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Exhibition Item Captions
更新日：2026年8月1日更新
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Caption notes:
1st Floor｜Knowledge is power! An Intro to the world of Japanese swords!
1
Katana, by Sukesada (Osafune School)
Blade Signature
Made by Osafune Shichirōemon no Jō Sukesada, who lives in Bizen/ A lucky day in August, 1584
Edge length 68.6cm
Curvature Depth 2.2cm
Azuchi Momoyama (1584)
Bizen Province (Okayama Pref.)
This katana was made by Shichirōemon no Jō Sukesada, about 450 years ago. Originally called ‘Tōsaburō’ and working in Bizen Province (now Okayama Prefecture), he later changed his name and moved to work for the Kobayakawa Family, lords of what is now eastern Hiroshima Prefecture.
Artistic Features
Temper line
Misty due to the steel’s fine grain, it includes broad-based, slanted, squarish, and small gunome (compact wave) elements. Near the tip can be seen round dots of tobiyaki above the main section and a tempered area on the spine.
2
Tachi, by Morihiro (Kozori Line)
Blade Signature
Morihiro of Bishū Osafune
Edge length 63.2cm
Curvature Depth 2.8cm
Early Muromachi (15th C.)
Bizen Province (Okayama Pref.)
‘Morihiro’ was the name of several smiths that lived around 600-700 years ago in Osafune, Bizen Province, now part of modern Setouchi City.
While similar, ‘Kozori Line’ swords differ slightly from those of the ‘Osafune School’, the area’s main sword-making group, and so are seen as distinct.
Artistic Features
Temper line
Reserved, it is mostly straight, though containing small kogunome waves. Such variable but small-featured temper lines are typical for blades by the Kozori Line.
*Did you know? Swordsmiths often worked together as organized groups called ‘schools’, ‘subgroups’, ‘lines’, etc., depending on the size. The most successful was the Osafune School, due to its size, location, and the fact that it operated like a production line, individual smiths specializing in specific processes.
3
Katana, by Kiyomitsu (Osafune Line)
Blade Signature
Osafune Kiyomitsu, who lives in Bizen Province
Edge length 70.2cm
Curvature Depth 2.5cm
Late Muromachi (16th C.)
Bizen Province (Okayama Pref.)
Many Osafune School smiths went by ‘Kiyomitsu’* during the Warring States Period, about 500 years ago. Even so, some can be told apart by their first name, with Gorōzaemon no Jō and Magouemon no Jō being particularly adept.
Artistic Features
Temper line
Broad and straight, it wavers in places, with small lines protruding from the edge (ashi) and dots (yō) visible throughout. The area near the point is especially vibrant. In addition to ashi and yō, sunagashi (parallel lines like sand dunes) and yubashiri (long clouds of dots above the temper line) give it a sense of motion.
*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.
4
Wakizashi, by Nobuyoshi (Mishina School)
Blade Signature
(Chrysanthemum crest) Echizen no Kami Minamoto Rai Nobuyoshi
Edge length 55.0cm
Curvature Depth 1.0cm
Mid-Edo (18th C.)
Yamashiro Province (Kyoto Pref.)
Echizen no Kami* Minamoto Rai Nobuyoshi, who made this wakizashi, lived in Kyoto about 300 years ago. Though founded by Kanemichi in what is now Seki City, Gifu Prefecture, the Mishina School to which he belonged moved to Kyoto in the mid-16th century.
Artistic Features
Temper line
Mostly large, billowing notare, mixed with small gunome ripples, clusters of fine sparkling steel crystals in the troughs make it look like crashing waves (tōranba). It is typical of his style, which was usually wide, straight, and slightly undulating.
*Did you know? From the ~1200s, smiths could receive official titles, like ‘Echizen no Kami’ (Governor of Echizen). Honorary, conferring no real power, they were used in signatures almost like branding!
5
Tantō, by Yoshitaka (Aoe School)
Blade Signature
Made in east Bizen Chikukansai Yoshitaka [punchmark: ‘Chinkoku’ = National Peace (estimated reading)]/ Also engraved by him A lucky day, May, 1870
Edge length 22.0cm
Curvature Depth 0cm
Meiji Period (1870)
Bizen Province (Okayama Pref.)
Chikukansai Yoshitaka was not only swordsmith, but an expert engraver, leading to him gaining the nickname ‘The Meiji Masamune’.
Despite his high reputation, after the tightening of sword regulations in 1876, he chose to change profession, becoming a wood carver and lacquer craftsman, creating numerous masterpieces under the name ‘Henmi Tōyō’.
This blade features one of his masterful engravings, a Buddhist image known as ‘tama oi ryū’, which depicts a dragon chasing a wish-granting orb.
Artistic Features
Temper line
Straight, small but visible shining steel crystals glitter in its thin border.
6
Yari, by Sukenao and Suketsune (Osafune School)
Blade Signature
Made by Sukenao and Suketsune, who live in Bizen Osafune/ A day in February, 1836
Edge length 45.4cm
Curvature Depth 0cm
Late Edo (1836)
Bizen Province (Okayama Pref.)
19th century Osafune School smith Gengorō Sukenao* made this yari alongside his eldest son, Suketsune. Sukenao’s cousin, Sukehira, spent time in the south of Japan in what is now Kagoshima Prefecture, learning from the swordsmith Oku Motohira, and his influence is clear in this piece’s sparkling steel structure.
Artistic Features
Temper line
Though seemingly straight, the temper line actually comprises fine, carefully aligned ‘clove bud’ elements. Unusually for this period, it is formed of coarse steel crystals that glitter along the border of the tempered area.
*Did you know? Tōshirō Sukesada and his four sons were among the only smiths to survive the 1590 flood of Osafune. Their descendants defined future sword-making in Osafune. Sukenao was descended from the youngest son, Sōzaemon.
7
Naginata, by Hidekage (Kozori Line)
Blade Signature
Hidekage of Bishū Osafune/ A day in August, 1437
Edge length 62.3cm
Curvature Depth 2.1cm
Early-Mid Muromachi (1437)
Bizen Province (Okayama Pref.)
While living in Osafune, both the Hidekage who made this work, and his father, Hidemasa, were not Osafune School members, but instead part of a sub-group, the Kozori Line. There were several smiths called Hidekage between 1345 and 1469. The first was supposedly the grandson of Nagamitsu, one of the greatest smiths in Japanese history and son of the Osafune School’s founder.
Let’s have a look!
See cuts and scratches along the temper line and spine of this imposing naginata*? It was likely used repeatedly on the battlefields of the Warring States Period!
*Did you know? As a polearm, naginata gave users more reach and power than a sword. Because of this, they were favored by samurai women, and today, the martial art naginatajutsu is dominated by women!
8
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.)
700 years ago, the Osafune area (now part of Setouchi City) was not only home to the Osafune School, but also the Hatakeda School. These two frequently cooperated, even making swords together!
Though son of Hatakeda Morishige, Motoshige is actually considered to be an Osafune School smith, as the Osafune School absorbed the Hatakeda School in the 14th century!
Let’s have a look!
Check out the point of this sword. See how it is much longer than normal for a tachi? This is because it was originally a naginata that was simply reshaped into a sword!
9
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.)
Living and working in the 17th century castle town of Okayama*, Kunimune was a student of Azuma Tamonbē Masashige.
Like this katana, swords from the relative peace of the late 1600s were made straighter than before, to match the shape of straight bamboo training swords.
Artistic Features
Jigane
Jinie crystals glitter throughout the darker steel’s fine itame ‘board grain’.
Temper line
Mostly straight, though undulating gently, it is capped with a cloudy border.
*Did you know? The Fukuoka area of modern Setouchi City was the most important trading city in Bizen Province for centuries. The center of power, as well as many swordsmiths, only moved to Okayama City after the Ukita Clan rerouted the main trade route through the city and ordered merchants to move there!
10
Katana, attributed to the Kozori Line
Blade Signature
Unsigned (attrib. Kozori Line)
Edge length 73.1cm
Curvature Depth 1.2cm
Nanbokuchō (14th C)
Bizen Province (Okayama Pref.)
Smiths in Bizen Province (now eastern Okayama Prefecture) around 700 years ago who didn’t belong to one of the main sword-making groups, such as the Osafune School, are said to belong to the Kozori Line*.
Artistic Features
Shape
It is narrower, with a smaller tip than contemporary Osafune School works.
Jigane
Thick black lines of chikei streak the itame ‘board grain’ in the darker steel.
Temper line
Restrained and small-featured, it undulates only slightly.
*Did you know? Though the origin of the name ‘kozori’ is unknown, it has been variously interpreted as meaning ‘their swords were less curved’ or ‘they worked in small groups in Osafune’!
11
Wakizashi, by Sukesada (Osafune School)
Blade Signature
Yokoyama Kōzuke Daijō Fuji (cut off beyond this point)
Edge length 47.2cm
Curvature Depth 1.0cm
Mid-Edo (18th C.)
Bizen Province (Okayama Pref.)
With the chaos of the Warring States Period having only ended in 1615, Japan in the Kanbun Era (1661-1673) was still adjusting to peace. This wakizashi has been shortened and the signature partly removed, but swords like this, fairly straight and tapered, became popular across the country during the Kanbun.
This blade’s maker, Yokoyama Kōzuke Daijō Sukesada, worked directly for the governors of Okayama Domain, the Ikeda Clan, and attracted great praise for his swords, many of which still survive today.
Artistic Features
Jigane
The darker steel features a small-featured itame ‘board grain’.
Temper line
Formed of fine, but discernable steel crystals, it is mostly straight, though undulates just slightly.
12
Tachi, by Toshimitsu
Blade Signature
Toshimitsu, who lives in Akasaki, Bizen Province/ Made this to honor 20 years of continuous service by Ariyasu Masao March 31st, 1944
Edge length 68.1cm
Curvature Depth 2.1cm
1944
Okayama Pref.
Among the top modern smiths in Okayama, Imaizumi Toshimitsu was appointed as a guardian of the Intangible Cultural Property of Bizen sword-making by the prefecture in 1959. An earlier work, created while he still lived in Kurashiki City, this piece is fairly understated when compared to his later more developed style.
Artistic Features
Temper line
Reaching almost up to the blade’s ridgeline, it is formed of a carefully arranged mix of rounded and more square ‘clove-bud’ elements. Descending from its misty border, thin lines called ‘ashi’ stretch all the way down to the blade edge.
2nd Floor｜Knowledge is power! An Intro to the world of Japanese swords! (continued)
13
Katana, attributed to the Aoe School
Blade Signature
Unsigned (attrib. Aoe School)
Edge length 69.5cm
Curvature Depth 1.7cm
Nanbokuchō (14th C)
Bicchū Province (Okayama Pref.)
Both blade, made by the Aoe School in what is now Kurashiki City, and housing are heirlooms of the Sakai Clan, rulers of Shōnai Domain, Dewa Province (now Yamagata Prefecture). The scabbard is a ‘shōnai goshirae’ (Shōnai scabbard), named for its fittings, whose style is distinct to the artisans of Shōnai Domain*. International trade is hinted at by its expensive imported crocodile leather wrap.
Artistic Features
Jigane
The steel the beautiful bluish-black hue associated with the Aoe School.
Temper line
Straight, wavering slightly, above it sits a faint “shadow temper line” (utsuri).
*Did you know? Scabbards from certain provinces in Japan had their own distinct style. Scabbards which show such a unique regional flair are called ‘okuni goshirae’, or ‘provincial scabbards’!
14
Katana, by Sukenao
Blade Signature
Tsuda Ōmi no Kami Sukenao/ A day in August, 1682 Gōshū Takagi
Edge length 68.5cm
Curvature Depth 1.6cm
Mid-Edo (1682)
Ōmi Province (Shiga Pref.)
Sukenao was a gifted smith of the Ōsaka Shintō, a style that developed during the 1600s in Ōsaka. Sukenao was actually the apprentice and son-in-law of Tsuda Echizen no Kami Sukehiro, a leading light of the Ōsaka Shintō who is famous for pioneering the style of temper line known as ‘tōranba’, an expansive pattern that resembles crashing waves.
Artistic Features
Temper line
Just like those of his master, this sword by Sukenao features a powerful, dynamic temper line.
15
Katana, by Sukenari
Blade Signature
Made by Yokoyama Sukenari, who lives in Fukuyama, Bingo Province
Kimi banzai (long live the emperor) A lucky day in August, 1858
Kimi banzai (long live the emperor) A lucky day in August, 1858
Edge length 77.3cm
Curvature Depth 1.6cm
Late Edo (1858)
Bingo Province (Hiroshima Pref.)
Originally working in Bizen Province alongside his teacher, the famous 19th century smith Kaga no Suke Sukenaga, Sukenari would move to Fukuyama in what is now eastern Hiroshima Prefecture in around 1840.
Artistic Features
Shape
Broad, with a long point, the shape is typical of a mid-19th century sword.
Temper line
As would be expected of an apprentice of Sukenaga, and similar to his other apprentice Sukekane, the temper line contains layered ‘clove bud’ elements. However, it also includes small rounded wave patterns called gunome, which makes this temper line unique to Sukenari.
16
Tachi, by Hiroyasu
Blade Signature
A copy of ‘Osafunebashi’ by Hiroyasu/ ‘Pear Day’ (July 4th), 2025
Edge length 77.0cm
Curvature Depth 2.2cm
2025
Okayama
This tachi is by Andō Hiroyasu, the head swordsmith at this museum! A very unique piece, this grandiose blade is the brother of ‘Osafunebashi’, the sword that he made for the world-famous mascot character ‘Funassyi’ as part of our 2025 exhibition of Funassyi’s sword collection. When smiths make a sword for a customer, they make several, and give the best to the client. Swords like this one that don’t make the cut are called ‘kageuchi’, or ‘shadow forged’!
Artistic Features
Jigane
The darker steel features a small-featured itame ‘board grain’.
Temper line
A mix of small ‘gunome’ waves and ‘clove bud’ elements.
17
Katana, by Sadayoshi (Hōshō School)
Blade Signature
(In gold inlay) Sadayoshi (+kao monogram of Hon’ami Kōichi)
Edge length 69.0cm
Curvature Depth 2.1cm
Late Kamakura - Nanbokuchō (14th C)
Yamato Province (Nara Pref.)
Sadayoshi was a top smith of the Hōshō School*, which prospered in Takaichi County, in what is now Nara Prefecture, around 700 years ago.
Artistic Features
Jigane
The precise, straight steel grain is dotted with abundant black lines of shining ‘chikei’ and thick clusters of glittering ‘jinie’ dots.
Temper line
Straight but complex, and formed of coarse sparkling crystals, it is typical of the Hōshō. Within the tempered area parallel lines run like sand dunes (sunagashi), while at points the border splits in two (nijūba) and then rejoins the main line (kuichigaiba). In the point meanwhile, it is striated, as if swept with a rake.
*Did you know? The various historical sword-making groups in Nara Prefecture were all attached to major temples, helping to arm their warrior monks!
18
Katana, by Kanesada (Tegai School)
Blade Signature
Fujiwara Kanesada, who lives in Nanto
Edge length 72.0cm
Curvature Depth 2.5cm
Late Muromachi (1505)
Yamato Province (Nara Pref.)
Kanesada belonged to what is known as the ‘Sue Tegai’, the Tegai School in its final decades, around 600 years ago. Swords like this one made in Nara have a sturdy, reliable, simple shape, reflecting their makers’ practical approach.
Artistic Features
Jigane
Black lines of chikei streak the clear itame ‘board grain’ in the darker steel.
Temper line
Mostly straight, it wavers slightly in places, incorporating various small elements. The border is bright and speckled with coarse glimmering crystals that obscure the pattern near the point. Within the temper line, distinct lines create the image of sand dunes (sunagashi) and fray the temper line’s border in places (hotsure).
*Did you know? The Tegai School is so-called because it made swords directly opposite the northwest Tegai Gate of the famous UNESCO World Heritage Site, the Tōdaiji Temple!
19
Tantō, by Kunitoshi (Rai School)
Blade Signature
Rai Kunitoshi
Edge length 23.3cm
Curvature Depth 2.5cm
Late Kamakura (14th C)
Yamashiro Province (Kyoto Pref.)
Among the best-known of all Kamakura Period (1185-1336) smiths, Rai Kunitoshi was the son of Rai* Kuniyuki, founder of the Kyoto Rai School, which flourished in the 13th–14th centuries. Like this slim blade with its slight reverse curve, many masterpiece tantō by Kunitoshi in the Rai School’s elegant style still exist today.
Artistic Features
Jigane
Shining dots of jinie thickly coat the fine itame ‘board grain’ pattern.
Temper line
Straight, with a border of fine but distinct steel crystals, within it faint, shining lines seem to fray the border in places (hotsure). Above, sits utsuri, like a second ‘shadow hamon’, formed of glittering, distinct ‘nie’ crystals.
*Did you know? The character ‘来’ (rai) means ‘to come’. It is generally thought that this group was given the name ‘Rai’ because Kuniyuki or his father came from abroad, either Korea or China!
20
Wakizashi, by Nobukuni (Nobukuni School)
Blade Signature
Nobukuni
Edge length 52.0cm
Curvature Depth 1.2cm
Muromachi (14th C)
Yamashiro Province (Kyoto Pref.)
‘Nobukuni’ was a name passed down and used by smiths of the ‘Nobukuni School’, a celebrated Kyoto-based sword-making group of the 14th – 15th century. Working during the early 1400s, the specific Nobukuni who made this blade is thought to be likely either Saemon no Jō or Shikibu no Jō Nobukuni, though the former is considered more likely based on the style.
Artistic Features
Temper line
A series of small forked waves formed of coarse crystals of glittering ‘nie’, it is typical of this Nobukuni smith.
21
Katana, attributed to the Yoshioka Ichimonji School
Blade Signature
Unsigned (attrib. Yoshioka Ichimonji School)
Edge length 68.6cm
Curvature Depth 1.8cm
Late Kamakura (14th C)
Bizen Province (Okayama Pref.)
This katana is an heirloom of the Naruse Family, chief retainers of Owari Domain (now in Aichi Prefecture) and masters of Inuyama Castle.
The Yoshioka Ichimonji School made swords in Yoshioka Village, Bizen Province (now eastern Okayama City), during the late 13th and 14th centuries.
Artistic Features
Jigane
Shining dots of jinie thickly coat the fine itame ‘board grain’ pattern.
Temper line
Though unsigned, the dynamic temper line is a clear tell that it is by the Yoshioka Ichimonji. Gently billowing, the small pointed ‘gunome’ wave and ‘clove bud’ elements slant slightly towards the handle. A clear, variable ‘shadow temper line’ (utsuri) can be seen above it.
22
Katana, attributed to the Shōchū Ichimonji School
Blade Signature
Unsigned (attrib. Shōchū Ichimonji School)
Edge length 69.7cm
Curvature Depth 2.4cm
Late Kamakura (14th C)
Bizen Province (Okayama Pref.)
This school is named for the ‘Shōchū’ era (1324-1326) in which they worked, this date often seen in the signatures of two of its members, Yoshiuji and Yoshiie. A later evolution of the Ichimonji School, it is also called the ‘Iwato Ichimonji’ for the location in which it worked, Iwato Village (now Wake, Okayama Prefecture).
Artistic Features
Temper line
A small-figured mix of ‘gunome’ waves and ‘clove bud’ elements with a soft, misty border typical of the early 14th century Ichimonji School, it allows for the sword to be fairly confidently attributed, even without a signature.
*Did you know? The character ‘来’ (rai) means ‘to come’. It is generally thought that this group was given the name ‘Rai’ because Kuniyuki or his father came from abroad, either Korea or China!
23
Wakizashi, by Tsunahiro (Rai School)
Blade Signature
A day in August, 1553, Year of the Water Ox, Tsunahiro, who lives in Sōshū/ Owned by Sakurai Daigaku
Edge length 35.2cm
Curvature Depth 0.2cm
Late Muromachi (1553)
Sagami Province (Kanagawa Pref.)
Made by the first Tsunahiro, he was one of the best Sagami Province smiths of the late Muromachi Period, roughly equivalent to the period 1500-1600. While most Sagami smiths worked around Kamakura City, Tsunahiro was based in Odawara City so as to be closer to his main patrons, the Gohōjō Clan*.
Artistic Features
Jigane
Shining dots of jinie and black lines of chikei thickly coat the steel grain, which combines itame ‘board grain’ and mokume ‘wood burl’ patterns.
Temper line
Tall and undulating like rolling hills, inside can be seen shining lines, both single streaks (kinsuji) and parallel groups like shifting sands (sunagashi).
*Did you know? Though their names are similar and both were in Sagami Province, the Gohōjō Clan had nothing to do with the Hōjō Clan, which ruled the whole of Japan from Kamakura in the 13th-14th centuries!
24
Tantō, by Kanesada (Rai School)
Blade Signature
Kanesada
Edge length 23.0cm
Curvature Depth 0cm
Late Muromachi (mid-16th C)
Mino Province (Gifu Pref.)
Of the 11 generations of smiths in Seki City (now in Gifu Prefecture) who went by ‘Kanesada’ in the 16th–19th centuries, the best was the maker of this blade, the second generation Kanesada, known as ‘Nosada’.
While most Mino swords have a spiky temper line design, this fine piece is very different in style and is instead what is called a ‘Rai utsushi’ (Rai homage), created to resemble blades by the renowned 13th century Kyoto Rai School.
Artistic Features
Jigane
Dark in color, the itame ‘board grain’ is so elongated as to seem straight.
Temper line
Thin, straight, and with a border of distinct, gleaming ‘nie’ crystals, in the darker steel above is visible a faint ‘shadow temperline’ called ‘Seki utsuri’.
25
Wakizashi, by Kanemoto
Blade Signature
Kanemoto
Edge length 32.1cm
Curvature Depth 0.5cm
Late Muromachi (16th C)
Mino Province (Gifu Pref.)
‘Kanemoto’ was a name passed down by smiths in Seki City (Gifu Prefecture) from the 16th century to the 1990s. This sword is by the 2nd Kanemoto, ‘Seki no Magoroku’. Mino swords are known to cut well, but blades by Kanemoto, which are thin in comparison to others at the time, are among the keenest in Japan*.
Artistic Features
Jigane
Vivid, the itame ‘board grain’ is so elongated as to seem straight.
Temper line
Magoroku Kanemoto is known for his ‘sanbonsugi’ (three cedar tree) design, comprising groups of three pointed peaks, which can be seen on this blade. Above the temper line sits a faint ‘shadow temperline’ called ‘Seki utsuri’.
*Did you know? Official test-cutters in the Edo Period (1605-1868) would rate swords’ cutting ability. One, Yamada Asaemon, ranked the sharpest swords in Japan, and Magoroku Kanemoto was in the top twelve!
26
Katana, attributed to the Hōshō School
Blade Signature
Unsigned (attrib. Hōshō School)
Edge length 69.2cm
Curvature Depth 2.2cm
Late Kamakura (13th C)
Yamato Province (Nara Pref.)
The Hōshō School which made this blade worked between the late 13th and 15th centuries, likely in what is now Kashihara City, Nara Prefecture.
Artistic Features
Jigane
Distinctive of the Hōshō school, slight gaps or cracks can be seen in the straight grain.
Temper line
Straight, with a thick border laden with distinct steel crystals (nie), shining lines can be faintly seen, fraying the border in places (hotsure).
27
(Signature folded over) Katsumitsu
Blade Signature
(Signature folded over) Katsumitsu
Edge length 49.6cm
Curvature Depth 1.0cm
Late Muromachi (15th C)
Bizen Province (Okayama Pref.)
Katsumitsu was one of the best smiths of the ‘Sue Bizen’ (Late Bizen), the period of Bizen sword-making covering the late 15th and 16th centuries. Both Katsumitsu and his younger brother Munemitsu were also battlefield generals, and travelled with their lords, the Uragami Clan, to forge swords on campaign.
Most swords in this period were deeply curved with short handles for easier single-handed use. This sword was shortened but, to preserve its signature, part of the tang (the part that goes inside the handle) was folded over.
Artistic Features
Jigane
It has an itame ‘board grain’ pattern.
Temper line
Mostly straight, it undulates just slightly.
28
Katana, by Chōgi (Osafune School)
Blade Signature
(In gold powder) Chōgi [Hon’ami] Kōson (+ kao (monogram))/ ‘Honsaku Chōgi’ (Added later) This was shortened by Kazuhisa
Edge length 70.1cm
Curvature Depth 1.1cm
Nanbokuchō (14th C)
Bizen Province (Okayama Pref.)
Mid-14th century smith Chōgi is thought to have been the son of Sanenaga and grandson of the Osafune School’s founder, Mitsutada. Part of the so-called ‘Sōden Bizen’, he was inspired by the Sōshū Tradition that began in Kamakura, combining it with the Bizen style to create something new and very different.
Artistic Features
Shape
Broad, with a long point, its impressive, powerful shape is typical of the time
Jigane
Shining dots of jinie thickly coat the fine itame ‘board grain’ pattern.
Temper line
A tall, flowery combination of ‘clove bud’ and ‘gunome’ wave elements formed of sparkling ‘nie’ crystals, when viewed under correct lighting, it almost appears to be 3D, as if projecting out of the blade’s surface.
29
Wakizashi, by Sukenaga (Osafune School)
Blade Signature
Yokoyama Kaga no Suke Fujiwara Sukenaga A day in February 1851/ (Chrysanthemum crest) Ichi (one) The hamlet of Biyō Osafune
Edge length 40.9cm
Curvature Depth 2.3cm
Late Edo (14th C)
Bizen Province (Okayama Pref.)
Sukenaga was a top Osafune School smith of the 1772-1876 Shinshintō (New New Sword) stylistic era. Second son of Ise no Kami Sukehira, the head of a branch family of the Osafune School, Sukenaga had to succeed his father after his older brother Sukemori was adopted* by the Osafune School’s main branch.
Artistic Features
Jigane
This has Sukenaga’s very fine koitame ‘board grain’ pattern.
Temper line
His trademark temper line, typical of the Shinshintō, starts as a thin, straight line, before transforming into layered ‘clove bud’ elements that bloom like gathering storm clouds. It is all capped off with a thin, precise borderline.
*Did you know? In Japan it was common for everyone from craftsmen to samurai clans and the imperial family to adopt adult men into their families in the case that they didn’t have an heir of their own!
30
Tachi, by Kagehide (Osafune School)
Blade Signature
Kagehide
Edge length 70.8cm
Curvature Depth 2.4cm
Mid-Kamakura (13th C)
Bizen Province (Okayama Pref.)
Kagehide was the younger brother of the Osafune School’s founder, Mitsutada, helping him to develop and support the new school.
There is also a letter of authenticity for this sword, written by Hon’ami Kōon in 1636. The Hon’ami family were official sword polishers and appraisers to the shoguns of Japan, with Kōon working for Tokugawa Ieyasu’s grandson, Iemitsu.
Artistic Features
Shape
Broad, with very little taper in the blade, it retains much of the original shape, as well as its signature, despite having been shortened.
Temper line
Combining ‘chōji’ (clove buds) with ‘gunome’ small waves as expected of the early Osafune School, it also has pointed elements distinct to Kagehide.
