but, upon the death of the second generation, a succession dispute led to the family splitting into two separate groups, the Edo line & Echizen line.
This blade by a Yasutsugu smith of the Echizen line features a konie hamon that, though punctuated with kogunome in places, in general appears as a notare resembling waves cresting in the shallows, a pattern for which the Echizen line is well known.
Hamon = temper line Konie = fine, but individually distinguishable steel grains
Kogunome = low, regular narrow wave hamon Notare = broad, slowly undulating hamon
7
Katana, attributed to Muramasa
Blade Signature [Unsigned]
Edge length 73.4cm／Curve 1.6cm Late Muromachi (16th C)
Ise Province (Mie Pref.) BOJSM Collections
Muramasa was a smith of the Muromachi period (1393–1573) Ise province (Mie pref.) Sengo Muramasa school. While his blades generally feature a togari gunome hamon similar to that of swordsmiths of this period from Seki (now in Gifu pref.), a small number of his works instead use a hitatsura hamon.
This blade’s nioi-based gunome hamon greatly varies in height along the length of the blade, in some places reaching above the shinogi ridge line, giving it the overall appearance of a hitatsura hamon.
Hamon = temper line Nioi = fine steel grains indiscernible to the naked eye Togari gunome = pointed, wavy hamon
Hitatsura = ‘tempered all over’ hamon Gunome = regular narrow waves hamon Shinogi = ridge line on each side of the blade
8
Wakizashi, made by Yoshimichi
Blade Signature Legitimate heir to Tanba no Kami Yoshimichi/ A day in February, 1793
Edge length 51.1cm／Curve 1.1cm Late Edo (1793)
Settsu Province (Ōsaka Pref.) BOJSM Collections
The smithing line that went by ‘Tanba no Kami Yoshimichi’ split in the early Edo period (1603–1868) into the Kyōto (Kyō Tanba) & Ōsaka lines (Ōsaka Tanba). This particular smith was an Ōsaka smith.
Near the handle, the hamon starts as suguha, but then broadens out, with one section turning into sudareba, a substyle sunagashi. Combined with chrysanthemum-like accents near the point, it creates the illusion of petals on a stream, hence hamon’s name – kikusuiba (chrysanthemum & water).
Hamon = temper line Suguha = straight hamon Sudareba = multiple parallel lines hamon. Resembles rattan blinds (sudare)
Sunagashi = parallel lines of coarse steel crystals in the hamon Kikusuiba = chrysanthemum flower on water hamon
9
Katana, attributed to Kunisuke
Blade Signature Kawachi no Kami Kunisuke
Edge length 70.3cm／Curve 1.2cm Mid-Edo (17th C)
Settsu Province (Osaka Pref.) BOJSM Collections
Of the many generations of smiths that went by the name ‘Kawachi no Kami Kunisuke’, the best-known is likely the second, who supposedly invented the ‘kobushigata chōji’ style of hamon.
Though this blade’s shape has changed since it was first forged, having been shortened in later years, its original mid-Edo period form is still visible in its shallow curve, as well as in how it narrows from handle to point. The hamon also reinforces this dating. Its design, a complex mix of chōji, gunome, and kobushigata chōji are all consistent with what one might expect of the second generation Kunisuke.
Kobushigata chōji = a hamon with split-headed peaks that resemble fists (kobushi)
Hamon = temper line Chōji = clove-bud hamon design Gunome = regular narrow waves hamon
10
Tachi, made by Toshimitsu
and uchigatana koshirae w/ scabbard decorated with lacquered family crests
Blade Signature Made by Fujiwara Toshimitsu, who lives in Osafune, Bizen Province/
[In gold inlay] A lucky day, May, 1967 This is a commission by Yamanaka Sadanori, for his 2nd son Sadanobu
[In gold inlay] A lucky day, May, 1967 This is a commission by Yamanaka Sadanori, for his 2nd son Sadanobu
Edge length 79.5cm／Curve 2.5cm Shōwa (1967)
Okayama Pref. BOJSM Collections
Imaizumi Toshimitsu, an official guardian of Bizen sword-making since its 1959 designation as an ‘Important Intangible Cultural Property’ by Okayama Prefecture, was one of the great modern smiths.
Made age 69, this blade’s hamon is Imaizumi’s trademark, skilful mix of chōji, & gunome in nioi. Stretching almost up to the shinogi, the vibrant panorama is lively with ashi, stretching from the hamon’s border towards the edge.
Hamon = temper line Nioi = fine steel grains indiscernible to the naked eye Chōji = clove-bud hamon design
Gunome = regular narrow waves hamon Shinogi = ridge line on each side of the blade
Ashi = small lines which stretch from the hamon border towards the edge
11
Katana, made by Kiyomitsu
Blade Signature Osafune Kiyomitsu, who lives in Bizen Province
Edge length 70.2cm／Curve 2.5cm Late Muromachi (16th C)
Bizen Province (Okayama Pref.) BOJSM Collections
Kiyomitsu was the name of several late Muromachi period (1393–1573) Osafune school smiths. Along with Katsumitsu & Munemitsu, they were among the best of the Muromachi Osafune school.
Due to the limited signature, we cannot know which Kiyomitsu made this. It does however have a very varied, complex hamon. Largely straight, with small waves & fluctuating elements intermixed, the hamon contains many ashi & yō along its length, while the bottom third is a rich tapestry of activity, like the sunagashi & yubashiri visible near the hamon border.
Hamon = temper line Ashi = small lines which stretch from the hamon border towards the edge
Yō = small patches/points within the hamon Sunagashi = parallel lines of coarse steel crystals in the hamon
Yubashiri = dark coarse crystal specks in the dark steel above the hamon
12
Katana, attributed to Tegai School
Blade Signature [Unsigned]
Edge length 68.8cm／Curve 1.2cm Nanbokuchō (14th C)
Yamato Province (Nara Pref.) BOJSM Collections
This blade was made by a smith of the Tegai school, so-named because they operated opposite the north-west entrance to Tōdaiji temple in Yamato province (Nara prefecture), known as the Tegai Gate, likely between the late Kamakura (1185–1333) & mid-Muromachi (1393–1573) periods.
This sword displays masame grain pattern & a hamon made of a mix of suguha & kuichigaiba, which in the point section turns into ‘hakikake’, a speciality of the Tegai school.
Masame = straight steel grain Hamon = temper line Kuichigaiba = hamon border where part forks off & runs parallel
Suguha = straight hamon Hakikake = hamon in the point that looks like it has been swept with a broom
13
Tantō, attributed to Awataguchi Kuniyasu
Blade Signature 上 (shortening of 献上 = presented/bequeathed)
Edge length 25.5cm／No curvature Early Kamakura (13th C)
Yamashiro Province (Kyōto Pref.) Private Collection
Part of the famed early Kamakura (1185–1333) Kyoto smithing group, the Awataguchi School, Kuniyasu often made works with a mix of small midare & chōji hamon elements, with many also having nijūba.
This dagger’s steel has a fine, dense, small-charactered ‘koitame’ grain pattern like that on a plank of wood. The narrow, straight temper line’s border, thick with nie, splits in two lower down the blade, the secondary line fainter than the main in a style known as kuichigaiba.
Hamon = temper line Midare = variable hamon with no fixed/repeating design Chōji = clove-bud hamon design
Nijūba = second hamon border running parallel to the main Koitame = very fine, irregular grain like that on a plain-sawn pine board
Nie = course, individually distinguishable steel grains
14
Kodachi, made by Yoshifusa
Blade Signature Yoshifusa
Edge length 55.0cm／Curve 1.4cm Mid-Kamakura (13th C)
Bizen Province (Okayama Pref.) BOJSM Collections
This sword’s maker, Yoshifusa, belonged to the mid-Kamakura (1185–1333) Fukuoka Ichimonji school, famed for the great many blades it produced with expansive, luxurious, highly varied chōji hamon.
This blade too features a konie chōji hamon. Delicate chōji near the tang transforms into a striking, varied mix of fukuro chōji & kochōji with significant height variation near the point. Possibly due to the hamon’s significant height variation, a more calm, restrained, flowing hadori has been applied on top.
Hamon = temper line Chōji = clove-bud hamon design Fukuro chōji = chōji hamon with round peaks resembling pouches
Kochōji = low clove-buds hamon Hadori = polishing step that whitens and highlights areas of the hamon
15
Katana, attributed Tsunahiro
Blade Signature Unsigned (attrib. Tsunahiro)
Edge length 75.0cm／Curve 1.3cm Mid-Edo (17th C)
Sagami Province (Kanagawa Pref.) Private Collection
Sagami Province (Kanagawa pref.) smith Hiromasa, descendent of the famed Masamune, possibly took on the name Tsunahiro after being bestowed by Hōjō Ujitsuna, the local lord, the right to use the character ‘tsuna’ from his own name. Possibly adopting it when he moved to work in Ujitsuna’s castle town of Odawara, ‘Tsunahiro’ still exists as a surname today, having been passed down the generations.
A distinctive, virtuosic display of skill, this blade’s standout hamon combines chōji & kenpōmidare-like elements, with a Sōshū (Sagami) Tradition hitatsura that differs greatly from that on older blades.
Hamon = temper line Chōji = clove-bud hamon design Kenpōmidare = tall narrow wave hamon
Hitatsura = ‘tempered all over’ hamon
16
Katana, attributed to Mino Tradition
Blade Signature Unsigned (attrib. Mino tradition)
Edge length 63.3cm／Curve 1.6cm Azuchi Momoyama (16th C)
Mino Province (Gifu Pref.) BOJSM Collections
Thought to have been made by a ‘Seki Kaji’ of the late Muromachi (1393–1573) - Azuchi Momoyama period (1573–1603), this group of smiths flourished in the city of Seki in Mino province (Gifu pref.) & are best known for such late Muromachi luminaries as Magoroku Kanemoto & Izumi no Kami Kanesada.
This blade is notable for its grand shape, broad with a relatively large point section. The hamon contains many characteristic Seki Kaji blade features, such as its irregularly aligned togari gunome, whose height fluctuates significantly, & the pointed, slightly variable, hamon in the point.
Hamon = temper line Togari gunome = pointed, wavy hamon
2nd Floor｜Connecting the Past: Akabanetō and the Story of the Japanese Sword
1
Katana, made by Sukekane
Blade Signature Yokoyama Shunzaemon Fujiwara Sukekane, who lives in Bizen Osafune Made this before the gods at Tennōbara Hachimangū/ A day in August, 1866 58th generation descendant of Tomonari.
Edge length 69.0cm／Curve 1.1cm Late Edo (1866)
Bizen Province (Okayama Pref.) BOJSM Collections
Alongside Sukenaga, Sukekane was among the top late Edo period (1603–1868) Osafune smiths.
Reading “oite shinzen saku kore” (This was made before the gods), signature here is invaluable as, from it, we know it was forged at Tennōbara Hachimangū shrine, just a few hundred metres NW of the museum. The site also houses Yukie shrine, whose connection to smiths goes back centuries.
Wide, thick, with a shallow curve & long point, the blade has a classic late-Edo shape. Based in nioi, the precise hamon, meanwhile, starts as suguha, transitioning to chōji further along.
Osafune School = Japan’s most prolific swordsmith group (±1250-1929) Nioi = fine steel grains indiscernible to the naked eye Hamon = temper-line Suguha = straight hamon Chōji = clove-bud hamon design
2
Wakizashi, made by Sukenaga
Blade Signature Yokoyama Kaga no Suke Fujiwara Ason Sukenaga A day in August, 1840/
[Imperial chrysanthemum crest] One. Lives in Bizen Osafune
[Imperial chrysanthemum crest] One. Lives in Bizen Osafune
Edge length 53.5cm／Curve 1.5cm Late Edo (1840)
Bizen Province (Okayama Pref.) BOJSM Collections
Like many late Edo (1603–1868) smiths, Osafune Sukenaga aimed to increase his status by gaining official titles*. Highly successful, on top of the ranks ‘Kaga no suke’ (vice-governor of Kaga Province) & ‘Ason’ (roughly, ‘lord’), he was even allowed to engrave the imperial crest on his blades.
This blade has Sukenaga’s hallmark hamon. The border so thin & fine-grained as to have been drawn with a pen, though initially straight, it quickly becomes an eclectic mix of ōchōji, fukuro chōji, & his distinctive jūka chōji. Also typical for him, the hamon curves round in the tip in a wide arc.
*By ~1600 CE, titles were simple marks of status, conferring no real power & being shared by many people.
Osafune school = (±1250-1929) Japan’s most prolific swordsmith group Hamon = temper line Chōji = clove-bud hamon
Fukuro chōji = chōji hamon with round peaks like pouches Jūka chōji = layered clove-bud hamon
Fukuro chōji = chōji hamon with round peaks like pouches Jūka chōji = layered clove-bud hamon
3
Yari, made by Sukenao & Suketsune
Blade Signature Made by Sukenao & Suketsune, who live in Bizen Osafune/ A day in February, 1836
Edge length 45.4cm／No curve Late Edo (1836)
Bizen Province (Okayama Pref.) BOJSM Collections
Both Edo period (1603–1868) Osafune smiths, Suketsune was the elder son of Gengorō Sukenao.
The peaks of the kochōji hamon are carefully aligned, almost appearing like straight suguha, while, unusually for Bizen swords of this period, coarse ‘aranie’ glitters in its border. This departure from the norm lies supposedly with his elder brother, Sukehira, who supposedly learned how to make nie-based works from Okumotohira of Satsuma Province. Transmitting this knowledge to later generations on his return to Bizen, he had a particularly large influence on Sukenao & Suketsune.
Osafune school = (±1250-1929) Japan’s most prolific swordsmith group Kochōji = low clove-buds hamon Hamon = temper line
Suguha = straight hamon Aranie = Very coarse steel crystals Nie = coarse, individually distinguishable steel grains
4
Wakizashi, made by Yoshimichi
Blade Signature Tanba no Kami Yoshimichi/ [Imperial chrysanthemum crest]
Edge length 54.5cm／Curve 1.7cm Late Edo (18th C.)
Settsu Province (Ōsaka Pref.) BOJSM Collections
Yoshimichi was the name of several Mishina School smiths who moved from Seki in Mino Province (modern Gifu Prefecture) in the early Edo period (1603–1868). Though the Yoshimichi smiths generally used typical Mino tradition hamon, one group, the Tanba no Kami family, are known for having been adept at producing a unique style, ‘sudareba’, so-called for its resemblance to ‘sudare’ (rattan blinds).
The ‘yakidashi’ of this blade is straight suguha, above which can be seen the multiple parallel stripes that define the sudareba hamon.
Hamon = temper line Sudareba = ‘rattan blind’ hamon comprising multiple parallel lines
Yakidashi = The beginning of the hamon just above the blade collar Suguha = straight hamon
5
Wakizashi, made by Yoshimichi
Blade Signature Tanba no Kami Yoshimichi
Edge length 50.1cm／Curve 1.6cm Mid-Late Edo (18th C.)
Settsu Province (Ōsaka Pref.) BOJSM Collections
The sons of the first Tanba no Kami Yoshimichi, both of whom also adopted this name, initially lived in Yamashiro Province (now Kyoto). However, in the Shōhō era (1644-48), Kinuemon, the younger brother, left Kyoto to move to Osaka. From then on, followers of the elder son were known as ‘Kyō Tanba’, & those of the younger, ‘Osaka Tanba’. This blade is by a smith of the Osaka Tanba line.
This blade’s variable, vibrant hamon is mostly a broad notare, though with some gunome nearer the point & the Tanba no Kami School’s famous sudareba close to the handle.
Hamon = temper line Notare = broad, slowly undulating hamon Gunome = regular narrow waves hamon
Sudareba = ‘rattan blind’ hamon comprising multiple parallel lines
6
Wakizashi, made by Sukesada
Blade Signature Yokoyama Kōzuke Daijō Fujiwara Sukesada/ An inhabitant of Bishū Osafune
Edge length 54.8cm／Curve 0.8cm Mid-Edo period (18th C.)
Bizen Province (Okayama Pref.) BOJSM Collections
Yokoyama Kōzuke Daijō Sukesada (real name Heibē) was an Azuchi Momoyama period (1573-1603) Osafune School smith who, due to his ability & many achievements, is credited with revitalising it.
After entering the direct employ of Okayama Domain, he carried out much philanthropy across Bizen Province, donating countless swords to temples & shrines & even playing a key part in rebuilding Jigenin (Osafune, Setouchi city), the family temple of the Yokoyama Sukesada smiths.
Starting straight, this blade’s hamon quickly transitions into Kōzuke Daijō’s trademark skilful mix of pointed & split-head gunome, with peaks in sets of four.
Osafune school = (±1250-1929) Japan’s most prolific swordsmith group Hamon = temper line
Gunome = regular narrow waves hamon
7
Katana, maker Unknown
Blade Signature Bizen province [cut off below] [Added later] Multiple standing kesa cuts through upright torso, cut as easily as water runs from a basket/ Then, a karatake cut cleanly from shoulder to waist [final three characters’ meaning unknown]
Edge length 68.0cm／Curve 1.3cm Early Edo (17~18th C.)
Bizen Province (Okayama Pref.) BOJSM Collections
Clearly by an early Edo (1603–1868) Bizen Province smith, their identity is unknown, the blade having been shortened. Though the maker’s signature was erased, the sword is still noteworthy for the cutting test (setsudanmei) inscription on the tang. Such records often described cutting ability through comparison to other phenomena. For instance, here it says that ‘this blade cuts just as easily as water runs out of a basket’. Such analogies help us to vividly imagine just how sharp this blade might be.
8
Wakizashi, blade Unsigned
Blade Signature Unsigned
Edge length 50.9cm／Curve 1.1cm Late Muromachi (16th C.)
Bingo Province (Hiroshima Pref.) BOJSM Collections
Blades by members of the ‘Sue Mihara’, mid-Muromachi period (1393–1573) smiths from Mihara, Bingo Province (now Hiroshima Prefecture), often show a clear Yamato tradition influence.
This is one such blade. The Yamato features that suggest its Mihara origins include a ‘diamond-like’ cross-section, fatter at the ridge line, & elongated itame steel grain verging on masame. With a border of fine, almost powdery nie, its slim suguha hamon too is typical of the late Muromachi Mihara.
Itame = irregular grain like that on a plain-sawn pine board Masame = straight steel grain
Nie = coarse, individually distinguishable steel grains Suguha = straight hamon Hamon = temper line
9
Yari, made by Harumitsu
Blade Signature Made by Fujiwara Harumitsu, who lives in Bizen province/A lucky day in March, 1596
Edge length 74.0cm／No curve Azuchi Momoyama (1596)
Bizen Province (Okayama Pref.) BOJSM Collections
All Osafune School smiths descended from Ukyō no Suke Katsumitsu, many smiths went by the name Harumitsu during the Eiroku era (1558-70). With so many going by this name, it is unclear exactly which made this blade due to its signature containing no first name or title.
Due to its massive size, this spear is classed as an ‘ōmi yari’ or ‘great spear’. Long & heavy, it might snap at its weakest point, the shoulder, if it were hardened all the way to the base. To prevent this, the hamon, a narrow mix of notare & gunome, only starts above the shoulder.
Osafune school = (±1250-1929) Japan’s most prolific swordsmith group Hamon = temper line
Notare = broad, slowly undulating hamon Gunome = regular narrow waves hamon
10
Katana, made by Sukesada
Blade Signature Bishū Osafune Sukesada/ August, 1564 [Cut off below]
Edge length 63.4cm／Curve 2.2cm Late Muromachi (1564)
Bizen Province (Okayama Pref.) BOJSM Collections
Most Osafune smiths between the 16th & early 20th centuries went by ‘Sukesada’ so, to tell them apart, we rely on birth names or titles, such as with the famous Yosōzaemon no Jō Sukesada. As none is recorded here, this sword’s maker is unknown.
Many late 16th century Sukesada blades were greatly shortened, their signatures erased. While this one was shortened, the file marks changing halfway up its nakago, the signature remains. The ‘roku’ (禄) character in “the eighth month in the 7th year of the Eiroku era” has been replaced with the character ‘六’. Pronounced the same, it means ‘six’, so that the signature now reads ‘six, seven, eight’.
Osafune school = (±1250-1929) Japan’s most prolific swordsmith group
Nakago = The part of the blade that goes inside the sword handle
11
Katana, made by Kiyomitsu
Blade Signature Made by Osafune Kiyomitsu, who lives in Bizen province/ A day in August, 1559
Edge length 70.4cm／Curve 2.7cm Late Muromachi (1559)
Bizen Province (Okayama Pref.) BOJSM Collections
Kiyomitsu was the name of several late Muromachi period (1393–1573) smiths who, along with Katsumitsu & Munemitsu, were among the best of the Muromachi Osafune school.
Due to the limited signature, we cannot know which Kiyomitsu made this. It does however have a very varied, complex hamon. Beginning straight, but transforming between the halfway point & the tip into koshi no hiraita gunome & square kakubatta gunome, studded with tobiyaki, finally curling back in the tip in a tight, undulating circle.
Osafune school = (±1250-1929) Japan’s most prolific swordsmith group Hamon = temper line
Koshi no hiraita gunome = broad-based wave hamon Kakubatta gunome = angular, undulating hamon
Tobiyaki = tempered patches that float above the main hamon
12
Katana, maker Unknown
Blade Signature Bishū Osafune [cut off below this point]/ First year of Yasu □ (sei?) [cut off below this point]
Edge length 73.3cm／Curve 1.6cm Mid-Muromachi (15th C.)
Bizen Province (Okayama Pref.) BOJSM Collections
This blade’s shape suggests a date between the Nanbokuchō (1336-1392) & mid-Muromachi Periods (1393–1573), but with only the date character ‘康’ (read: kō) surviving, it could still be from either the Kamakura (1185–1333) (Kōgen), Nanbokuchō (Kōei, Kōan, Kōryaku, Kōō), or Muromachi (Kōsei).
Though its nioi-based hamon is actually a mix of kataochi gunome & slightly broad-based gunome, it appears at first like suguha, each hamon element peak perfectly aligned. The presence of kataochi gunome & other factors, suggest the maker was trying to copy older Osafune School blades.
Nioi = fine steel grains indiscernible to the naked eye Hamon = temper line
Kataochi gunome = hamon with small waves that suddenly drop - resembles saw teeth Gunome = regular narrow waves hamon
Suguha = straight hamon Osafune school = (±1250-1929) Japan’s most prolific swordsmith group
13
Kodachi, made by Yoshinori
Blade Signature Made by Yoshinori, who lives in Heian castle, 59 years old/
[Added later] Zuitora? (meaning unknown, possibly an owner’s name)
[Added later] Zuitora? (meaning unknown, possibly an owner’s name)
Edge length 60.2cm／Curve 1.9cm Mid-Muromachi (15th C.)
Yamashiro Province (Kyōto Pref.) BOJSM Collections
Yoshinori was a Yamashiro Province (now Kyoto) smith of the Muromachi period (1393–1573) Heianjō Nagayoshi school, thought to have worked in Sanjō, Kyoto. A valuable record of his life, the sword’s signature records him as being ‘59 years old’ when he made this blade.
Inside this blade’s hamon, which verges on being straight suguha, varying only slightly, small circular points called ‘yō’ appear like falling leaves fluttering in the breeze as they fall towards the blade edge.
Hamon = temper line Suguha = straight hamon Yō = small patches/points within the hamon
14
Tachi, made by Hidekage
Blade Signature Hidekage of Bishū Osafune/ A day in March, 1455
Edge length 65.0cm／Curve 2.0cm Mid Muromachi (1455)
Bizen Province (Okayama Pref.) BOJSM Collections
Said to be the son of Hidemasa, Hidekage belonged to the Kozori line, a subgroup of the Osafune School. As works by Hidekage are known all the way from the Enbun (1356-61) to Ōnin (1467-1469) eras, it is thought that this name was passed down over several generations.
When inscribing the date on this sword, Kyōtoku 4 (1455), it is possible the smith wrote two ‘2’s to avoid having to write ‘four’, an unlucky number* in Japan.
*The superstition surrounding the number 4 comes from its pronunciation, ‘shi’, being the same as the word for death.
15
Tachi, made by Sukemitsu
Blade Signature Bishū Osafune Sukemitsu/ A day in February, 1466
Edge length 71.8cm／Curve 1.9cm Early-Mid Muromachi (1466)
Bizen Province (Okayama Pref.) BOJSM Collections
Sukemitsu was the name of many early Muromachi (1393–1573) Osafune School smiths, most notably Rokurōzaemon no Jō Sukemitsu, father of Ukyō no Suke Katsumitsu & Sakyō no Shin Munemitsu.
Though over-polished & significantly reduced in size, a nioi-based suguha temper line, punctuated by kogunome & kakubatta gunome, is still visible. The sword’s unusual steel grain, meanwhile, combines two distinct patterns. Along the top side of the blade, it is a combination of itame & mokume, while towards the edge, the itame almost becomes a straight-grained masame.
Osafune school = (±1250-1929) Japan’s most prolific swordsmith group Nioi = fine steel grains indiscernible to the naked eye
Suguha = straight hamon Kogunome = low, small waves hamon Kakubatta gunome = angular, undulating hamon
Itame = irregular grain like on a plain-sawn pine board Mokume = irregular grain like wood burl
16
Naginata, made by Hidekage
Blade Signature Bishū Osafune Hidekage/ A day in August, 1437
Edge length 62.3cm／Curve 2.1cm Early-Mid Muromachi (1437)
Bizen Province (Okayama Pref.) BOJSM Collections
Said to be the son of Hidemasa, Hidekage belonged to the Kozori line, a subgroup of the Osafune School. With works known all the way from the Enbun (1356-61) to Ōnin (1467-1469) eras, many think that there were several Hidekage smiths. The Enbun era Hidekage smith was possibly son of Chikakage, a student of Nagamitsu, himself the son of the Osafune School’s founder.
This blade has a grand, powerful, highly practical shape. To reinforce the idea that this was actually used heavily in battle, chips can be seen in the spine & near the hamon’s edge.
Osafune school = (±1250-1929) Japan’s most prolific swordsmith group Hamon = temper line
17
Wakizashi, made by Yasumitsu
Blade Signature Yasumitsu of Bishū Osafune/ A day in October, 1411
Edge length 45.9cm／Curve 1.0cm Early Muromachi (1411)
Bizen Province (Okayama Pref.) BOJSM Collections
The ‘Yasumitsu’ smiths helped define the aesthetic of the early Muromachi (1393–1573) Osafune School. The most skilled, Uemon no Jō & Sakyō no Suke Yasumitsu, worked in what is known as the ‘Ōei Bizen’ style, after the Ōei era (1394-1428) during which they worked.
Like many Osafune blades of the time, this blade has a tight grain of interwoven itame & mokume known as ‘Ōei moku’. Its hamon too is typically Ōei. An active mix of koshi no hiraita & kataochi gunome in nioi that almost reaches the ridge line, bō utsuri is visible between it & the hamon.
Osafune school = (±1250-1929) Japan’s most prolific swordsmith group Itame = steel grain like on a plain-sawn pine board
Mokume = wood burl grain Hamon = temper line Koshi no hiraita gunome = broad-based wave hamon
Kataochi gunome = hamon with slanted waves resembling saw teeth Nioi = individually indiscernible steel grains
Bō utsuri = a straight, dark ‘shadow hamon’ seen above some hamon
18
Katana, made by Kanenaga
Blade Signature Unsigned (attrib. Kanenaga)
Edge length 72.6cm／Curve 1.5cm Nanbokuchō (14th C.)
Bizen Province (Okayama Pref.) BOJSM Collections
Only a handful of signed works by Kanenaga survive, with most, like this blade attributed to him, having been shortened & so now lacking a signature.
Like his predecessor Chōgi, his works have large chōji hamon in nie, containing a profusion of activity.
Broad, with a large point & shallow curve, this blade’s shape is prototypical for a Nanbokuchō (1336-1392) period sword. As with many swords from this period, due to its large size, a groove (bōhi), has been carved out to reduce the swords weight.
Chōji = clove-bud hamon design Hamon = temper line Nie = coarse, individually distinguishable steel grains
19
Tachi, maker Unknown
Blade Signature [Cut off below] of Osafune, Bizen province/ Fudō □□ 10th year □ [cut off below]
Edge length 68.4cm／Curve 1.6cm Nanbokuchō (14th C.)
Bizen Province (Okayama Pref.) BOJSM Collections
As this blade’s signature records it being made in Osafune, it was likely made by an Osafune School smith. While the inscription on the reverse side reads ‘fudō□□jūnen’ (Fudō□□year 10), no Japanese eras start with ‘fudō’, & not one has been spelt with four characters since 770CE. One possibility is that it originally read ‘Fudō Myōō’, or some other non-date-related word.
While the smith’s identity is unknown, looking at the blade’s jigane, they were likely close to the Osafune School’s main line. It seems the original hamon in the blade tip was lost after being reshaped at some point, but, so it could still be used, just the point was requenched, creating a new hamon.
Osafune school = (±1250-1929) Japan’s most prolific swordsmith group
Jigane = The appearance of the blade steel above the temperline, including grain pattern & color Hamon = temper line
20
Tachi, made by Shigezane
Blade Signature Bi/ Osafune Shigezane (who lives in)… shū
[orikaeshimei (signature has been cut & folded over, leaving only ‘Bi’ on the original side)]
[orikaeshimei (signature has been cut & folded over, leaving only ‘Bi’ on the original side)]
Edge length 71.9cm／Curve 2.4cm Nanbokuchō period (14th C.)
Bizen Province (Okayama Prefecture) BOJSM Collections
Part of the Osafune School’s Motoshige sub-branch, Shigezane’s ancestry is much debated. Maybe a son or younger brother of Hatakeda Morishige, others claim he was a younger brother of Motoshige.
This work’s hamon, with its tight border, starts as fairly straight suguha, becoming a more typical Motoshige Line mix of kakubatta gunome, hakoba, & sakagakatta gunome about two-thirds up.
Though shortened, the signature has been folded over & preserved. Since very few signed swords by Shigezane survive, this blade is very precious.
Osafune school = (±1250-1929) Japan’s most prolific swordsmith group Hamon = temper line
Suguha = straight hamon Kakubatta gunome = angular, undulating hamon
Hakoba = angular box (hako)-like wave elements Sakagakatta gunome = hamon of small, angular waves
21
Wakizashi (shortened Nagamaki), maker Unknown
Blade Signature [Added later] This was gifted in 1750/ Suekane Tokisuke wore this.
Edge length 55.8cm／Curve 2.1cm Nanbokuchō (14th C.)
Bizen Province (Okayama Pref.) BOJSM Collections
Due to their long handles, which were almost as long as their long blades, nagamaki could be used similarly to European glaives. When shortened to turn it into a wakizashi, the signature that was originally engraved on the nakago has been lost, & with it, the identity of the nagamaki’s maker.
This blade features a lively konie-based hamon composed of innumerable stacked chōji & round-headed gunome elements, reminiscent of the workmanship of the Ōmiya school, which worked close to the Osafune School.
Wakizashi = Curved sword roughly 30-60cm long Nakago = The part of the blade that goes inside the sword handle
Hamon = temper line Chōji = clove-bud hamon design Gunome = regular narrow waves hamon
Osafune school = (±1250-1929) Japan’s most prolific swordsmith group
22
Tachi, made by Yoshifusa
Blade Signature Yoshifusa
Edge length 70.5cm／Curve 1.4cm Mid-Kamakura (13th C.)
Bizen Province (Okayama Prefecture) BOJSM Collections
Yoshifusa, of the mid-to-late Kamakura (1185–1333) Fukuoka Ichimonji School, is celebrated for his varied style, his hamon ranging from large, vibrant chōji, to more subdued kochōji & kogunome.
The hamon on this blade exemplifies his workmanship. Starting with tall ōchōji midare, its deep nioi-based border almost reaches the ridge line, while tobiyaki in konie float above it. Halfway up the blade, it transitions to a much lower mix of kochōji, kogunome. Various activity can be seen are also visible within it, ashi clearly visible throughout & sunagashi visible near to the handle end.
Hamon = temper line Chōji = clove-bud hamon Kochōji = low clove-buds hamon Kogunome = low, small wave hamon
Ōchōji = Large chōji Nioi = fine steel grains indiscernible to the naked eye Tobiyaki = Hamon spots above the main hamon
Konie = fine, individually distinguishable steel grains Kochōji = small chōji
Ashi = lines stretching from the hamon border towards the edge Sunagashi = parallel shiny lines in the hamon
