本文
Exhibition Item Captions
更新日：2026年2月14日更新
印刷ページ表示
↵ ↵ ↵ ↵
Caption notes:
1st Floor｜How to Appreciate Japanese Swords
1
Tachi, by Yasumitsu (Osafune School)
Blade Signature: Yasumitsu of Bishū Osafune/ A day in August, 1443
Edge length 75.2cm
Curvature Depth 2.9cm
1443
Bizen Province (Okayama Pref.)
Artistic features
- The graceful hamon evokes those Osafune swords of the late Kamakura Period (1185-1336). A vibrant mix of chōji & koshi no hiraita gunome from tang to tip, it reaches almost up to the shinogi ridge line.
A standout Osafune school smith of the early Muromachi Period (1392-1603), Yasumitsu was active in a time when the grand style seen in Nanbokuchō Period (1336-1392) swords, which were noted for their breadth & long points, was falling out of fashion, to be replaced by a revival of the Kamakura Period (1192-1336) tachi style.
This tachi too, has a more elegant form when compared to blades from the previous period, having a slimmer form & small point.
Hamon = Temper line Chōji = Clove-bud design
Koshi no hiraita gunome = Broad-based wave hamon
Koshi no hiraita gunome = Broad-based wave hamon
2
Katana, by Kiyonori
Blade Signature: Kiyonori, who lives in Yoshii, Bizen Province/ A day in February, 1462
Edge length 64.2cm
Curvature Depth 1.5cm
1462
Bizen Province (Okayama Pref.)
Artistic features
- Formed of nioi, each peak of the picture-perfect gunome hamon has a perfectly rounded ‘bean-like’ shape. A prototypical Yoshii School hamon, it is precise & even from the tang to the point.
Kiyonori belonged to the Yoshii School, a smithing group based on the west bank of the Yoshii River, to the west of this museum. Known for its skillfully realised, evenly spaced gunome hamon, this school’s blades featured a nie crystal structure in the Kamakura Period (1192-1336), changing to nioi from the Muromachi Period (1392-1603).
Hamon = Temper line Nioi = Fine steel grains indiscernible to the naked eye
Gunome = Regular narrow waves hamon Nioi = Fine steel grains indiscernible to the naked eye
Gunome = Regular narrow waves hamon Nioi = Fine steel grains indiscernible to the naked eye
3
Katana, by Sadatsugu (Shimosaka School)
Blade Signature: Hyūga no Kami Fujiwara Sadatsugu, who lives in Echizen
Edge length 67.8cm
Curvature Depth 1.3cm
Mid-Edo (17th C)
Echizen Province (Fukui Pref.)
Artistic features
- The steel is slightly dark in color, a characteristic of Echizen (Fukui Pref.) blades, while its vivid itame grain pattern is also a typical feature.
Though a number of swordsmiths went by this name, this sword was made by the second generation Sadatsugu of the Shimosaka School, a group based in Toyohara, Echizen Province (now Maruokachō, Sakai City, Fukui Pref.).
This sword was modified after it was made. The shoulders between the blade & the nakago, the part that goes inside the handle, were ground down. Due to this 'machiokuri' process, the tang section is now longer than it originally was.
Itame = Irregular grain like that on a plain-sawn pine board
Nakago = Part of the blade that goes inside the handle
Nakago = Part of the blade that goes inside the handle
4
Tantō, by Gassan School
Blade Signature: Gassan
Edge length 22.4cm
Curvature Depth 0cm
Mid-Edo (17th C)
Dewa Province (Yamagata Pref.)
Artistic features
- This sword’s straight konie-based hamon is applied ontop of the Gassan School’s trademark ayasugi grain pattern.
This blade was made by a Gassan smith, a group named for its original base of operations near Mt Gassan which, along with Mt Haguro & Mt Yudono, form the trio of mountains known as the ‘Dewa Sanzan’. All in Yamagata Prefecture, these three hold a central position in Shugendō, a religious system of ascetic mountain-worship.
Smiths of the Gassan school are best known for their highly technical, undulating wave-like grain pattern known as ayasugi hada, or ‘zig-zag grain’.
Hamon = Temper line Ayasugi hada = Zig-zagging, wavy steel grain
Konie = Fine, individually distinguishable steel grains
Konie = Fine, individually distinguishable steel grains
5
Katana, by Kiyomitsu (Osafune School)
Blade Signature: Osafune Kiyomitsu, who lives in Bizen Province/ A day in February 1570
Edge length 69.4cm
Curvature Depth 1.9cm
1570
Bizen Province (Okayama Pref.)
Artistic features
- This blade's characterful steel grain combines itame interspersed with large-featured mokume in the darker steel, becoming almost straight in near the edge.
Kiyomitsu was the name of several standout Osafune School smiths of the so-called 'Suebizen', or 'late Bizen', the name given to smiths working in Bizen Province in the mid-late Muromachi (1392-1603). While many Osafune smiths went by this name, the main line, constituting the best, most skilled Kiyomitsu smiths, used the title 'Gorōzaemon no Jō', passing it down from generation to generation.
Mokume = Irregular grain like wood burl Itame = Irregular grain like that on a plain-sawn pine board
6
Wakizashi, by Sukenaga (Osafune School)
Blade Signature: Yokoyama Kaga no Suke Fujiwara Ason Sukenaga A day in August, 1840/[Chrysanthemum crest] One. Lives in Bizen Osafune
Edge length 53.5cm
Curvature Depth 1.5cm
Late Edo (19th C)
Bizen Province (Okayama Pref.)
Artistic features
- This blade has a typical Sukenaga hamon. Straight at first, it becomes an extravagant mix of ōchōji, fukuro chōji, & his trademark jūka chōji, before curving back in a wide arc in the point. Its border is so thin & fine-grained as to appear drawn on.
Many late Edo (1603-1868) smiths tried to improve their position through acquiring titles. Sukenaga received not only the ranks ‘Kaga no suke’ (vice governor of Kaga Province*) & ‘Ason’ (‘lord’*) from the imperial court, but also the right to engrave the imperial chrysanthemum on his blades.
*By the Edo period, these titles could be held by multiple people & no longer conferred any power. Instead, they just added to one’s social status.
Hamon = Temper line Chōji = Clove-bud hamon design Ōchōji = Large chōji hamon
Jūka chōji = Layered clove-bud hamon
Fukuro chōji = Chōji hamon with round peaks resembling pouches
Jūka chōji = Layered clove-bud hamon
Fukuro chōji = Chōji hamon with round peaks resembling pouches
7
Naginata, by Sukesada (Osafune School)
Blade Signature: Made by Kōzuke Daijō Fujiwara Sukesada, who lives in Osafune, Bizen Province/ A day in February 1712
Edge length 45.8cm
Curvature Depth 2.2cm
1712
Bizen Province (Okayama Pref.)
Artistic features
- Near the blade's center where the curve is deepest, the steel grain is itame, mixed with fine komokume.
- The hamon is straight, with a wide, cloudy border.
Kōzuke Daijō Sukesada, son of Shichibē no Jō, was one of the best smiths of the Osafune School during the 'New Sword Period', the name given to the style of sword making pioneered at the start of the Edo Period (1603-1868).
His adopted son Yamato Daijō Sukesada, thought to have made this work, is rated almost as highly as his great father.
Hamon = Temper line Itame = Irregular grain like that on a plain-sawn pine board
Komokume = Very fine, rregular grain like wood burl
Komokume = Very fine, rregular grain like wood burl
8
Wakizashi, by Nobuyoshi (Mishina School)
Blade Signature: [Chrysanthemum crest] Echizen no Kami Minamoto Nobuyoshi/ A lucky day in May, 1675
Edge length 53.8cm
Curvature Depth 1.5cm
1675
Settsu Province (Ōsaka Pref.)
Artistic features
- Typical for Nobuyoshi the hamon, with its broad border, is mostly wide notare punctuated with periodic gunome, its troughs thick with accumulated konie. In places a wide, gently undulating suguha, elsewhere it contains tōranba-like elements, typical for the Mishina School.
Son of Shinano no Kami Nobuyoshi, according to one theory a member of the famed 'Kyō Gokaji', Echizen no Kami Nobuyoshi moved from Kyōto to Ōsaka to make swords with his elder brother, the second generation Shinano no Kami Nobuyoshi.
Hamon = Temper line Gunome = Regular narrow waves hamon Suguha = Straight hamon
Notare = Broad, slowly undulating hamon Konie = Fine, individually distinguishable steel grains
Tōranba = A hamon pattern that resembles breaking waves
Notare = Broad, slowly undulating hamon Konie = Fine, individually distinguishable steel grains
Tōranba = A hamon pattern that resembles breaking waves
9
Wakizashi, unsigned, attrib. Sue Mihara School
Blade Signature: Unsigned (attrib. Sue Mihara School)
Edge length 51.6cm
Curvature Depth 1.3cm
Late Muromachi (16th C)
Bingo Province (Hiroshima Pref.)
Artistic features
- A typically slim, straight Mihara hamon, it gently undulates, turning back in a small circle in the point, to terminate relatively far along the spine.
- Coarse nie stud the hamon's border, forking off in one spot in the lower part of the sword to form what resembles a short, second hamon.
This is by the ‘Sue Mihara’ (‘late Mihara’), referring to mid-Muromachi (1392-1603) or later smiths of the Mihara School, in Mihara, Bingo Province (Hiroshima pref.).
Hamon = Temper line Nie = Coarse, individually distinguishable steel grains
10
Wakizashi, by Katsumitsu (Osafune School)
Blade Signature: Katsumitsu, of Bishū Osafune/ A day in February, 1478
Edge length 52.2cm
Curvature Depth 1.4cm
1478
Bizen Province (Okayama Pref.)
Artistic features
- Fairly subdued, the nioi-based hamon still contains many features expected of contemporary Osafune School swords, with a mix of koshi no hiraita gunome & chōji, & pointed gunome in places.
Several Osafune School smiths went by 'Katsumitsu' in the late Muromachi (1392-1603), with the most famous being Ukyō no Suke Katsumitsu, the maker of this blade. Based in Osafune, he is also known to have travelled widely, going as far afield as Ōmi Province (now Shiga Pref.) & Yamashiro Province (now Kyoto).
So that this blade could be comfortably wielded single-handedly, the nakago has been made as short as possible in a style known as ‘katate uchi’ – a typical characteristic of swords from this period.
Hamon = Temper line Nioi = Fine steel grains indiscernible to the naked eye
Gunome = Regular narrow waves Chōji = Clove-bud hamon design
Koshi no hiraita gunome = Broad-based wave hamon
Gunome = Regular narrow waves Chōji = Clove-bud hamon design
Koshi no hiraita gunome = Broad-based wave hamon
11
Wakizashi, by Norikage
Blade Signature: Norikage of Bishū Osafune
Edge length 52.1cm
Curvature Depth 1.7cm
Early Muromachi (15th C)
Bizen Province (Okayama Pref.)
Artistic features
- Above the undulating hamon, variable utsuri can be seen, a characteristic seen on many older Osafune School blades.
Numerous swordsmiths across Japan went by 'Norikage' at different times, but this blade is by the Norikage who was part of the Osafune School & worked during the Early Muromachi (1392-1603).
Typical for katana of this period, this sword has a short nakago, showing that it was made to be used single-handedly, unlike those of earlier & later periods, that were used two-handed.
Hamon = Temper line Utsuri = A pattern like a shadow hamon seen above the hamon on some swords
Nakago = Part of the blade that goes inside the hilt
Nakago = Part of the blade that goes inside the hilt
12
Katana, unsigned, Yamato Tradition
Blade Signature: Unsigned (Yamato tradition)
Edge length 64.2cm
Curvature Depth 2.0cm
Edo (17th – 18th C)
Place of origin unknown
Artistic features
- The straight, wide-layered steel grain has areas of mokume.
- This sword’s undulating hamon has areas of neatly aligned kogunome & contains sunagashi & other activity near the tip.
Though it is unsigned, its maker unknown, this blade’s workmanship is typical of those by Yamato tradition smiths & suggests it may be by a smith of either the Kii Province (Mie/ Wakayama prefs.) Nanki Shigekuni line, or of the Sendai Domain (Miyagi Pref.) Kunikane line.
Hamon = Temper line Mokume = Irregular grain like wood burl
Kogunome = Low, small waves design Sunagashi = Parallel shiny lines in the hamon
Kogunome = Low, small waves design Sunagashi = Parallel shiny lines in the hamon
13
Tachi, unsigned, attrib. Awataguchi School
Blade Signature: Unsigned (attrib. Awataguchi School)
Edge length 72.6cm
Curvature Depth 2.3cm
Early-Mid Kamakura (12th-13th C)
Yamashiro Province (Kyōto Pref.)
Artistic features
- The steel grain, a fine example of the Awataguchi School’s nashiji, glitters with fine nie steel crystals.
- Highly variable, the low gunome hamon suddenly extends upward in places.
The Awataguchi School, named for the part of Kyoto where it worked, is famous for smiths like Kunitomo, Hisakuni, & Kuniyasu, who were supposedly part of the 'Goban Kaji', a small group of smiths chosen personally by retired emperor & sword-lover Gotoba to make blades at the palace.
The most accomplished smithing collective of Kamakura Period (1185–1333) Kyōto, it produced a huge number of renowned smiths, including Kuniyoshi & Tōshirō Yoshimitsu, who was particularly celebrated for his tantō.
Hamon = Temper line Nie = Coarse, individually distinguishable steel grains
Gunome = Regular narrow waves hamon Nashiji = Speckled steel grain resembling pear skin
Gunome = Regular narrow waves hamon Nashiji = Speckled steel grain resembling pear skin
14
Tachi, by Shigezane (Osafune School)
Blade Signature: Bi.../ Shigezane, who lives in ...shū Osafune (signature has been cut & folded over, leaving only ‘Bi’ on the original side)
Edge length 71.9cm
Curvature Depth 2.4cm
Nanbokuchō (14th C)
Bizen Province (Okayama Pref.)
Artistic features
- Capped with a tight border, the hamon starts fairly straight, but changes two-thirds of the way up the blade, transforming into the mix of square & angular gunome one would expect of the Motoshige School.
Shigezane belonged to the Motoshige Line, widely seen as a separate sub-tradition of the Osafune School. There are several theories as to his relationship to other smiths of the time. Some say he was the son or younger brother of Hatakeda Morishige, while others suggest he was the younger brother of Motoshige.
Though the blade has been shortened, the part of the tang bearing Shigezane's signature has been preserved & folded over, making it one of a very small & precious group of surviving signed examples by this smith.
Hamon = Temper line Gunome = Regular narrow waves hamon
15
Katana, unsigned, attrib. Tsunahiro
Blade Signature: Unsigned (attrib. Tsunahiro)
Edge length 75.0cm
Curvature Depth 1.3cm
Mid-Edo (17th C)
Sagami Province (Kanagawa Pref.)
Artistic features
- The hamon is a virtuosic example of skill, combining chōji & kenpōmidare-like elements with the hitatsura seen on many other Sōshū (Sagami) Tradition blades. This distinctive composition is very different to the hitatsura of older blades.
Tsunahiro was possibly the same person as Hiromasa, thought to be descended from the famed Masamune. Hiromasa was supposedly given the honor of using the Chinese character ‘tsuna’ from the name of the lord of his home province of Sagami (Kanagawa Pref.), Hōjō Ujitsuna. He likely changed his name to Tsunahiro when he moved to the castle town of Odawara to work closer to Ujitsuna. His descendants would pass down this name, with ‘Tsunahiro’ still surviving today as a surname.
Hamon = Temper line Chōji = Clove-bud hamon design Kenpōmidare = Tall narrow wave hamon
Hitatsura = ‘Tempered all over’ hamon
Hitatsura = ‘Tempered all over’ hamon
16
Katana, by Kanemoto
Blade Signature: Kanemoto
Edge length 71.2cm
Curvature Depth 1.8cm
Late Muromachi (16th C)
Mino Province (Gifu Pref.)
From the Muromachi Period (1336-1603), numerous smiths in Seki, Mino Province (Gifu Pref.), went by the name Kanemoto, with the 2nd generation ‘Magoroku’ Kanemoto being the most celebrated.
Comprising jagged peaks of different heights in sets of three, the hamon known as ‘sanbonsugi’ (‘three cedar trees’) was invented by Magoroku Kanemoto. Originally the ‘sanbonsugi’ peaks were slightly rounded & irregular, but here they are pointed & precise, something only seen in swords by later Kanemoto smiths.
Hamon = Temper line
2nd Floor｜A Fascination of Swords: Selected Blades from the Museum Collections
1
Katana, by Kunisuke
Blade Signature: Kawachi no Kami Kunisuke
Edge length 70.3cm
Curvature Depth 1.2cm
Mid-Edo (17th C)
Settsu Province (Ōsaka Pref.)
Artistic features
- The hamon's design, a complex mix of chōji, gunome, & kobushigata chōji, is exactly what one might expect of the second generation Kunisuke.
Of the generations of smiths that went by ‘Kawachi no Kami Kunisuke’, best-known is likely the second, the supposed inventor of the ‘kobushigata chōji’ hamon.
Though this blade’s shape has changed since it was first forged, having been shortened in later years, its original mid-Edo Period (1603-1868) form is still visible in its shallow curve, as well as in how it narrows from handle to point.
Hamon = Temper line Gunome = Regular narrow waves hamon Chōji = Clove-bud hamon design
Kobushigata chōji = A hamon with split-headed peaks that resemble fists (kobushi)
Kobushigata chōji = A hamon with split-headed peaks that resemble fists (kobushi)
2
Tachi, by Sanetsugu (Aoe School)
Blade Signature: Aoe Sanetsugu, a resident of Bicchū Province
Edge length 71.9cm
Curvature Depth 2.1cm
Nanbokuchō (14th C)
Bicchū Province (Okayama Pref.)
Artistic features
- The jigane, with its tight grain, displays the Aoe School's dark 'sumihada' dark steel color.
- The hamon is a bright, clear suguha.
Sanetsugu, this blade's maker, belonged to the famed Aoe School. Forging many fine works in the Kamakura (1192-1336) & early Muromachi (1392-1603) periods, this smithing group often carved their signatures, as here, on the side of the tang that faced the body when worn. Almost all other smiths signed on the outside face.
An even width along its length, thin, & curved most deeply near the handle this blade displays a classic 14th century shape.
Representing the Buddhist god of war 'Fudō Myōō', a double-edged sword & two thin lines have been carved into the blade itself.
Hamon = Temper line Gunome = Regular narrow waves hamon Suguha = Straight hamon
Jigane = The steel above the temperline, including its grain pattern & color
Sumihada = Lit. 'Charcoal skin'. The distinctive dark steel of Aoe blades.
Jigane = The steel above the temperline, including its grain pattern & color
Sumihada = Lit. 'Charcoal skin'. The distinctive dark steel of Aoe blades.
3
Wakizashi, by Tsunetsugu (Aoe School)
Blade Signature: Tsunetsugu, who lives in Bicchū Province/ February 1345
Edge length 38.1cm
Curvature Depth 0.9cm
1345
Bicchū Province (Okayama Pref.)
Artistic features
- Itame near the spine, this piece’s grain is almost masame-like at the edge, while the jigane displays the Aoe School's dark 'sumihada' steel.
- Capped by a bright, tight border, the hamon is typical of Nanbokuchō (1336-1392) Aoe blades, mostly suguha in nioi & becoming kogunome towards the point.
Tsunetsugu was a master of the Aoe School, which succeeded the Ko-Aoe School, & his name was passed down through generations of main line Aoe School smiths.
Originally a naginata, this was shortened to be used as a wakizashi, giving it its rare shōbuzukuri shape. Named as it resembles a Japanese iris or 'shōbu', it becomes gradually narrower towards the tip & lacks the ridge that defines the point section.
Nioi = Fine steel grains indiscernible to the naked eye Suguha = Straight hamon
Sumihada = Lit. 'Charcoal skin'. The distinctive dark steel of Aoe blades.
Hamon = Temper line Itame = Irregular grain like that on a plain-sawn pine board
Masame = Straight steel grain Kogunome = Low, small waves hamon
Jigane = The steel above the temperline, including its grain pattern & color
Sumihada = Lit. 'Charcoal skin'. The distinctive dark steel of Aoe blades.
Hamon = Temper line Itame = Irregular grain like that on a plain-sawn pine board
Masame = Straight steel grain Kogunome = Low, small waves hamon
Jigane = The steel above the temperline, including its grain pattern & color
4
Tachi, by Yoshifusa (Fukuoka Ichimonji School)
Blade Signature: Yoshifusa
Edge length 70.5cm
Curvature Depth 1.4cm
Mid-Kamakura (13th C)
Bizen Province (Okayama Pref.)
Artistic features
- Starting with ōchōji almost as tall as the shinogi, with tobiyaki in konie, the complex nioi-based hamon turns into a low mix of kochōji, togariba, & kogunome half-way up. There are ashi throughout, while sunagashi is visible near the handle.
This blade's hamon is actually partially obscured. When adding the white 'hadori', the polisher chose not to follow the original line of the hamon, so that, if you look just right, you may see portions of the original hamon poking out into the darker jigane.
This sword is also notable for its shape, just its point being double-edged in the shape known as 'kissaki moroha zukuri'.
Hamon = Temper line Jigane = The steel above the temperline, including its grain pattern & color
Nioi = Fine steel grains indiscernible to the naked eye Shinogi = Ridge line on each side of the blade
Konie = Fine, individually distinguishable steel grains Togariba = Pointed hamon
Ashi = Lines stretching from the hamon border towards the edge Gunome = Regular narrow waves hamon
Kogunome = Low, small waves hamon Sunagashi = Parallel shiny lines in the hamon
Tobiyaki = Discrete tempered patches that float above the main hamon Ōchōji = Large chōji hamon
Nioi = Fine steel grains indiscernible to the naked eye Shinogi = Ridge line on each side of the blade
Konie = Fine, individually distinguishable steel grains Togariba = Pointed hamon
Ashi = Lines stretching from the hamon border towards the edge Gunome = Regular narrow waves hamon
Kogunome = Low, small waves hamon Sunagashi = Parallel shiny lines in the hamon
Tobiyaki = Discrete tempered patches that float above the main hamon Ōchōji = Large chōji hamon
5
Katana, unsigned, attrib. Hōshō School
Blade Signature: Unsigned (attrib. Hōshō)
Edge length 69.2cm
Curvature Depth 2.2cm
Kamakura (13th C)
Yamato Province (Nara Pref.)
Artistic features
- This has many classic Hōshō & Yamato Tradition features, such as a straight grain pattern, & hamon containing much nie & activity, such as hotsure & uchinoke. The grain also contains small 'masaware' cracks. Usually a negative, it is valued in Hōshō blades.
This is thought to be the work of the Hōshō School, a smithing collective that forged swords in their workshop in Takaichi County, Yamato Province (now Kashihara, Nara Pref.) in the late Kamakura (1192-1336) & the Muromachi Period (1392-1603).
Uchinoke = Small crescent moon like dashes above the hamon border
Hotsure = Where a line streaks back from the hamon border into the jigane
Hamon = Temper line Nie = Coarse, individually distinguishable steel grains
Hotsure = Where a line streaks back from the hamon border into the jigane
Hamon = Temper line Nie = Coarse, individually distinguishable steel grains
6
Katana, unsigned, attrib. Kozori Line
Blade Signature: Unsigned (attrib. Kozori Line)
Edge length 70.9cm
Curvature Depth 2.2cm
Nanbokuchō (14th C)
Bizen Province (Okayama Pref.)
Artistic features
- The grain pattern is vivid & full of movement.
- Due to its hamon, a mix of small-featured gunome & kochōji, above which sits clear utsuri, it is possible to attribute this to the Kozori Line.
The term 'Kozori' refers to those smiths that, during the Nanbokuchō (1336-1392) & early Muromachi Periods (1392-1603), made blades in the Osafune area but were not part of the Osafune School's main line. Their workmanship closely resembles that of the Nanbokuchō Period (1336-1392) Osafune School, generally displaying an itame grain pattern & a small-featured, variable hamon.
Hamon = Temper line Gunome = Regular narrow waves hamon Kochōji = Low clove-buds hamon
Utsuri = A pattern like a shadow hamon seen above the hamon on some swords
Utsuri = A pattern like a shadow hamon seen above the hamon on some swords
7
Tachi, by Tsunehiro
Blade Signature: Tsunehiro of Bishū Osafune
Edge length 70.9cm
Curvature Depth 1.6cm
Nanbokuchō (14th C)
Bizen Province (Okayama Pref.)
Artistic features
- The hamon is a low, typically Kozori kogunome.
- Due to a blend of hard & soft steel, nie has clustered along the grain, creating a large amount of wide kinsuji & sunagashi in the hamon & dark chikei in the jigane.
Like many smiths, little is known about Tsunehiro due to a lack of extant pieces, though similarities to swords by Mitsuhiro suggest he may have belonged to the Osafune School Kozori Line.
Hamon = Temper line Gunome = Regular narrow waves hamon
Chikei = Dark lines that follow the grain in the steel above the hamon
Kogunome = Low, small waves hamon Kinsuji = Brilliant, shiny lines in the hamon that follow the grain
Nie = Coarse, individually distinguishable steel grains Sunagashi = Parallel shiny lines in the hamon
Chikei = Dark lines that follow the grain in the steel above the hamon
Kogunome = Low, small waves hamon Kinsuji = Brilliant, shiny lines in the hamon that follow the grain
Nie = Coarse, individually distinguishable steel grains Sunagashi = Parallel shiny lines in the hamon
8
Katana, by Kunimune
Blade Signature: Kunimune, who lives in Bizen Okayama
Edge length 66.9cm
Curvature Depth 1.4cm
Mid-Edo (17th C)
Bizen Province (Okayama Pref.)
Artistic features
- The steel grain is fine koitame, studded throughout with small sparkling crystals of nie.
- Straight but slightly undulating, the hamon's border is dispersed & indistinct, almost melting into the hamon.
Kunimune is said to have been a student of the Edo Period (1603-1868) smith Azuma Tamonbē Masanari, who worked in the viscinity of Okayama castle.
Having to adapt to changes in steel-making technology, the grain of swords in the Edo Period (1603-1868) & later became tighter & harder to discern compared to earlier blades, as seen on works by Kunimune. This blade’s width is also standard for the time, showing the very shallow curvature typical for the mid-Edo Period (1603-1868).
Koitame = Very fine, irregular grain like that on a plain-sawn pine board Hamon = Temper line
Nie = Coarse, individually distinguishable steel grains
Nie = Coarse, individually distinguishable steel grains
9
Katana, unsigned, attrib. Tegai School
Blade Signature: Unsigned (attrib. Tegai School)
Edge length 68.8cm
Curvature Depth 1.2cm
Nanbokuchō (14th C)
Yamato Province (Nara Pref.)
Artistic features
- Classically Yamato, the grain combines itame & masame, while the straight hamon has cases of kuichigaiba.
- The hamon in the point looks like it has been swept with a broom, a Tegai School specialty known as ‘hakikake’.
This blade is by a smith of the Yamato Province (Nara) Tegai School, so-named as it operated opposite the the Tegai Gate, the north-west entrance to Tōdaiji Temple, likely from the late Kamakura (1192-1336) to the mid-Muromachi (1336-1603) Period.
Itame = Irregular grain like that on a plain-sawn pine board Masame = Straight steel grain
Hamon = Temper line Hakikake = Hamon in the point that looks like it has been swept with a broom
Kuichigaiba = A hamon border where part forks off & runs parallel
Hamon = Temper line Hakikake = Hamon in the point that looks like it has been swept with a broom
Kuichigaiba = A hamon border where part forks off & runs parallel
10
Wakizashi, by Sukemitsu (Osafune School)
Blade Signature: Sukemitsu, who lives in Bishū Osafune/ February 1458 [cut off below]
Edge length 50.4cm
Curvature Depth 1.5cm
1458
Bizen Province (Okayama Pref.)
Artistic features
- Combining features representative of both the Ōei & Sue Bizen periods, while near the center of the blade chōji can be seen, elsewhere, the hamon becomes a more square, small-featured, broad-based gunome.
This was created during the transition from the Ōei Bizen (1394-1428) to Sue Bizen (1504-1592), two distinct stylistic periods in Bizen Province sword-making.
The signature suggests this was by the first of the Sukemitsu smiths, Rokurōzaemon no Jō Sukemitsu, father of the two renowned Sue Bizen smiths Ukyō no Suke Katsumitsu & Sakyō no Shin Munemitsu, who together made exhibit no. 21.
Hamon = Temper line Gunome = Regular narrow waves hamon Chōji = Clove-bud hamon design
11
Katana, by Yoshimichi (Kyōtanba Line)
Blade Signature: Legitimate successor Tanba no Kami Yoshimichi/ A day in February, 1793
Edge length 51.1cm
Curvature Depth 1.1cm
1793
Yamashiro Province (Kyōto Pref.)
Artistic features
- Straight near the hilt, the hamon at points widens into parallel lines of ‘sudareba’ (rattan blinds), combining with petal-like accents near the tip to form the hamon motif ‘kikusuiba’ (chrysanthemum & water), that resembles petals floating on a stream.
The line of smiths that went by the name Tanba no Kami Yoshimichi split in two in the early Edo Period (1603-1868), the Kyōto Line (Kyō Tanba) & Ōsaka Line (Ōsaka Tanba). This particular Yoshimichi smith was of the Ōsaka line.
Kikusuiba = Chrysanthemum flower on water hamon Gunome = Regular narrow waves hamon
Sudareba = ‘Rattan blind’ hamon comprising multiple parallel lines Hamon = Temper line
Sudareba = ‘Rattan blind’ hamon comprising multiple parallel lines Hamon = Temper line
12
Katana, by Motohira (Mino Tradition)
Blade Signature: Oku Yamato no Kami Taira Ason Motohira of Satsuma Domain/ August, 1791, year of the pig
Edge length 67.4cm
Curvature Depth 1.7cm
1791
Satsuma Domain (Kagoshima Pref.)
Artistic features
- Motohira made this at his peak. Its tight itame grain speckled with profuse spots of beautiful jinie, the hamon, a mix of pointy togari gunome & kogunome in nie, is lively with activity like sunagashi & kinsuji.
One of late Edo (1603-1868) Satsuma's best swordsmiths, in 1785, age 32, Motohira's great skill was recognised by the lord of Satsuma Domain, Shimazu Shigehide, who granted him the right to add the domain name to his signatures.
His genius made waves beyond just Satsuma. Osafune School smith Sukehira apprenticed with Motohira, his influence visible in works by Sukehira’s son, Sukenaga, who would later become a standout smith of the late 19th C.
Kinsuji = Brilliant, shiny lines in the hamon that follow the grain Hamon = Temper line
Jinie = Dark coarse steel crystals in the jigane Togari gunome = Pointed, wavy hamon
Itame = Irregular grain like that on a plain-sawn pine board Kogunome = Low, small waves hamon
Sunagashi = Parallel shiny lines in the hamon Gunome = Regular narrow waves hamon
Nie = Coarse, individually distinguishable steel grains
Jinie = Dark coarse steel crystals in the jigane Togari gunome = Pointed, wavy hamon
Itame = Irregular grain like that on a plain-sawn pine board Kogunome = Low, small waves hamon
Sunagashi = Parallel shiny lines in the hamon Gunome = Regular narrow waves hamon
Nie = Coarse, individually distinguishable steel grains
13
Tachi, by Toshimitsu
Blade Signature: Made by Fujiwara Toshimitsu, who lives in Osafune, Bizen Province/ [In gold inlay] The sword of a man from Kagoshima A lucky day, May, 1967 This was commissioned by Yamanaka Sadanori for his 2nd son Sadanobu
Edge length 79.5cm
Curvature Depth 2.5cm
1967
Okayama Pref.
Artistic features
- The hamon is Imaizumi’s classic, skilful mix of kogunome, chōji, & gunome in nioi. Reaching almost to the sword’s ridgeline, it is punctuated by numerous ‘ashi’ lines, giving the whole panorama a sense of vibrancy & liveliness.
Toshimitsu, Intangible Cultural Property of Okayama Prefecture since 1959, made this at 69 for Yamanaka Sadanori, member of parliament for Kumamoto Prefecture.
A master smith, he is often lauded as the person who revived Osafune's sword-making industry.
Ashi = Lines stretching from the hamon border towards the edge
Chōji = Clove-bud hamon design Nioi = Fine steel grains indiscernible to the naked eye
Hamon = Temper line Gunome = Regular narrow waves hamon Kogunome = Low, small waves hamon
Chōji = Clove-bud hamon design Nioi = Fine steel grains indiscernible to the naked eye
Hamon = Temper line Gunome = Regular narrow waves hamon Kogunome = Low, small waves hamon
14
Kodachi, by Yoshifusa (Fukuoka Ichimonji School)
Blade Signature: Yoshifusa
Edge length 55.0cm
Curvature Depth 1.4cm
Mid-Kamakura (13th C)
Bizen Province (Okayama Pref.)
Artistic features
- The hamon is a fairly small-figured chōji close to the tang, but becomes a striking, varied mix of fukuro chōji & kochōji with significant height variation near the tip.
Yoshifusa belonged to the mid-Kamakura (1192-1336) Fukuoka Ichimonji School, founded by Norimune in Osafune in the early Kamakura (1192-1336). A school known for its blades' flamboyant chōji hamon, the name 'Ichimonji' comes from the fact that they signed their swords with the character '一' (ichi), literally 'number one'.
Fukuro chōji = Chōji hamon with round peaks resembling pouches
Hamon = Temper line Gunome = Regular narrow waves hamon Kochōji = Low clove-buds hamon
Hamon = Temper line Gunome = Regular narrow waves hamon Kochōji = Low clove-buds hamon
15
Tachi (shortened naginata), by Motoshige (Osafune School)
Blade Signature: Motoshige, who lives in Bishū Osafune
Edge length 68.2cm
Curvature Depth 1.1cm
Nanbokuchō (14th C)
Bizen Province (Okayama Pref.)
Artistic features
- The hamon in nie deftly mixes kogunome with kochōji & kakubatta gunome that resembles blocks of tofu.
- The shape is typically Nanbokuchō (1336-1392). Broad, as expected, the point is even longer than most, almost more like that of a naginata than of a sword.
Motoshige is said to have been the son of Hatakeda Morishige, of the Hatakeda School. This school was based just next to Osafune, slightly east of this museum, &, during the period that Morishige was active, it seems to have been integrating ever more with the Osafune School, their workmanship becoming ever more similar. By the time of Motoshige, rather than being its own distinct school, the Hatakeda had effectively become a sub-lineage of the Osafune School.
Kakubatta gunome = Angular, undulating hamon Kochōji = Low clove-buds hamon
Nie = Coarse, individually distinguishable steel grains Kogunome = Low, small waves hamon
Hamon = Temper line
Nie = Coarse, individually distinguishable steel grains Kogunome = Low, small waves hamon
Hamon = Temper line
16
Wakizashi, by Morikage (Osafune School)
Blade Signature: Morikage of Bishū Osafune
Edge length 34.0cm
Curvature Depth 0.7cm
Nanbokuchō (14th C)
Bizen Province (Okayama Pref.)
Artistic features
- The blade features a regular gunome hamon of even height. Chōji can be seen between the blade's hilt & midpoint, but nearer the point it is replaced by pointed ‘togari’ gunome & slightly square kataochi gunome. Profuse ashi create a rich, variegated appearance.
Morikage was an Nanbokuchō Period (1336-1392) smith of the Ōmiya School, which has more recently come to be considered a sub-line of the Osafune School. He had a wide skillset, making blades with a variety of hamon styles, from extremely lively & flamboyant, to more restrained & small-featured.
Kataochi gunome = Hamon with small waves that suddenly drop - resembles saw teeth
Togari gunome = Pointed, wavy hamon Ashi = Lines stretching from the hamon border towards the edge
Hamon = Temper line Gunome = Regular narrow waves hamon Chōji = Clove-bud hamon design
Togari gunome = Pointed, wavy hamon Ashi = Lines stretching from the hamon border towards the edge
Hamon = Temper line Gunome = Regular narrow waves hamon Chōji = Clove-bud hamon design
17
Katana, by Yasumitsu (Osafune School)
Blade Signature: [Folded over 'orikaeshimei' signature] Yasumitsu
Edge length 64.8cm
Curvature Depth 1.8cm
Early Muromachi (15th C)
Bizen Province (Okayama Pref.)
Artistic features
- The hamon's comparatively small design elements at first make it seem understated, but closer examination reveals Yasumitsu’s typical busy style, koshi no hiraita gunome intermixing with chōji & togari gunome.
The Yasumitsu smiths, along with Morimitsu, are among the most famed early Muromachi (1392-1603) Osafune School swordsmiths, especially the first & second generations, Uemon no Jō & Sakyō no Suke. Active in the Ōei Era (1394-1428), works by the Yasumitsu & Morimitsu smiths are collectively referred to as ‘Ōei Bizen’.
Shortened at some point, the part of this blade that bears the signature was folded back to preserve it. Originally a tachi, in its current form it is classified as a katana.
Koshi no hiraita gunome = Broad-based wave hamon Togari gunome = Pointed, wavy hamon
Hamon = Temper line Gunome = Regular narrow waves hamon Chōji = Clove-bud hamon design
Hamon = Temper line Gunome = Regular narrow waves hamon Chōji = Clove-bud hamon design
18
Yari, by Hidekage (Osafune School)
Blade Signature: Hidekage
Edge length 38.2cm
Curvature Depth 0cm
Mid-Muromachi (15th-16th C)
Bizen Province (Okayama Pref.)
Several Osafune smiths went by 'Hidekage', though based on the signature, this one is thought to be by a smith from around the time of the Ōnin Era (1467-1469). The Hidekage smiths sometimes signed with just the character '一' (one), pronounced 'ichi', perhaps claiming to be descendants of the Ichimonji School.
The section between the sharp blade of a yari spear & its tang was generally longer before 1600 than after. As much fewer spears survive today than swords, this is is a valuable work that displays the typical features of a 15th century spear.
19
Katana, by Sukesada (Osafune School)
Blade Signature: Made by Osafune Sukesada, who lives in Bizen Province/ A day in August, 1522
Edge length 72.6cm
Curvature Depth 1.9cm
1522
Bizen Province (Okayama Pref.)
Artistic features
- In nioi, the hamon precisely mixes togari gunome & koshi no hiraita gunome, peaks arranged in sets of 3 to 4. The koshi no hiraita gunome is typical for the late Muromachi (1392-1603), its peaks sloping at a sharper angle compared to the early Muromachi (1392-1603).
There were many Sukesadas, most late Muromachi (1392-1603) & Edo (1603-1868) period Osafune School smiths using the name. To identify an individual Sukesada generally requires a first name or title, such as Kōzuke Daijō or Genbē no Jō. In this case though, while the signature has the date, no such identifier has been given.
Unrest in the 16th century saw Bizen create swords emphasising practicality. Many Sukesada blades from then survive, passed down as heirlooms; the 'Atagi Giri', an Important Cultural Property by a Sukesada, was in fact made only just after this one.
Nioi = Fine steel grains indiscernible to the naked eye Hamon = Temper line
Gunome = Regular narrow waves hamon Togari gunome = Pointed, wavy hamon
Koshi no hiraita gunome = Broad-based wave hamon
Gunome = Regular narrow waves hamon Togari gunome = Pointed, wavy hamon
Koshi no hiraita gunome = Broad-based wave hamon
20
Tachi, by Kanemitsu (Osafune School)
Blade Signature: [List of the 5 Buddhist Wisdom Kings] Gundariyasha Myōō, Gōzanze Myōō, Arahijiri Fudō Myōō, Kongōyasha Myōō, Daiitoku Myōō/ Saemon no Jō Kanemitsu of Osafune in Bizen province, a day in August, 1342
Edge length 78.9cm
Curvature Depth 2.8cm
1342
Bizen Province (Okayama Pref.)
Master smith & 4th head of the Osafune School Kanemitsu is famed for his blades' sharpness. One of just 12 makers recognised for their swords' cutting ability with the top rank ‘saijō ōwazamono’ in the Edo Period (1603-1868), many of his prized works have names attesting to their value & sharpness, such as ‘Teppōgiri Kanemitsu’ (Musket-cleaver Kanemitsu), & ‘Ikkoku Kanemitsu’ (Kanemitsu worth a province).
A Nanbokuchō (1336-1392) sword, it is not the typical wide, long-pointed, grand form of the time. Instead, likely as it is from Kanemitsu’s early career, it has a late Kamakura (1192-1336) shape, narrow, with a medium point & deep curve near the hilt.
Swords often have sanskrit or other inscriptions on the blade as a sign of piety. This one however is an unusual, & therefore important, resource, instead featuring a list of the five Buddhist Wisdom Kings on the tang, often used to curse one's enemies.
21
Tantō, by Katsumitsu (Osafune School)
Blade Signature: Osafune Katsumitsu, who lives in Bishū A day in September, 1488/ This was made in an army camp
Edge length 23.4cm
Curvature Depth 0cm
1488
Bizen Province (Okayama Pref.)
A renowned late Muromachi (1392-1603) Osafune School smith & combat general who fought at the Battle of Fukuoka, a surviving record recounts an interesting episode about the smith Katsumitsu.
During then shogun Ashikaga Yoshihisa's campaign in Ōmi Province (Shiga Pref.) to break the Rokkaku Clan, Katsumitsu was called, along with his brother Munemitsu, to attend at camp by his patron, Akamatsu Masanori. The ‘Inryōken Nichiroku’ tells of how the shogun, tired from discussions, took a break, relaxing as he watched the brothers at work. Based on the date & the inscription on this blade, that states it 'was made in a war camp', this may well be one of the pieces described in this anecdote.
A prototypical 'yoroi dōshi', such narrow, thick daggers were used to pierce armor.
22
Katana, by Toshitsune (Kobizen)
Blade Signature: Unsigned (attrib. Toshitsune)
Edge length 80.0cm
Curvature Depth 2.9cm
Early Kamakura (13th C)
Bizen Province (Okayama Pref.)
Artistic features
- The itame grain pattern, is the canvas for the sword’s hamon in konie, a complex mix of kogunome & kochōji, containing activity like sunagashi & kinsuji.
- At first, Kobizen hamon were in nie, but from the mid-Kamakura Period (1192-1336), they changed to nioi.
This blade has at some point been shortened & the signature lost but, based on the hamon & broad, imposing shape, it is thought to be by Toshitsune of the Kobizen. The Kobizen smiths were active during the late Heian (794-1192) & early Kamakura Periods (1192-1336), having a huge impact on the later Ichimonji & Osafune schools.
Kinsuji = Brilliant, shiny lines in the hamon that follow the grain
Kochōji = Low clove-buds hamon Nie = Coarse, individually distinguishable steel grains
Sunagashi = Parallel shiny lines in the hamon Nioi = Fine steel grains indiscernible to the naked eye
Konie = Fine, individually distinguishable steel grains Kogunome = Low, small waves hamon
Hamon = Temper line Itame = Irregular grain like that on a plain-sawn pine board
Kochōji = Low clove-buds hamon Nie = Coarse, individually distinguishable steel grains
Sunagashi = Parallel shiny lines in the hamon Nioi = Fine steel grains indiscernible to the naked eye
Konie = Fine, individually distinguishable steel grains Kogunome = Low, small waves hamon
Hamon = Temper line Itame = Irregular grain like that on a plain-sawn pine board
