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Exhibition Item Captions

更新日：2026年5月16日更新 印刷ページ表示

  

Caption notes:

1st Floor｜How to Appreciate Japanese Swords

1

Tachi, by Shigezane (Osafune School)

Blade　Signature
Bi/ shū Osafune Shigezane (who lives in)
 
Edge length 71.9cm
Curvature Depth 2.4cm
Nanbokuchō (14th C)
Bizen Province (Okayama Pref.)
 
Artistic features
With a thin border, the hamon starts straight, but transitions to a mix of square & angular gunome styles more typical of a Motoshige Line smith. 
 
Shigezane belonged to the Motoshige Line, generally classified as being separate to the main line of the Osafune school. There are several theories regarding his relationship to other smiths of the time, with some saying he was either the son or younger brother of Hatakeda Morishige, while others claim he was the younger brother of Motoshige himself.
Although the part of the tang bearing the inscription has been folded over, Shigezane’s signature survives. Since very few signed words by Shigezane survive, this blade is very precious.
 
Hamon = Temper line         Gunome = Regular narrow waves hamon​
 
2

Katana, by Kunishige (Mizuta Kunishige School)

Blade　Signature
Unsigned (attrib. Mizuta Kunishige)
 
Edge length 72.7cm
Curvature Depth 1.9cm
Mid-Edo (18th C)
Bicchū Province (Okayama Pref.)
 
Artistic features
Primarily a broad, undulating design, like many 17th century Mizuta Kunishige swords the hamon near the hilt also contains areas of large gunome. Unusually, there is also a temper line along the sword's spine. 
Within the hamon is visible activity like sunagashi.
 
As this blade lost its inscription when it was shortened, it is not clear who made it. Even so, from the workmanship, it is thought to be by a smith of the Mizuta Kunishige School, which made swords in what is now western Okayama Prefecture from the early 16th century to the very end of the 17th .
 
Hamon = Temper line      Gunome = Regular narrow waves hamon           
Sunagashi = Parallel shiny lines in the hamon​
 
3

Tantō, by Gassan (Gassan School)

Blade　Signature
Gassan
 
Edge length 21.4cm
Curvature Depth 0cm
Late Muromachi (16th 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​
 
4

Katana, attributed to the Kozori Line

Blade　Signature
Unsigned (attrib. Kozori)
 
Edge length 70.9cm
Curvature Depth 2.2cm
Nanbokuchō (14th C)
Bizen Province (Okayama Pref.)
 
Artistic features
The darker steel above the temper line contains many distinctive details, such as its bold itame grain pattern, utsuri, & abundant activity in the hamon.
 
The term 'Kozori' refers to members of the Osafune School in the 14th & early 15th centuries who were not part of the mainline tradition. Works by them are known as 'Kozori mono'.
Kozori workmanship generally resembles that of the mainline Osafune School during the 14th century, with an itame grain pattern & small-figured, variable temper line.
Though unsigned, due to this blade's hamon of small-featured gunome & kochōji, it is possible to attribute it to the Kozori Line.
 
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
Itame = Irregular grain like that on a plain-sawn pine board​
 
5

Wakizashi, by Yasumitsu (Osafune School)

Blade　Signature
Yasumitsu of Bishū Osafune/ A day in October, 1411
 
Edge length 45.9cm
Curvature Depth 1.0cm
Early Muromachi (1411)
Bizen Province (Okayama Pref.)
 
Artistic features
Characteristic of Osafune blades of the time, this sword features both a tight ‘Ōei moku’ grain pattern of itame interwoven with mokume, & an active nioi-based hamon that combines koshi no hiraita gunome with kataochi gunome. Almost reaching the ridge line, above the hamon sits straight utsuri.
 
The Yasumitsu smiths, notably Uemon no Jō & Sakyō no Suke Yasumitsu, the first & second generations, were among the best of the early Muromachi (1393–1573) Osafune School. Working during the Ōei Era (1394-1428), swords made in this period by the Osafune School are stylistically classified as ‘Ōei Bizen’ blades.
 
Mokume = Irregular grain like wood burl        Itame = Irregular grain like that on a plain-sawn pine board
Ōei moku = Wood-burl steel grain with much nie, named for the Ōei period in which it is seen
Nioi = Fine steel grains indiscernible to the naked eye   Utsuri = Shadowy second pattern above the hamon
Hamon = Temper line      Koshi no hiraita gunome = Broad-based wave hamon   
Kataochi gunome = Hamon with small waves that suddenly drop - resembles saw teeth​
 
6

Tantō, by Kiyomitsu (Osafune School)

Blade　Signature
Osafune Kiyomitsu, a resident of Bizen Province/ A day in August, 1559
 
Edge length 29.7cm
Curvature Depth 0cm
Late Muromachi (1559)
Bizen Province (Okayama Pref.)
 
Artistic features
Alongside an itame grain pattern can be seen a straight hamon that widens as it continues towards the point. A defining features is the hamon in the tip, which turns back in a tight point.
 
The various Kiyomitsu smiths were some of the best of the late Muromachi (1393– 1573) Sue Bizen. Equal in skill to their contemporaries, Katsumitsu and Munemitsu. Gorōsaemon no Jō Kiyomitsu and Magouemon no Jō Kiyomitsu in particular are known for their mastery. This blade has no title or given name, preventing us from telling which Kiyomitsu it is by. 
 
Itame = Irregular grain like that on a plain-sawn pine board     Hamon = Temper line​
 
7

Wakizashi, by Sukesada (Osafune School)

Blade　Signature
Yokoyama Kōzuke Daijō Fujiwara Sukesada/ Inhabitant of Bishū Osafune
 
Edge length 54.8cm
Curvature Depth 0.8cm
Mid-Edo (18th C)
Bizen Province (Okayama Pref.)
 
Artistic features
The hamon, whose peaks are carefully arranged in sets of four, is a complex mix of pointed chōji & kogunome in konie, with 'crab-claw-like' elements near the hilt. Lines of kinsuji gleam throughout.
 
Yokoyama Kōzuke Daijō Sukesada is generally considered the most skilled & accomplished smith of the early to mid-Edo (1603-1868) Osafune School. After entering the employ of Okayama Domain, he proceeded to dedicate a large number of blades to temples & shrines within Bizen Province (now west Okayama Pref.) & even helped fund the rebuilding of the main temple building at the Yokoyama family’s ancestral temple, Jigen-in, that still stands today in Osafune, Setouchi City.
 
Hamon = Temper line    Chōji = Clove-bud hamon design     Kogunome = Low, small waves hamon
Konie = Fine, individually distinguishable steel grains 
Kinsuji = Brilliant, shiny lines in the hamon that follow the grain​
 
8

Tantō, by All Japan Swordsmith Association

Blade　Signature
Kagemitsu, who lives in Bishū Osafune/ A day in March, 1323/[On the spine] Engraved by Shigemitsu
 
Edge length 28.3cm
Curvature Depth Slight
2007
Various
 
Artistic features
Like its itame grain-pattern, the hamon is also fine-grained, entirely composed of nioi, except for a patch of konie near the hilt. Like the original, the hamon is a square kataochi gunome.
 
Made by the All Japan Swordsmith Association in 2007, this blade is a recreation of the National Treasure tantō the 'Kenshin Kagemitsu'.
 
Hamon = Temper line          Itame = Irregular grain like that on a plain-sawn pine board
Nioi = Fine steel grains indiscernible to the naked eye           Konie = Fine, individually visible steel grains
Kataochi gunome = Hamon with small waves that suddenly drop - resembles saw teeth​
 
9

Katana, by Yoshimichi

Blade　Signature
Tanba no Kami Yoshimichi
 
Edge length 70.3cm
Curvature Depth 1.2cm
Mid-Muromachi (15th C)
Settsu Province (Ōsaka Pref.)
 
Artistic features
Though more visible near the tip, shining jinie can be seen throughout the compact koitame steel grain.
The hamon is typically picturesque, mostly comprising kikusuiba & togari-gunome, which extends alternately to the left & right like outstretched wings.
 
Tanba no Kami Yoshimichi was a Mishina School smith from Mino Province (Gifu Pref.), who moved to Yamashiro Province (Kyōto Pref.) in the early Edo Period (1603-1868). His second son in turn moved to Ōsaka, founding a new branch of the family & passing down the name 'Yoshimichi' across generations of 'Ōsaka Tanba' smiths.
Only slightly curved, this blade has a typical mid-Edo shape.
 
Jinie = Coarse dark steel crystals in the jigane     
Koitame = Very fine, irregular grain like that on a plain-sawn pine board            Hamon = Temper line
Kikusuiba = Chrysanthemum flower on water hamon        Togari gunome = Pointed wavey hamon​
 
10

Katana, by Sukekane (Osafune School)

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 60.2cm
Curvature Depth 1.9cm
Late Edo (1866)
Bizen Province (Okayama Pref.)
 
Artistic features
Wide, thick, with a slight curve & long point, this is Sukekane's attempt at a Nanbokuchō (1336-1392) shape. 
Based in nioi, the hamon starts straight, but transitions into chōji further along the blade.
 
Alongside his teacher Sukenaga, Sukekane was among the best Osafune smiths of the late Edo (1603–1868).
The signature on this blade reads “oite shinzen saku kore” (lit. This was made before the gods). An invaluable record, it tells us that it was forged not far from this museum at Tennōbara Hachimangū Shrine, which today also houses Yukie Shrine, whose connection to smiths goes back centuries.
 
Hamon = Temper line       Nioi = Fine steel grains indiscernible to the naked eye
Chōji = Clove-bud hamon design​
 
11

Kodachi, 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)
 
Edge length 76.4cm
Curvature Depth 2.8cm
Mid-Muromachi (15th C)
Yamashiro Province (Kyōto Pref.)
 
Artistic features
Inside the almost totally straight hamon, small circular points called ‘yō’ appear like leaves fluttering in the breeze as they fall towards the blade edge.
 
A stand-out Yamashiro Province (Kyōto) smith of the Muromachi Period (1603-1868), Yoshinori is thought to have worked in the Sanjō area of Kyōto. 
Recording that he made this blade aged 59, this blade's signature is a valuable record of his life.
 
Hamon = Temper line        Yō = Small patches/points within the hamon​
 
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​
 
13

Tachi, by Nobukuni

Blade　Signature
Nobukuni
 
Edge length 65.6cm
Curvature Depth 1.7cm
Early Muromachi (15th C)
Yamashiro Province (Kyōto Pref.)
 
Artistic features
This sword combines a bold steel grain of itame & mokume, with an attractive straight hamon evocative of the Rai School.
 
There were six generations of Nobukuni smiths in Yamashiro Province (Kyōto Pref.) between the 14th & 15th centuries. Based on this blade's signature, which uses an unusual 'mirrored' version of the character read 'kuni', we know that it is by Saemon no Jō, a Nobukuni active during the 15th century.
The first Nobukuni purportedly studied under the Kyōto Rai School & the Sagami Province smith Sadamune. Their influence is visible in the workmanship of later generations, who incorporated the suguha of the former & notare of the latter.
 
Mokume = Irregular grain like wood burl        Itame = Irregular grain like that on a plain-sawn pine board
Hamon = Temper line      Suguha = Straight hamon       Notare = Broad, slowly undulating hamon​
 
14

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
Mid-Edo (1719)
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.
 
Itame = Irregular grain like that on a plain-sawn pine board  
Komokume = Very fine, irregular grain like wood burl          Hamon = Temper line​
 
15

Katana, by Hiromasa

Blade　Signature
Made by Hiromasa who lives in Sōshū
 
Edge length 63.1cm
Curvature Depth 2.2cm
Late Muromachi (16th C)
Sagami Province (Kanagawa Pref.)
 
Artistic features
The striking hamon, a lively, complex mix of various gunome types, suggests this work is by a Hiromasa of the early Muromachi Period (1393–1573).
 
The name ‘Hiromasa’ was passed down the Sagami Province (Kanagawa Pref.) Hiromasa Line across five generations during the Nanbokuchō (1336-1392) & Muromachi (1393–1573) periods.
The blade’s front face has been decorated with an engraving of a straight line & the dragon ‘Kurikara’, while the opposite side bares an engraving of the name of the Shintō war god ‘Hachiman Daibosatsu’ (Great Bodhisattva Hachiman).
An heirloom of the Tottori Ikeda clan, the scabbard & fittings are decorated all over with depictions of its family crest, a swallowtail butterfly inside a circular border.
 
Hamon = Temper line       Gunome = Regular narrow waves hamon​
 
16

Katana, by the Mino Tradition

Blade　Signature
Unsigned
 
Edge length 63.3cm
Curvature Depth 1.6cm
Azuchi Momoyama (16th C)
Mino Province (Gifu Pref.)
 
Artistic features
The shape is grand, broad with a relatively large point section, while the hamon is an irregularly aligned, sharp togari gunome with significant height fluctuations, capped with an acute, slightly variable turn-back in the tip. In all, it is characteristic of Seki Kaji blades of the period.
 
This blade is thought to be by a ‘Seki Kaji’ of the late Muromachi (1393–1573) to Azuchi Momoyama Period (1573-1603). A prosperous group of smiths based in the city of Seki in Mino province (Gifu pref.), they are best known for such late Muromachi Period luminaries as Magoroku Kanemoto & Izumi no Kami Kanesada.
 
Hamon = Temper line     Togari gunome = Pointed, wavy hamon​
 

2nd Floor｜A Mirror to the Past: Bizen Swords of the Muromachi Period​​​ 

1

Tachi, by Kanemitsu (Osafune School)

Blade　Signature
(List of the 5 Wisdom Kings of Buddhism) Gōzanze Myōō, Gundariyasha Myōō, Daishō Fudō Myōō, Daiitoku Myōō, Kongōyasha Myōō/ Saemon no Jō Kanemitsu of Osafune in Bizen province, a day in August, 1342
 
Edge length 78.9cm
Curvature Depth 2.8cm
Nanbokuchō (1342)
Bizen Province (Okayama Pref.)
 
Artistic features
Displaying a transitional shape, though broad & thin as expected of a Nanbokuchō (1336-1392) blade, it retains a late Kamakura (1185–1333) taper & curvature centered near the hilt.
 
This blade by the 4th head of the renowned Osafune School, Kanemitsu, bears the name of the 'Five Wisdom Kings' on its tang. As these Buddhist deities were often invoked as a curse on one's enemies, their presence here suggests that this blade was likely a commission for a powerful client & that it was at their request that this inscription was added. As accounts tell that Kanemitsu was at one point called to make swords for the Shogun Ashikaga Takauji, this blade is valuable as further evidence of his connection with the rich & powerful.​
 
2

Katana, attributed to Kanenaga (Osafune School)

Blade　Signature
Unsigned (attrib. Kanenaga)
 
Edge length 72.6cm
Curvature Depth 1.5cm
Nanbokuchō (14th C)
Bizen Province (Okayama Pref.)
 
Artistic features
This blade displays a prototypical grand Nanbokuchō (1336-1392) shape, broad with a long point.
A mix of gunome styles, the hamon combines small, pointed, & slanted elements in a dynamic composition.
 
Said to have been a disciple of renowned Osafune smith Chōgi, Kanenaga is thought to have either been the son of Nagashige, brother of the aforementioned Chōgi, or the son of Kaneshige. Like his master, he is known for creating many blades in the Sōshū Tradition.
The presence of an extra peg hole near the end of the nakago shows that this blade was once at least 17cm longer than it is now & heavier than its current 992 grams. Its current shape & lack of a signature can be attributed to it having been shortened.
 
Gunome = Regular narrow waves hamon        Hamon = Temper line        
Sōshū Tradition = Swords in the style pioneered near Kamakura in the 14th C.
Nakago = The part of the blade that goes inside the sword handle​
 
3

Tachi, by Tsunehiro (Kozori Line)

Blade　Signature
Tsunehiro of Bizen 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
​
4

Tachi, by Yasumitsu (Osafune School)

Blade　Signature
Yasumitsu of Bishū Osafune/ A day in August, 1443
 
Edge length 75.2cm
Curvature Depth 2.9cm
Early-Muromachi (1443)
Bizen Province (Okayama Pref.)
 
Artistic features
A tall, vibrant mix of koshi no hiraita gunome & chōji, the hamon almost reaches the ridge line, it recalls the graceful hamon of swords by the late Kamakura (1185 – 1333) Osafune School. Resembling a candle flame, the hamon in the point is a trademark of Yasumitsu's.
 
One of 'The Three Mitsus' alongside Moromitsu & Morimitsu, Yasumitsu was one of the best Osafune School smiths of the Ōei Bizen.
Made when the grandiose style of the Nanbokuchō (1336-1392) was falling out of fashion, this tachi has a more elegant form when compared to blades from the previous period, being slimmer, with a smaller point, & deep curvature near the point.
 
Koshi no hiraita gunome = Broad-based wave hamon        Chōji = Clove-bud hamon design
Hamon = Temper line​
 
5

Katana, by Iesuke (Hatakeda School)

Blade　Signature
Iesuke of Bishū Osafune/ 1421
 
Edge length 63.0cm
Curvature Depth 2.1cm
Early Muromachi (1421)
Bizen Province (Okayama Pref.)
 
Artistic features
This sword has a classic Ōei Bizen shape, slim, with a small point & a curve that is deepest near the point.
The grain pattern, an almost straight itame, is mixed with Ōei moku, while the slim, straight hamon, formed of misty nioi, is punctuated with areas of kogunome.
 
Iesuke was one of the leading smiths of the ‘Ōei Bizen’, alongside Morimitsu & Yasumitsu (No.4). However, unlike these two, he was not part of the Osafune School, but instead a member of the Hatakeda School, which worked nearby.
 
Itame = Irregular grain like that on a plain-sawn pine board        Hamon = Temper line        
Ōei moku = Wood-burl steel grain with much nie, named for the Ōei period in which it is seen
Nioi = Fine steel grains indiscernible to the naked eye        Kogunome = Low, small waves hamon​
 
6

Wakizashi, by Tsuneie

Blade　Signature
A resident of Osafune in Bizen Province/ Made by Tsuneie
 
Edge length 51.2cm
Curvature Depth 1.4cm
Mid-Muromachi (15th C)
Bizen Province (Okayama Pref.)
 
Artistic features
This blade's relatively densely forged itame steel grain is speckled with shining jinie.
Small ashi hang down from the straight hamon's thin border, while above is signature Ōei Bizen bō utsuri.
 
Among the most prolific smiths of the Ōei Bizen, alongside such masters as Morimitsu, Yasumitsu (No.4), & Iesuke (No.5), Tsuneie was not a member of the Osafune School's more famous main line, but instead belonged to either the Kozori Line or, like Iesuke, the Hatakeda School.
 
Itame = Irregular grain like that on a plain-sawn pine board     Jinie = Coarse dark steel crystals in the jigane
Ashi = Thin lines that stretch from the hamon border towards the edge       Hamon = Temper line
Bō utsuri = A straight, dark ‘shadow temper line’ above the hamon​
 
7

Wakizashi, by Shigemitsu (Osafune School)

Blade　Signature
Shigemitsu
 
Edge length 51.0cm
Curvature Depth 1.6cm
Early Muromachi (15th C)
Bizen Province (Okayama Pref.)
 
Numerous smiths went by the name Shigemitsu but, based on stylistic clues in the signature, his blade is thought to be by a Shigemitsu of the Eikyō Era (1429-1441).
This attestation is also informed by the blade's overall appearance. Despite retaining features of the Ōei Bizen, with curvature centred near the point & straight utsuri, the shorter tang to enable one-handed wielding & the groove carved to lighten it are distinct of the Eikyō. With all these features, it is an illustrative example of the change in design seen during the transition between these two periods.
A chip in the edge in the lower third of the blade also suggests that this sword was likely used in actual battle.
 
Utsuri = A pattern like a shadow hamon seen above the hamon on some swords​
 
8

Tachi, by Hidekage (Kozori Line)

Blade　Signature
Hidekage of Bishū Osafune/ A day in March, 1455
 
Edge length 65.0cm
Curvature Depth 2.0cm
Mid-Muromachi (1455)
Bizen Province (Okayama Pref.)
 
Artistic features
Bounded by a soft, hazy border, the hamon appears smaller than that of other contemporary Osafune blades, combining small koshi no hiraita gunome with small chōji. Even so, within the skillfully-made hamon, complex patterns can be seen where sparkling nie crystals have formed along the the steel grain.
 
Hidekage, said to be the son of Hidemasa, belonged to the Kozori Line, a sub-group of the Osafune School.
Despite technically being a tachi, unlike previous such cavalry swords this blade has a shorter hilt section for better one-handed use, a stylistic feature of the Eikyō Bizen. Another distinctly Eikyō characteristic of its shape is the ridgeline, which is lower down towards the edge & stands more proud than that of previous Bizen blades.
 
Hamon = Temper line       Koshi no hiraita gunome = Broad-based wave hamon
Chōji = Clove-bud hamon design        Nie = Coarse, individually distinguishable steel grains    ​
 
9

Tachi, by Sukemitsu

Blade　Signature
Sukemitsu of Bishū Osafune/ A day in February, 1446
 
Edge length 71.8cm
Curvature Depth 1.9cm
Mid-Muromachi (1446)
Bizen Province (Okayama Pref.)
 
Artistic features
The steel grain combines two distinct patterns. Along the back of the blade, itame is mixed with mokume, while at the edge, the itame almost becomes straight.
The straight hamon in nioi, punctuated by kogunome & kakubatta gunome, is topped by visible straight utsuri.
 
Sukemitsu was a name used by many smiths of the Osafune School, though the signature here tells us it is by the best of these, Rokurōzaemon no Jō Sukemitsu. Not only one of the masters of the Eikyō Bizen, he was also father of Ukyō no Suke Katsumitsu & Sakyō no Shin Munemitsu, who are the most famous Osafune smiths of the following Sue Bizen.
 
Itame = Irregular grain like that on a plain-sawn pine board        Mokume = Irregular grain like wood burl
Hamon = Temper line   Kogunome = Low, small waves  Kakubatta gunome = Angular, undulating hamon
Utsuri = A pattern like a shadow hamon seen above the hamon on some swords​
 
10

Wakizashi, by Norimitsu (Osafune School)

Blade　Signature
(Folded over signature) Norimitsu of Bishū Osafune
 
Edge length 48.6cm
Curvature Depth 1.1cm
Mid-Muromachi (15th C)
Bizen Province (Okayama Pref.)
 
Artistic features
Like No.8, this blade has a distinctly Eikyō profile. Above the ridge line it becomes quite slim so that the ridge line itself stands out prominently. In contrast, the hamon of koshi no hiraita gunome, togari gunome, & chōji resembles that of the Ōei Bizen.
 
From the 13th-16th centuries, many smiths of the Osafune School used the name Norimitsu, but the most famous is the Eikyō Bizen master who lived roughly between 1429 & 1487. The blades he made in the Kanshō Era (1460-66) are particularly fine, leading him to be nicknamed ‘Kanshō Norimitsu’.
When this sword was shortened & the tang cut down, the part bearing the signature was kept & folded over.
 
Hamon = Temper line        Koshi no hiraita gunome = Broad-based wave hamon       
Togari gunome = Pointed, wavy hamon Chōji = Clove-bud hamon design​
 
11

Katana, by Kiyonori (Yoshii School)

Blade　Signature
Kiyonori, who lives in Yoshii, Bizen Province/ A day in February, 1462
 
Edge length 64.2cm
Curvature Depth 1.5cm
Mid-Muromachi (1462)
Bizen Province (Okayama Pref.)
 
Artistic features
The picture-perfect, precise, even hamon comprises gunome in nioi where each hump has a round, ‘bean-like’ head, prototypical of the Yoshii School.
 
Kiyonori belonged to the Yoshii School, which was based on the west bank of the nearby Yoshii River from the late 13th to early 16th century. One of the final members of this school, it is said he moved later to Izumo Province (Shimane Prefecture).
Considered to have a shape that reflects the transition to the Sue Bizen, the tang of this blade is quite short, making it more suitable for one-handed use.
 
Hamon = Temper line        Gunome = Narrow waves hamon
Nioi = Fine steel grains indiscernible to the naked eye        ​
 
12

Katana, by Tadamitsu

Blade　Signature
Tadamitsu of Bishū Osafune/ A day in February, 1470
 
Edge length 65.0cm
Curvature Depth 2.4cm
Late Muromachi (1470)
Bizen Province (Okayama Pref.)
 
Artistic features
Even among Sue Bizen smiths, Tadamitsu is highly regarded for his fine steel grain & precise suguha hamon, which are both visible here studded with jinie.
Unusual for the Sue Bizen, it has clear variable utsuri.
 
The name Tadamitsu was passed down across several generations of Osafune School smiths between the 14th & early 16th centuries, but it was Hikobē no Jō & Shūri no Suke Tadamitsu who would become central figures of the Sue Bizen.
Typical for the Warring States Period (1467-1603), this blade has a curve centered near the point & is made for one-handed use.
 
Suguha = Straight hamon       Jinie = Dark coarse steel crystals in the jigane
Hamon = Temper line    Utsuri = A pattern like a shadow hamon seen above the hamon on some swords​
 
13

Katana, by Norimitsu

Blade　Signature
Norimitsu, of Bishū Osafune/ A day in August, 1505
 
Edge length 68.6cm
Curvature Depth 1.4cm
Late Muromachi (1471)
Bizen Province (Okayama Pref.)
 
Artistic features
Atop a dense koitame steel grain sits a straight hamon which wavers & turns back in a point in the tip. 
Grooves are engraved on both sides of the sword, which terminate in a rounded cap.
 
Along with Katsumitsu & Kiyomitsu, the line of smiths that went by Norimitsu were among the best of the Sue Bizen and, though very few Norimitsu works survive when compared to these other smiths, they are no less skilfully made.
 
Hamon = Temper line        Koitame = Fine irregular grain like that on a plain-sawn pine board ​
 
14

Tantō, by Sukesada (Osafune School)

Blade　Signature
Made by Osafune Sukesada, who lives in Bizen Province/ A day in August, □ th year of Eishō
 
Edge length 19.3cm
Curvature Depth 0cm
Late Muromachi (16th C)
Bizen Province (Okayama Pref.)
 
Artistic features
The blade has a tight steel grain on which sits a nie-based hamon of mostly gunome, within which an abundance of subtle features like kinsuji & sunagashi can be seen. Its appearance is of a blade heavily influenced by the time of war in which it was made.
 
Double-edged daggers like this were popular in the Warring States Period (1467-1603) and, thought to have been invented through necessity in a time of war, are closely associated with the time. For about 100 years up until the end of the period, many such blades were made, especially in Bizen. Just like katana, daggers like this started off small, but became larger & larger as time progressed.
 
Hamon = Temper line        Gunome = Regular narrow waves hamon
Kinsuji = Brilliant, shiny lines in the hamon along the grain     Sunagashi = Parallel shiny lines in the hamon​
 
15

Wakizashi, by Kiyomitsu & Katsumitsu (Osafune School)

Blade　Signature
Made by Osafune Kiyomitsu & Katsumitsu, who live in Bizen Province/A lucky day in February, 1560
 
Edge length 54.2cm
Curvature Depth 0.9cm
Late Muromachi (1560)
Bizen Province (Okayama Pref.)
 
Artistic features
A fine work, the itame grain pattern sits beneath a hamon of suguha interspersed with kogunome & dotted with yō, a design for which Kiyomitsu is known.
 
Like many other Sue Bizen blades, this wakizashi was made together by several smiths and, based on the order of the names in the signature, it seems that of the makers of this sword, at this time, Kiyomitsu was of higher status than Katsumitsu.
In addition to being broader, thicker, & straighter, when compared to the average 70cm length of uchigatana at this time, this sword is quite short at 54.2cm. However, this shape is one sometimes seen in custom orders of the time.
 
Itame = Irregular grain like that on a plain-sawn pine board     Hamon = Temper line
Suguha = Straight hamon       Kogunome = Low, small waves hamon
Yō = Small patches/points within the hamon​
 
16

Naginata, by Katsumitsu & Sadamitsu (Osafune School)

Blade　Signature
Made together by Fujiwara Ason Osafune Katsumitsu & Sadamitsu, resident of Bizen Province/ [Made for] Miyake Ason Kuniie & his descendants*  A lucky day, August, 1499
 
Edge length 56.3cm
Curvature Depth 3.2cm
Late Muromachi (1499)
Bizen Province (Okayama Pref.)
 
Artistic features
This blade combines an elongated itame grain pattern with a complex hamon of koshi no hiraita gunome, chōji, togariba, scattered with ashi, yō, sunagashi, & kinsuji. Over the hamon sits a clear variable utsuri.
 
By Katsumitsu & Sadamitsu, this is likely the only surviving piece by the latter. The patron for whom it was made, Miyake Kuniie, was maybe related to the powerful Ukita Clan but, we cannot be certain as no records of him survive besides this blade.
Both faces of this blade are finely carved, with one side featuring Siddham script & a lotus flower, & the other a lotus, as well as text referencing Hie Shrine. As a record of history, as a work of art, & as evidence of its owner, this is an important piece.
 
*The exact meaning is unclear as potentially one character was misspelled
Itame = Irregular grain like on a plain-sawn pine board    Togariba = Pointed hamon  Hamon = Temper line    Koshi no hiraita gunome = Broad-based waves   Ashi = Lines in the hamon border pointing to the edge
Chōji = Clove-bud hamon       Yō = Small patches/points within the hamon       
Kinsuji = Brilliant, shiny lines in the hamon along the grain     Sunagashi = Parallel shiny lines in the hamon
Utsuri = A pattern like a shadow hamon seen above the hamon on some swords​
 
17

Katana, by Kanemoto

Blade　Signature
Kanemoto
 
Edge length 71.2cm
Curvature Depth 1.8cm
Late Muromachi (16th C)
Mino Province (Gifu Pref.)
 
Artistic features
Made of jagged peaks of different heights in sets of three, the ‘sanbonsugi’ (‘three cedar trees’) temper line was invented by Magoroku Kanemoto. Originally the peaks were rounded & irregular, but here they are pointed & precise, suggesting it was made by a later Kanemoto.
 
During the chaotic years of the late Muromachi (1336-1603), the provinces of Bizen & Mino were overwhelmingly the largest producers of swords in the country, bringing them great prosperity. Numerous smiths in Seki, Mino Province, went by the name Kanemoto, though the most celebrated is without a doubt the 2nd generation ‘Magoroku’ Kanemoto.​
 
18

Katana, by Sukesada (Osafune School)

Blade　Signature
Osafune Sukesada, who lives in Bizen Province/ A day in May, 1575
 
Edge length 73.7cm
Curvature Depth 2.5cm
Azuchi-Momoyama (1575)
Bizen Province (Okayama Pref.)
 
Artistic features
Broad, with a fairly large point, the shape is rather barbaric & imposing.
Mostly straight, but studded with ashi & yō, the hamon becomes taller lower down the blade, incorporating round & pointed gunome elements in nie.
 
From its workmanship, this blade is likely by Tōshirō Sukesada, who for political & societal reasons would later be adopted by his elder brother Shichirōemon.
Continuing all the way until the Meiji Restoration & modernisation of Japan in 1867, the lineages of Tōshirō's three sons, Shichibē, Genzaemon no Jō, & Sōzaemon no Jō would continue as the three main swordmaking families in Osafune.
 
Ashi = Lines stretching from the hamon border towards the edge
Yō = Small patches/points within the hamon      Hamon = Temper line
Gunome = Regular narrow waves hamon       Nie = Coarse, individually distinguishable steel grains​
 
19

Yari, by Harumitsu (Osafune School)

Blade　Signature
Made by Fujiwara Harumitsu, who lives in Bizen Province/ A lucky day in March, 1596
 
Edge length 74.0cm
Curvature Depth 0cm
Azuchi-Momoyama (1596)
Bizen Province (Okayama Pref.)
 
Descendants of the one-time head of the Osafune School Ukyō no Suke Katsumitsu, the name Harumitsu was passed own across many generations of smiths. The number of Osafune smiths dropped dramatically after 1591, making this spear dated 1596 a valuable example of late Sue Bizen Osafune School work.
Having a triangular cross-section like most Japanese 'yari' spears, due to the great size of the blade section, it is classed as an ‘ōmi yari’ or ‘great spear’. Due to the blade’s extreme length & weight, were the blade to be hardened all the way to the base, there is a risk that it could snap at its weakest point, the shoulder. To limit this possibility, the temper line starts slightly above the shoulder.​
 
20

Wakizashi, by Sukesada (Osafune School)

Blade　Signature
Yokoyama Kōzuke Daijō Fujiwara Sukesada/ Resident of Bishū Osafune
 
Edge length 46.2cm
Curvature Depth 1.4cm
Mid-Edo (18th C)
Bizen Province (Okayama Pref.)
 
Artistic features
The grain is vivid itame with mokume, while the hamon combines togari gunome & split-head gunome with chōji. In one section of this curious piece can even be seen the crab-claw like design distinctive of the Sukesadas.
 
Son of Yokoyama Shichibē no Jō Sukesada & grandson of Tōshirō Sukesada (No. 19), the maker of this blade received the official honorary title of 'Kōzuke Daijō' (lit. 'Lord of Kōzuke') in 1664 when he entered the official employ of Okayama Domain. The maker of countless of masterworks, Sukesada is known as the greatest Osafune School smith of the 17th century.
 
Itame = Irregular grain like that on a plain-sawn pine board     Mokume = Irregular grain like wood burl 
Hamon = Temper line      Togari gunome = Pointed, wavy hamon      Gunome = Narrow waves hamon
Chōji = Clove-bud hamon design​
 
21

Tantō, by Toshimitsu

Blade　Signature
By Osafune Toshimitsu, who lives in Bizen Province, for his patron Matsuda Danjō Saemon no Jō Hidetoki/A lucky day in August, 1510
 
Edge length 20.6cm
Curvature Depth Slight reverse
Muromachi (1510)
Bizen Province (Okayama Pref.)
 
Artistic features
In all aspects a prototypical Sue Bizen tantō, it has a slight inward 'bamboo shoot' curve, densely forged itame steel grain studded with jinie, & a straight hamon in konie with a slim border.
 
This precious blade is one of very few surviving works by Toshimitsu. Its signature records that it was made for Matsuda Danjō Saemon no Jō Hidetoki, thought to have been a member of the Matsuda Clan which ruled western Bizen Province.
An example of excellent workmanship, this blade is engraved with Buddhist imagery, with a stylised sword on the front face & Siddham characters on the reverse. 
 
Itame = Irregular grain like that on a plain-sawn pine board   
Jinie = Dark coarse steel crystals in the dark steel above the hamon    Hamon = Temper line​
 
22

Tantō, by Katsumitsu

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
Late Muromachi (1488)
Bizen Province (Okayama Pref.)
 
A standout Sue Bizen smith, Katsumitsu & his younger brother Munemitsu were not only made to forge blades at the military camp of their patron Akamatsu Masanori, but even acted as military commanders at the Battle of Fukuoka.
This blade was made at the campsite of Shogun Ashikaga Yoshihisa during his campaign against the Rokkaku Clan of Ōmi Province, after Katsumitsu & Munemitsu had been ordered to attend to the shogun by Masanori. The fact that this episode is attested to in its signature makes it a valuable historical artefact.
Made as a 'yoroi dōshi', or 'armor piercer', this dagger is thick, but narrow.​
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