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Exhibition Item Captions
更新日：2026年10月7日更新
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Caption notes:
1st Floor｜The world of KATANA: Blades, beauty, and boundless adventure
1
Wakizashi, by Norimitsu (Suebizen)
Signature: Made by Norimitsu of Bishū Osafune/ A day in August, 1509
Edge length 55.5cm
Curvature Depth 1.1cm
Late Muromachi (1509)
Bizen Province (Okayama Pref.)
Working in Osafune between the 14th & 16th centuries, the Norimitsu* smiths were not as prolific as smiths of the Osafune School. Though few in number, the works that do survive display a high level of skill.
Artistic Features
Jigane
Combining elongated itame with wood-burl like mokume, the steel’s ‘grain pattern’ is compact & well-forged.
Temper line
The temper line combines misty, broad-based koshi no hiraita waves with ‘saw-tooth’- kataochi gunome elements in an extravagant design that reaches almost as high as the blade’s ridge-line (shinogi).
*Did you know? Swordsmiths usually signed with a ‘craft name’, which they chose or inherited from their teacher. This was not a surname, as until 1868 only elites like the samurai could have one!
2
Wakizashi, by Tadatsuna (Awataguchi School)
Signature: Awataguchi Ōmi no Kami Tadatsuna
Edge length 57.8cm
Curvature Depth 1.4cm
Mid-Edo (17-18th C)
Settsu Province (Osaka Pref.)
Made by the 2nd generation Tadatsuna, the name of several smiths who worked in Osaka around the 18th century, his style of workmanship was particularly flamboyant, his temper lines often featuring designs of swelling waves & well-defined clove buds.
Artistic Features
Jigane
The blade’s steel grain is very fine & compact, made of tiny elongated itame whirls.
Temper line
A prototypical Tadatsuna temper line, the design is tall & bold, mostly comprising clove bud elements with long, tapering stems (ashinaga chōji).
*Did you know? From the ~1200s, smiths could receive official titles, like ‘Ōmi no Kami’ (Governor of Ōmi). Honorary, conferring no real power, they were used in signatures almost like branding!
3
Tachi, by Masatsugu (Aoe School)
Signature: A lucky day in August, Masatsugu
Edge length 76.4cm
Curvature Depth 2.8cm
Late Kamakura (14th C)
Bicchū Province (Okayama Pref.)
Several smiths of the Aoe School, in what is now western Okayama Prefecture, went by the name Masatsugu between the 12th & 14th centuries.
Artistic Features
Jigane
The grain pattern visible in the blade’s beautiful blue-black steel combines elongated itame whirls with wood-burl like ‘mokume’.
Temper line
Thin & straight, the temper line sits below cloudy, straight utsuri, a secondary pattern for which the Aoe School is well known.
Let’s have a look!
Aoe swords are known for ‘utsuri’, a cloudy white ‘second temper line’. Can you see small dark circles inside the cloudy utsuri on this sword? This the Aoe School’s famous ‘jifu’!
4
Tachi, attributed to the Awataguchi School
Signature: Unsigned (attrib. Awataguchi School)
Edge length 72.6cm
Curvature Depth 2.3cm
Early-Mid Kamakura (13th C)
Yamashiro Province (Kyōto Pref.)
The Awataguchi School defined sword-making in what is now Kyōto during the 12th & 13th centuries, laying the foundation for many later schools in the city.
Artistic Features
Shape
Elegant & evenly curved in a manner sometimes known as ‘kyōzori’ (Kyoto curvature), its shape is typical of the ‘Yamashiro Tradition’, the style pioneered in the city.
Jigane
The steel grain, a speckled pattern of minute ‘itame’ whorls & replete with glittering crystals of jinie, it almost resembles the surface appearance of an Asian pear, hence the name for this type of grain – ‘nashiji’, or ‘pear skin’.
*Did you know? The souls of generations of Awataguchi School smiths are enshrined at Awata Shrine, just a short walk from Kyoto’s Gion District & Yasaka Shrine!
5
Tachi, by Yoshifusa (Fukuoka Ichimonji School)
Signature: Yoshifusa
Edge length 70.5cm
Curvature Depth 1.4cm
Mid-Kamakura (13th C)
Bizen Province (Okayama Pref.)
Yoshifusa belonged to the Fukuoka Ichimonji, an Osafune smithing group of the 12th - 13th centuries, the so-called ‘Golden Age’ of Japanese sword making.
This sword has a double edge only at the point, copying the form of one of the oldest & most important Japanese swords in existence, the ‘Kogarasumaru’.
Artistic Features
Temper line
At first a tall mix of large, misty clove buds & wild, random hitatsura that glitters with small konie crystals, the design then evolves, becoming low & straight, comprising small clove buds, & pointed & wave-like gunome. Highly varied, sparkling linear accents like sunagashi (running sands), are visible near the hilt.
*Did you know? The Fukuoka area of modern Setouchi City was the most important trading city in Bizen Province for centuries. The home of the Fukuoka Ichimonji smithing group, numerous members of this ‘school’ were invited to the imperial palace to teach the emperor Gotoba how to make swords!
6
Katana, by Hiromasa
Signature: Made by Hiromasa, who lives in Sōshū
Edge length 63.1cm
Curvature Depth 2.2cm
Late Muromachi (16th C)
Sagami Province (Kanagawa Pref.)
The name of five generations of smiths in what is now Kanagawa Prefecture, the Hiromasa smiths were among the most important of the ‘Late Sōshū’, the regional stylistic period that covered the late 14th - 16th centuries.
This blade features intricate carvings*, with the name of the god ‘Hachiman’ on one side & a dragon, known as ‘Kurikara’, on the reverse.
Artistic Features
Temper line
Typical of Sagami swords, the sparkling crystals of the temper line, a complex mix of ‘gunome’ wave types, are coarse enough to be seen with the naked eye.
*Did you know? Carvings were common on blades throughout Japanese sword history, though especially during & after the Warring States Period. In the 16th century, it was especially common to see images of Buddhist deities, like Fudō Myōō, & the dragon Kurikara, added to blades for divine protection!
7
Tantō, by Suketada (Osafune School)
Signature: Suketada, who lives in Bizen Osafune
Edge length 21.4cm
Curvature Depth 0cm
Late Edo (19th C)
Bizen Province (Okayama Pref.)
Suketada was an Osafune School* smith who worked in Osafune during the late Shinshintō (New New Sword Period – equivalent to the late 18th – mid-19th centuries) & early Meiji periods.
Long in a state of rust, this blade was repolished & given new life last year.
Artistic Features
Temper line
Containing many of the design elements typical of Bizen Province swords of the 19th century, the temper line, bounded by a thin, exact border line, starts straight, then transitions to a combination of large ‘ōchōji’ clove buds & ‘bag-shaped’ clove buds (fukuro chōji).
*Did you know? The homes of the Osafune School smiths from this period still survive just a short walk away from the museum! Check the map in ‘The World of Swords’ exhibition for more information!
8
Kodachi, by Mitsuhiro (Kozori Line)
Signature: Made by Mitsu(hiro) of Bishū Osa(fune)
Edge length 43.0cm
Curvature Depth 1.0cm
Nanbokuchō (14th C.)
Bizen Province (Okayama Pref.)
Though the main swordsmithing group in Osafune was the Osafune School, there were several other groups that worked alongside them. For instance, the ‘Kozori Line’ is the classification given to Osafune smiths from the 14th century whose workmanship differs from the Osafune School itself & do not fit into any other group. Mitsuhiro was the name of two generations of Kozori smiths between 1362-1378, with this sword being by the second generation.
This blade was exhibited in 2022 at the Manggha Museum in Krakow, Poland as part of our aim to teach audiences abroad about Japanese sword artistry.
9
Katana, by Sukesada (Osafune School)
Signature: Osafune Sukesada, living in Bizen Province/ A day in May, 1575
Edge length 73.7cm
Curvature Depth 2.5cm
Azuchi Momoyama (1575)
Bizen Province (Okayama Pref.)
From the workmanship, this broad, powerful blade can be attributed to late 16th century swordsmith Tōshirō Sukesada. He & his four sons were among the only smiths to survive the 1590 flood of Osafune, & their descendants would be central to preserving the local sword-making tradition into the 20th century.
Like the black example accompanying this blade, ‘Satsuma’ scabbards, named for the region where they originated, are optimized for usability & durability.
Artistic Features
Temper line
Formed of coarse steel grains, the mostly straight design also contains small pointed & wave-like elements.
*Did you know? Smiths worked in groups, or ‘schools’, of which the most successful was the Osafune School, due to its size, location, & its degree of specialization, each smith focusing on a specific process.
2nd Floor｜The 19th Annual Amulet Sword Exhibition
1
Tantō, by Sō Masatoshi
Signature: Sō Masachika
Edge length 23.4cm
Curvature Depth 0cm
Sō Masatoshi:
This is my attempt to reproduce a tantō by the Nanbokuchō Period Chikuzen Province mastersmith Ōsa. I forged the blade using homemade steel smelted from local Hakata iron sand. The beautiful, tight jihada & bright hamon were excentuated by the sword polisher Mr. Matsuo.
Blade Division: Invitee
Craftsmen
Blade: Sō Masatoshi, Polishing: Matsuo Kiyotake, Habaki: Deguchi Mobio
2
Tantō, by Miyairi Kei
Signature: Kozaemon Yukihira
Edge length 26.2cm
Curvature Depth 0.1cm
Made by Nagano Prefecture smith Miyairi Kei, a master smith & regular invigilator at the annual sword-smithing exams, please take your time looking at all the delicate details of this blade.
Blade Division: Invitee
Craftsmen
Blade: Miyairi Kei, Polishing: Mizuta Yoshimasa, Habaki: Watanabe Yoshinobu
3
Tantō, by Gassan Kiyoshi
Signature: Gassan Sadatoshi, who lives in Yamato, made & engraved this (+kao monogram)/ A lucky day in June, 2026
Scabbard: Guard-less Scabbard: with kairagi rayskin & polished-back black lacquer
Edge length 28.4cm
Curvature Depth 0cm
Gassan Kiyoshi:
This dagger features the wavy ayasugi grain pattern passed down in my family, and a carving of a dragon holding a gem that I engraved myself. The Scabbard: has been wrapped with stingray skin, lacquered black, and then polished so that the stingray skin shows through the lacquer layer. I hope you will appreciate the beauty and skill of the Japanese sword!
Blade Division: Invitee
Craftsmen
Blade: Gassan Kiyoshi, Polishing: Manazu Hitoaki, Habaki: Adachi Kazuyoshi
4
Tantō, by Kubo Yoshihiro
Signature: Yoshihiro
Edge length 23.1cm
Curvature Depth 0cm
Kubo Yoshihiro:
I tried my hand at a style quite different from my usual workmanship. Please look at it at your leisure.
Blade Division: Invitee
Craftsmen
Blade: Kubo Yoshihiro, Polishing: Korezawa Kōshō, Habaki: Watanabe Yoshinobu
5・6
Tantō, by Kawasaki Hitoshi
Signature: This is by Akihira/ Midsummer, 2026
Scabbard: Guard-less red-lacquered Scabbard: with rayskin-wrapped hilt
Edge length 25.6cm
Curvature Depth 0cm
Kawasaki Hitoshi:
I was aiming for the workmanship of Norishige when I made this blade.
I think it is very attractive how the temper line stands out against the slick jigane (darker steel above the temperline), within which flutter speckles of chikei (dark flecks). The skillfully-made, charming menuki ornament on the hilt of the aikuchi koshirae (Scabbard: without a sword guard) features a tiger & leopard design.
I think it is very attractive how the temper line stands out against the slick jigane (darker steel above the temperline), within which flutter speckles of chikei (dark flecks). The skillfully-made, charming menuki ornament on the hilt of the aikuchi koshirae (Scabbard: without a sword guard) features a tiger & leopard design.
Sekiyama Kazumichi:
Please take you time and look at all the details!
Blade Division: Invitee
Polishing Division: (5th Place) All Japan Swordsmiths Association Award
Fittings Division: Accepted to exhibition
Craftsmen
Blade: Kawasaki Hitoshi, Polishing: Sekiyama Kazumichi, Menuki: Antique, Rayskin: Kawai Hiroaki, Wood Scabbard: Kawai Hiroaki, Habaki: Watanabe Yoshinobu, Shitodome: Watanabe Yoshinobu
7・8
Wakizashi, by Yoshikawa Mitsuo
Signature: Made by Yoshimitsu, a resident of the eastern capital/ A lucky day, spring, 2026
Scabbard: Black lacquered guard-less Scabbard: with autumn grasses in gold powder & rayskin-wrapped hilt
Edge length 38.2cm
Curvature Depth 0.4cm
Yoshikawa Mitsuo:
After acquiring a large menuki (hilt ornament) featuring autumn grasses, I made a broad wakizashi (short sword) blade to match.
I think the black lacquered Scabbard:, decorated with autumn grasses in gold makie (lacquering technique using gold powder), makes the full ensemble quite splendid.
I think the black lacquered Scabbard:, decorated with autumn grasses in gold makie (lacquering technique using gold powder), makes the full ensemble quite splendid.
Blade Division: Invitee
Fittings Division: (2nd Place) Hayashibara Museum Director’s Award
Craftsmen
Blade: Yoshikawa Mitsuo, Polishing: Abe Kazunori, Habaki: Yoshikawa Mitsuo, Wood Scabbard:・Rayskin: Kenmochi Naotoshi, Mekugi・Kozuka・Shitodome: Antique, Lacquer: Koyama Mitsuhide
9
Tantō, by Andō Yūsuke
Signature: Hiroyasu/ For Yura, born May 25th, 2022
Yasui Takayuki:
As [the client] had had the front side engraved with [his daughter's] favourite, strawberries, & the reverse engraved with her birth flower, asparagus, I carefully polished the blade so as to highlight these carvings. I hope that the love of a parent for their daughter will live on in this blade.
Polishing Division: Accepted to exhibition
Craftsmen
Blade: Andō Yūsuke, Polishing: Yasui Takayuki
10
Tantō, by Mikami Takanori
Signature: Made & engraved by Mikami Sadanao
Scabbard: Guard-less black persimmon wood Scabbard: with carved ribs & internal irekozaya sleave
Mikami Takanori:
I made this after the style of a small kirihazukuri (blade shape with a ridge very close to the edge) wakizashi (short sword) by the Nanbokuchō Period (1336-1392) smith Sōshū Sadamune. Fitted with a thin magnolia wood 'irekozaya' inner sleave to protect the blade from scratches, the black persimmon Scabbard: has been carved with ribs, & lacquered using pure gold. It is the culmination of the consumate skill of many craftsmen.
Fittings Division: Accepted to exhibition
Craftsmen
Blade: Mikami Takanori, Wood Scabbard: Nagamune Seizō (Repaired by) Taguchi Hiroshi, Metal fittings: Antique, Lacquer: Motomizu Myōdō
11
Wakizashi, by Yoshida Masaya
Signature: Made by Masaya/ Spring 2026
Edge length 40.0cm
Curvature Depth 0.7cm
Yoshida Masaya:
Enjoy looking at this blade at your leisure!
Blade Division: Accepted to exhibition
Craftsmen
Blade・Polishing・Habaki: Yoshida Masaya
12
Tantō, by Miyagi Masatoshi
Signature: Made by Norizane/ A day in February, 2026
Edge length 29.1cm
Curvature Depth 0.2cm
Miyagi Masatoshi:
Made as an oversized tanto (dagger), the temper line is a slanted chōji (clove bud) containing ashi (thin lines stretching towards the edge from the temper line border), while the steel grain is itame (board grain).
For the quench, I came up with different clay recipes, one for temper line & one for utsuri (Signature: ‘shadow temper line’), which allowed me to successfully achieve a white utsuri.
For the quench, I came up with different clay recipes, one for temper line & one for utsuri (Signature: ‘shadow temper line’), which allowed me to successfully achieve a white utsuri.
Blade Division: Accepted to exhibition
Craftsmen
Blade: Miyagi Masatoshi, Polishing: Oshida Yukihiro, Habaki: Adachi Kazuki
13
Tantō, by Mori Mitsuhide
Signature: Made by Osafune Sukemitsu on a day in May, 2026/ 'Jisōun', the protector of Natsukaze (On the spine) Engraved by Sōfū
Edge length 24.8cm
Curvature Depth 0cm
Mori Mitsuhide:
This fairly broad blade features impressive carvings by master engraver Kinoshita Sōfū. Starting at the top, are Dainichi Nyorai of the Diamond Realm, Miroku Bosatsu, & Benzaiten. Imbued with prayer, this protective sword, named 'Jisōun’, was commissioned by the client out of respect for the Buddhist god with which they are connected.
Blade Division: Accepted to exhibition
Craftsmen
Blade: Mori Mitsuhide, Polishing: Yasui Takayuki, Habaki: Maeda Kōta
14・15
Tantō, by Miyairi Yō
Signature: Miyairi Yō made this/ Midsummer, 2026
Scabbard: Guard-less Scabbard: lacquered black with speckled gold leaf
Edge length 18.4cm
Curvature Depth 0cm
Miyairi Yō:
Since the distant past, gems have been closely associated with talismans. As I wanted to try incorporating one into an amulet sword, I used tiger's eye in the menuki (hilt ornament).
Blade Division: Accepted to exhibition
Fittings Division: Accepted to exhibition
General Division: Accepted to exhibition
Craftsmen
Blade: Miyairi Yō, Polishing: Abe Kazunori, Habaki: Matsumoto Yutaka, Wood Scabbard: Kenmochi Naotoshi, Menuki gem setting: Matsumoto Yutaka, Lacquer: Koyama Mitsuhide
16
Tantō, by Mori Mitsuhide
Signature: Osafune Sukemitsu/ A day in a month during the Reiwa Era (On the spine) Engraved by Sōfū
Sagara Yūichi:
My submission for this edition of the Amulet Sword Exhibition is a yoroi dōshi (armour piercer) by swordsmith Mori Mitsuhide. I polished it in a manner as to accentuate the balance between the broad-based gunome (small regular waves) temper line, reminiscent of Bizen Osafune Sukesada; the delicate but vibrant activity within the temper line; & the engraving.
Polishing Division: Honorable Mention
Craftsmen
Blade: Mori Mitsuhide, Polishing: Sagara Yūichi
17
Tantō, by Manzoku Hirotsugu
Signature: Made by Hirotsugu/ A day in August, 2025
Edge length 16.6cm
Curvature Depth Reverse curve
Manzoku Hirotsugu:
I made it with the idea of creating something small yet eye-catching.
Blade Division: Honorable Mention
Craftsmen
Blade: Manzoku Hirotsugu, Polishing: Yokoyama Tomonobu, Habaki: Watanabe Yoshinobu
18
Tantō, by Fujita Munehisa
Signature: Kunimune
Edge length 25.9cm
Curvature Depth 0cm
Fujita Munehisa:
My goal was the workmanship of late Kamakura (1185-1336) Yamashiro (Kyoto) blades. I hope you will take a good look at the border of the temper line & at the steel of the jigane (darker steel above the temper line).
Blade Division: Honorable Mention
Craftsmen
Blade: Fujita Munehisa, Polishing: Matsumura Sōtarō, Habaki: Mishima Mikinori
19
Tantō, by Yokoi Shōji
Signature: Akimitsu
Edge length 28.8cm
Curvature Depth 0.2cm
Yokoi Shōji:
Swords have been sources of spiritual support for the Japanese people since the depths of time. The Amulet Sword Exhibition is held every year to communicate the beauty of swords to the next generation, & will soon be on its 20th edition. We hope many people will come & see it.
Blade Division: Honorable Mention
Craftsmen
Blade: Yokoi Shōji, Polishing: Matsumura Sōtarō, Habaki: Noguchi Saya
20
Tantō, by Andō Yūsuke
Signature: Hiroyasu
Edge length 29.9cm
Curvature Depth 0.2cm
Andō Yūsuke:
Referencing works by Tsugunao & Naotsugu of the Bitchū Province (western Okayama) Aoe School, I forged this sword based on the concept of 'magnificent & elegant’.
Kagami Genta:
I polished the blade with a mind to making the utsuri (Signature: ‘shadow temper line’) easy to see, while preserving the color balance between the darker body &lighter edge.
Blade Division: Accepted to exhibition
Polishing Division: (4th Place) All Japan Swordsmiths Association Chairman Award
Craftsmen
Blade: Andō Yūsuke, Polishing: Kagami Genta, Habaki: Nakata Kōji
21・22
Wakizashi, by Tomioka Keiichirō
Signature: Yoshimasa/ April 2026 (On the spine）Engraved by Sōfū
Scabbard: Black lacquered Scabbard: decorated with motifs of luck & the god Daikokuten
Edge length 38.0cm
Curvature Depth 0.5cm
Tomioka Keiichirō:
The blade & fittings were designed as a whole, using Daikokuten, the god of luck, as a motif to express one of life's blessings, 'human relationships'.
The three lines on the habaki (blade collar) represent heaven, earth, & mankind, embodying a wish that one may find harmony with those who matter most.
The three lines on the habaki (blade collar) represent heaven, earth, & mankind, embodying a wish that one may find harmony with those who matter most.
Blade Division: (4th Place) All Japan Swordsmiths Association Chairman’s Award
Fittings Division: Honorable Mention
General Division: (1st Place) TV Setouchi Award
Craftsmen
Blade: Tomioka Keiichirō, Polishing: Daimon Kenshirō, Rayskin: Tōyama Kazuyasu, Habaki: Nakata Kōji, Menuki・Kozuka: Matsui Noriaki, Shitodome: Watanabe Yoshinobu, Lacquer: Kishino Teruhito, Wood Scabbard: Tazawa Atsushi
23
Wakizashi, by Miyairi Yō
Signature: Miyairi Yō made this
Edge length 38.6m
Curvature Depth 0.2cm
Miyairi Yō:
I focused on its imposing shape & on creating abundant activity across the surface. With the blade groove, I tried to communicate the idea of new bonds & prosperity.
Abe Sōichirō: I took great care in polishing to accentuate the bright steel & powerful workmanship of swordsmith Miyairi Yō. I greatly brought out the beautiful steel grain, giving the steel itself a natural look, & paid close attention to the line of the hadori (misty area above the temper line) so the powerful temper line might flow attractively.
Abe Sōichirō: I took great care in polishing to accentuate the bright steel & powerful workmanship of swordsmith Miyairi Yō. I greatly brought out the beautiful steel grain, giving the steel itself a natural look, & paid close attention to the line of the hadori (misty area above the temper line) so the powerful temper line might flow attractively.
Blade Division: Accepted to exhibition
Polishing Division: (3rd Place) Sanyo Shinbun Award
Craftsmen
Blade: Miyairi Yō, Polishing: Abe Sōichirō, Habaki: Matsumoto Yutaka
24
Wakizashi, by Myōchin Yūsuke
Signature: Myōchin Munehiro/ Summer 2026
Edge length 30.3m
Curvature Depth 0.2cm
Myōchin Yūsuke:
I made this blade through trial and error, aiming for a more interesting, dynamic hamon (temper line). To further enhance the hamon, I had it polished using sashikomi (polishing which does not artificially enhance the hamon) techniques.
Morii Tetsutarō:
I used sashikomi polishing techniques to draw attention to swordsmith Myōchin Munehiro's soft, lively temper line.
Blade Division: (3rd Place) Bizen Osafune Japanese Sword Museum Director’s Award
Polishing Division: (2nd Place) Okayama Prefecture Board of Education Superintendent’s Award
Craftsmen
Blade: Myōchin Yūsuke, Polishing: Morii Tetsutarō, Habaki: Watanabe Yoshinobu
25
Tantō, by Kimura Mitsuhiro
Signature: Kanemitsu of Higo Province/ A day in February, 2026
Edge length 30.0m
Curvature Depth 0.7cm
Kimura Mitsuhiro:
I might call this piece ‘Osoraku Sanchōmō’. I think people generally associate osoraku-zukuri (a blade shape with a very long point compared to the body) with notare (large wave) or gunome (small wave) temper lines, but here, I decided to ignore that preconceived image and instead used a flamboyant jūka-chōji (layered clove bud) design. Personally, I thought they went together well, but... I’m looking forward to seeing how everyone reacts.
Blade Division: (2nd Place) Sakaki Town Mayoral Award
Special Award: Polish Ambassador’s Award
Craftsmen
Blade: Kimura Mitsuhiro, Polishing: Kimura Shōta, Habaki: Watanabe Yoshinobu
26
Wakizashi, by Miyata Tsuyoshi
Signature: This was made with tamahagane from the first time I worked under a murage as a trainee smelter/ Masatoshi Autumn, 2025
Edge length 36.1m
Curvature Depth 0.2cm
Miyata Tsuyoshi:
With a Nanbokuchō (1336-1392) shape and slanted clove bud temper line, on the front is engraved a simplified Kurikara dragon, while the back has goma-bashi (two lines representing funerary chopsticks) and sanskrit letters. Though not my usual style, the effect is quite powerful, and I feel like a new path has opened before me.
Daimon Kenshirō:
Miyata trains hard to create swords inspired by the old masters, but this time, he fully brought out the blade’s abundant activity, achieving a very modern, energetic look.
Blade Division: (1st Place) Okayama Prefectural Governor’s Award
Polishing Division: Honorable Mention
Special Award: Best Newcomer Award
Craftsmen
Blade: Miyata Tsuyoshi, Polishing: Daimon Kenshirō, Habaki: Sugiyama Hideaki
27
Wakizashi, by Gassan Ichirō
Signature: Made by Gassan Sadanobu, who lives in Yamato (+kao monogram)/ Using Sōshū forging methods on a lucky day in July, 2026
Edge length 35.6m
Curvature Depth 0.4cm
Gassan Ichirō:
I made this blade emulating the hitatsura (all-over temper) of the 14th century Sōshū Tradition. Floating temper elements combine dynamically with the darker steel. I plan to work even harder to create works on a par with ancient masterpieces.
Tamaki Jōji:
Drawing on my previous experience polishing blades with hitatsura temper lines, including pieces by Sōshū Hiromitsu and Hasebe, I endeavoured to use cosmetic polishing techniques to the fullest, without having the misty hadori border become too thick as to obscure the richly detailed jihada (the grain of the darker steel).
Blade Division: Invitation
Polishing Division: (1st Place) Setouchi City Mayoral Award
Special Award: Proterial Award
Craftsmen
Blade: Gassan Ichirō, Polishing: Tamaki Jōji, Habaki: Adachi Kazuyoshi
28
Tantō, by Kamiyama Yōzō
Signature: Teruhira
Edge length 23.2cm
Curvature Depth 0.4cm
Kamiyama Yōzō:
The blade of this piece is based on the ‘osoraku zukuri’ sword shape of the smith Kiyomaro. Though the shape is exactly like Kiyomaro's, I chose not to put in a soebi (thin Signature: groove) so as to make the steel of the jigane (darker steel above the temperline) more visible. I tried my hand at polishing for the first time in order to understand my own swords better. I was able to bring out the steel's grain pattern well, so I think I did well for my first attempt at polishing.
Blade Division: Invitation
Polishing Division: Accepted to exhibition
Craftsmen
Blade・Polishing: Kamiyama Yōzō, Habaki: Watanabe Yoshinobu
29
Tantō, by Kamiyama Yōzō
Signature: Yoshimasa/ April 2026 (On the spine）Engraved by Sōfū
Scabbard: Black lacquered Scabbard: decorated with motifs of luck & the god Daikokuten
Kamiyama Yōzō:
The shibuichi (traditional alloy of copper and silver) menuki (hilt ornament) has been created in repousse, given maximum height to create a three-dimensional appearance, while below dance several elegant butterflies in makie, their form a a fine balance between realism & stylization.
The scabbard may look brown at a glance, but over time, the yellow lacquer applied directly to the wooden core will cause the color to change gradually with age.
The scabbard may look brown at a glance, but over time, the yellow lacquer applied directly to the wooden core will cause the color to change gradually with age.
Fittings Division: (1st Place) MEXT Minister's Award
Craftsmen
Blade: Kamiyama Yōzō, Lacquer: Tsuyatsuya, Metal fittings: Kinoshita Sōfū, Wood Scabbard: Satō Hinano, Menuki: Matsui Noriaki, Hatome: Watanabe Yoshinobu
