【Swords】

The Awataguchi school, famous for the six brothers, with Kuniyoshi as the eldest, followed by Hisakuni, Kuniyasu, Kunikiyo, Arikuni, and Kunitsuna, all of whom demonstrated remarkable skill, and their descendants, including renowned masters like Norikuni, Kuniyoshi, Kunimitsu, and Yoshimitsu, continued to produce excellent swords. The style of the Awataguchi school, often praised as "Tetsu-iro aoku ha-shiroshi" (Jigane is blue and Hamon is white), has long been admired for its superior quality.
This particular tachi is slender and exhibits an elegant appearance with a curvature near the bottom of the blade. The jigane consists of fine ko-itame patterns with prominent ji-nie. The thin, straight hamon lightly displays ko-gunome and features evenly distributed ko-nie. This sword showcases the typical graceful style of the Awataguchi school, known for its tight jigane and precise hamon.


No. 2 Katana Mumei Ayanokōji Sadayoshi
According to the inscription registry, Ayanokōji Sadayoshi is considered the son of Sadatoshi and is classified as a swordsmith from around the Kōan era. His existing signed works are rare. His style and signature closely resemble those of Sadatoshi, and some swords with wide blades have also been preserved.
This sword has a wide blade and, despite being heavily shortened (ō-suriage), features a deep wa-zori curvature. The jigane consists of a mix of itame and nagare-hada, with thick, fine ji-nie. The slightly wide, straight hamon incorporates small gunome and small chōji, along with frequent small ashi and thick small nie. In some parts, the peaks of the pattern show tobiyaki, and the bōshi exhibits an irregular, brushstroke-like design resembling a flame. Overall, the sword displays a remarkable variety of activities throughout the blade, showcasing its powerful presence as a magnificent work.


No.3 Katana Mumei Niji Kunitoshi
Kunitoshi is traditionally said to be the son of Rai Kuniyuki. There are two versions of the signature: one is a two-character inscription, "Kunitoshi" (国俊), without the character "Rai" (来), and the other includes three characters, "Rai Kunitoshi" (来国俊). These two versions show some differences in sword styles, making it possible to categorize them into two types. While there are theories that both signatures belong to the same person, as well as theories suggesting they represent different individuals, recent studies on the styles and signature characters have led to a growing acceptance of the theory that they refer to the same person, prompting a reconsideration of the theory that they are separate individuals.
This sword has a slightly wide blade with a wa-zori curvature, and it retains good thickness along its edge. The jigane displays a tight itame pattern with prominent nie-utsuri standing out. The hamon features irregular chōji patterns, and the nioi-guchi shows small nie with ashi. The sword exhibits excellent characteristics of the two-character Kunitoshi style, both in its shape and in the quality of the jigane and hamon.


No.4 Katana Kin-zōgan mei Rai Kunimitsu
Rai Kunimitsu is said to be the son of Rai Kunitoshi. The known date range for his surviving works spans from the first year of the Karyaku era to the second year of the Kannō era. His style includes the traditional true straight hamon, as well as variations that incorporate small gunome and small chōji into the straight hamon, and others with slight midare, or irregularities, along the straight line. His works display a wide variety of styles.
This sword, though heavily shortened, has a wide blade with a deep curvature, presenting a wa-zori style. The jigane displays a tight ko-itame pattern with fine ji-nie and occasional chikei. The hamon is a chū-sugha (medium straight line) incorporating small chōji and small gunome, with thick ko-nie present, and the bōshi returns in a small rounded shape. It showcases all the signature characteristics of Rai Kunimitsu's work, making this sword an excellent example of his craftsmanship.


No.5 Katana Mumei Den Rai Kunitsugu
Rai Kunitsugu is said to have been a disciple of Rai Kunitoshi, and one theory suggests he may have been a cousin of Rai Kunimitsu. His work clearly reflects the influence of the Sōshū tradition, and because of this, he has been recognized as one of the "Masamune Jittetsu" (the Ten Great Swordsmiths of Masamune), earning the title "Kamakura Rai.
This particular sword features a finely crafted jigane with a tight ko-itame pattern and thick ji-nie, giving the surface a bright and sharp appearance. The hamon is a chū-sugha (medium straight hamon) with prominent nie, incorporating ashi, yō, and sunagashi. The irregular bōshi displays strong nie and sweeping, brushstroke-like lines. This sword is a remarkable example of the Sōshū tradition, with a pronounced emphasis on the strong nie throughout both the jigane and hamon It is a kiwame (appraised sword) showcasing the exceptional craftsmanship of this swordsmith.


No. 6 Katana Mumei Senjuin
The Senjuin school is said to have resided and forged swords at Senjudō, located on the western foothills of Wakakusa Mountain in Nara. During the late Heian period, two notable swordsmiths, Yukinobu and Shigehiro, are believed to have been part of the school, although there is no definitive evidence to support this, and only a few signed works from the school remain.
This particular sword features a high shinogi (ridge) and a curvature near the bottom of the blade. The jigane displays a flowing itame pattern mixed with masame. The hamon is straight, with the habuchi showing uchinoke and hotsure in places, clearly reflecting the characteristics of Yamato-mono. The long kinsuji frequently appearing on the blade further enhance its visual appeal.


No.7 Katana Mumei Tegai
The Tegai school was the largest of the five Yamato schools (Senjuin, Tegai, Taima, Shikkake, and Hōshō), known as Yamato-Go-ha. It was founded by Kanenaga, a swordsmith from the late Kamakura period. The name of the school is said to come from the fact that they lived and forged swords in front of the 'Tengai-mon,' the western main gate of Tōdai-ji Temple. The school flourished through the Nanboku-chō period and into the Muromachi period.
This sword features a clear itame-hada with thick ji-nie, giving the surface a bright appearance. The hamon is a suguha (straight hamon) with prominent ko-nie, clearly showcasing the typical characteristics of the Tegai school. The activities on the habuchi are also very noticeable, making this an excellent example with a variety of features.


No.8 Katana Taima Kuniyuki
The Yamato Taima school flourished from the late Kamakura period through the Nanboku-chō period. The founder and most prominent swordsmith of the school is said to be Kuniyuki, who is believed to have been active around the Shōō era (1288–1292).
This sword features a wide and high shinogi (ridge), clearly reflecting the characteristics of the Yamato tradition. Additionally, the jigane displays a flowing ko-itame pattern with masame, while the hamon is based on suguha (straight hamon) with strong nie, and the habuchi shows a nijū-ba with a frayed thread design, giving it. Along with the incorporated kinsuji, these elements embody the solid, robust beauty of the Yamato tradition, making this sword an exceptional example, highly regarded as a masterpiece of Kuniyuki's work and a remarkable piece from the Taima school.


No. 9 Katana Mumei Yamato Aritoshi
Aritoshi is said to be a swordsmith of the Yamato Taima school. Some of his swords are signed with two characters (有俊), while others feature a three-character signature, “Chō Aritoshi” (長有俊). The swords with the two-character signature include those dated to the sixth year of Einin (1298). It is generally accepted that the three-character signature, "長有俊," was used by the second generation of Aritoshi and is believed to date from around the Kenmu era. The name is thought to be an abbreviation for Chōbē-no-jō Aritoshi (長兵衛尉有俊).
The jigane of this sword shows a flowing itame-hada with some masame, and the ji-nie are well-developed, incorporating frequent chikei, giving the surface a strong appearance. The hamon is based on suguha with prominent nie, displaying a mixture of gunome. The hamon also shows yubashiri at the peaks of the pattern, creating a nijū-ba, and there are hatsure, a frayed thread design, and kuichigai-ba in some parts, adding to the variety of activities. This sword is an excellent example, rich in features and full of visual appeal.


No.10 Tantō Mumei Hōshō
The Hōshō school from the Yamato province is known for works signed with “Takaichi-gun,” indicating their place of residence. The school flourished from the late Kamakura period through the Nanboku-chō period. The most well-known swordsmiths of the school are Sadamune and Sadayoshi, and all the other swordsmiths from this school used “貞” (Sada) as part of their signature. The style of the Hōshō school is characterized by a fully expressed masame pattern in the jigane, and many swords feature straight hamon.
This sword is a typical example of the style of this school. It features sunagashi and kinsuji in the hada, with yubashiri in the jigane, showcasing a variety of activities. The nioiguchi is bright and sharp, and the bōshi lacks a return at the tip, making this sword an excellent example with many points of interest.


No. 11 Katane Kin-zōgan mei Yukimitsu
Yukimitsu, along with Masamune, Norishige, and others, further developed and perfected the Sōshū tradition founded by his teacher, Shintōgo Kunimitsu. Yukimitsu is believed to have been slightly more senior in experience than Masamune, and surviving signed works are limited to tantō. The style of his kiwame (appraised swords) spans a wide range, as described in classic sword treatises, encompassing many different styles, including not only straight hamon but also midare (irregular) hamon, and occasionally hitatsura-ba.
This sword displays abundant nie in both the jigane and hamon, revealing subtle variations and the distinctive characteristics of the highest-skilled Sōshū swordsmiths. It has been certified as an excellent piece by the sword appraiser, Honami Kōyū. The hamon, created on the tight itame jigane, exhibits irregular changes, showing varying intensities of nioi and nie, resulting in a profound and refined beauty. Notably, the maru-mune (rounded back ridge) is a rare feature in works by Yukimitsu.


No.12 Katana Kin-zōgan mei Masamune
The three swordsmiths, Yukimitsu, Norishige, and Masamune, who were students of Shintōgo Kunimitsu, further developed and perfected the Sōshū tradition that Kunimitsu had initiated. They emphasized and refined the activities such as chikei, kinsuji, and nie, bringing the tradition to its peak. In particular, Masamune skillfully utilized several types of steel with varying carbon content and perfected the application of nie, making significant contributions to the advancement of the artistry of Japanese swords. He is not only a highly respected figure within the sword-making world but also a renowned master among the general public.
This sword, with its broad width and powerful large tip, features an irregular hamon full of varied activities. Both the jigane and hamon display thick nie, and include activities such as chikei, yubashiri, kinsuji, and sunagashi, all showcasing the masterful qualities of the Sōshū tradition. The work stands as an excellent example of his highest craftsmanship, with certification by Honami Kōyū, a respected authority.


No. 13 Wakizashi Mumei Den Sadamune
Sadamune was a disciple of Masamune from the Sōshū school, and it is said that he later became Masamune's adopted son. His sword-making period spans from the very end of the Kamakura period to the early Nanbokuchō period. While his work closely follows his master's style, there are differences: Sadamune's swords tend to have a gentler, milder style and larger proportions.
This wakizashi shows interesting activity in both the jigane and hamon, with variations in nie, such as chikei, kinsuji, and sunagashi. The ko-notare-based hamon is heavily imbued with radiant nie, giving it a deep and profound quality. The nioi is deep, and the presence of kinsuji and sunagashi adds to its rich beauty. Compared to Masamune, it presents a gentler aesthetic, and the characteristics and features of Sadamune’s work are clearly visible. The katakiriba construction, often seen in the Nanbokuchō period, reflects the period’s style.


No. 14 Tantō Mumei Den Takagi Sadamune
Takagi Sadamune was from Gōshū-Takagi and is said to have been a disciple of Sōshū Sadamune. Only a few signed works of his remain, primarily ko-wakizashi, and his style is similar to that of Sōshū Sadamune, particularly excelling in ko-notare hamon. Some of his works even feature gunome, with kinsuji and sunagashi.
This wakizashi features a jigane that combines itame-hada with mokume, displaying fine and thick ji-nie, along with chikei. The notare-based hamon is thick in nioi and nie, and also features sunagashi. It showcases the characteristics of Takagi Sadamune’s work without any loss of detail, affirming the kiwame. In terms of nie quality, while it may fall short of his master’s Sadamune, this piece is still highly praised as a prime example of Takagi Sadamune’s craftsmanship.


No. 15 Katana Mei Kaneuji
Kaneuji originally hailed from the Tegai school of the Yamato province, where he signed his name as "包氏” (Kaneuji). However, he later moved to Shizu in the Tagi district of Mino province, where he changed his signature to "兼氏" (Kaneuji). Over time, he became known as "Shizu Saburō Kaneuji" after the place name. Kaneuji is traditionally counted as one of the "Masamune Jittetsu" (the Ten Great Swordsmiths of Masamune) and is especially famous for having a style closest to that of Masamune. This sword is one of the few signed tachi made by him, retaining its original appearance, which is valuable in allowing us to accurately understand the features and style of his work.
Although it is slightly shorter than the typical tachi, it has a broad blade with a large tip, giving it a majestic appearance. The hamon shows a midare pattern composed of large gunome and notare, with togari-ba incorporated, along with yubashiri and tobiyaki. The bōshi is pointed and features a sweeping brushstroke design, all of which contribute to its powerful presence.


No. 16 Katana Norishige
Norishige from Etchū Province is considered one of the "Masamune Jittetsu" (the Ten Great Swordsmiths of Masamune). However, based on the oldest surviving work, dated to the 3rd year of the Shōwa era (1314), as well as the style of his extant swords, it is now believed that he was a student of Shintōgo Kunimitsu and slightly senior to Masamune. His works often exhibit noticeable variations in nie and chikei, forming large patterns. Additionally, there are some swords feature antique style ko-midare style hamon, influenced by the Ko-Bizen and Ko-Hōki schools, and some tantō retain a straight hamon (suguha).
This sword, in particular, features a gunome-based hamon with a mixture of notare and ko-midare, along with prominent ha-nie. The jigane shows some yubashiri blended into the surface pattern, and irregular activities appear at the border between the jigane and hamon. The nioiguchi is dark and unclear. All of these characteristics showcase a unique, antique style of Norishige.


No. 17 Katana Kanenaga
Osafune Kanenaga from the Bizen province, a disciple of Osafune Nagayoshi, has few surviving signed works. However, a notable signed wakizashi from the 5th year of the Jōji era (1366), designated as an Important Art Object, displays a hitatsura-style hamon. Additionally, two tantō—one from the 4th year of the Shitoku era (1387), designated as an Important Sword, and another from the 2nd year of the Kakei era (1388), designated as a Special Important Sword—have survived. These tantō exhibit even stronger nie than the wakizashi, with abundant activities in both the jigane and hamon. Their style emphasizes the Sōshū tradition more strongly than Nagayoshi's work.
In older appraisals, many of his swords are noted for resembling Nagayoshi’s style, with pronounced nie and rich in activities in the hamon, or featuring large, slightly irregular hamon with chōji. This particular piece aligns more with the latter, displaying a vigorous and dynamic appearance in both its form and craftsmanship.


No. 18 Tantō Mei Bishū Osafune Jū Nagamori
Osafune Nagamori, from Bizen province, is traditionally believed to have been a disciple of Osafune Nagayoshi. The oldest surviving signed works by Nagamori date from the 4th year of the Shōhei era (1349) to the 1st year of the Kō-ō era (1389). Since Nagayoshi’s latest known work is a tantō dated to the 6th year of the Jōwa era (Shōhei 5 / 1350), it is understood that Nagamori and Nagayoshi were active around the same time. Most of Nagamori’s signed works are dated using the Nanchō era calendar. His style is versatile, encompassing various hamon types, including midare with small gunome variations, shallow notare, and suguha (straight hamon).
This particular tantō, recorded in the Kōzan Oshigata, features a thick bō-utsuri and a midare hamon with lined gunome patterns and nie. The habuchi (edge) is rich with fine activity, creating a deep, intricate appearance. The nakago (tang) is also in excellent, well-preserved condition.


No. 19 Katana (Tenmei) Bicchū-no-kuni Jūnin Sadatsugu Saku
Sadatsugu is a prominent name in the Bicchū Aoe school, with the most famous being the early Kamakura period Ko-Aoe Sadatsugu. As time passed, several other swordsmiths used the name Sadatsugu, including those who added Uemon-no-jō at the end of the Kamakura period and Ōsumi-gon-no-suke during the Nanboku-chō period. Based on the inscription, this particular sword is believed to have been made by a different Sadatsugu of the Nanboku-chō period, not the one with the Ōsumi-gon-no-suke title. Compared to other swordsmiths in the same school, this Sadatsugu is known for producing swords with relatively smaller inscriptions. The style of this sword reflects a preference for narrow, gentle straight hamon, as seen in this piece. The sword shows signs of having been shortened several times, as evidenced by the condition of the mekugi-ana (peg hole). It is believed that at some point, the orikaeshi-mei (a signature where the part of the tang with the inscription is folded over to the back to preserve the signature) was repaired and remade into a tenmei (a signature affixed later, where the part with the signature was kept when the tang was shortened and then attached afterward).


No.20 Tachi Mei Bishū Kanetsugu［Saku］(Bingo)
Kanetsugu from Bingo province is recorded in the meikan (inscription registry) as a swordsmith who was active around the Meitoku era in Kusado. From the late Kamakura period to the Muromachi period, Bingo province flourished with various schools, including Mihara, Kokubunji, Hokke-Ichijō, Tomo, Tatsubō, and Goami. Kusado was prosperous during the Muromachi period, known as 'Kusado Senken-chō' (Kusado Town of a Thousand Homes), and examples of the Hokke-Ichijō school have been confirmed, suggesting a possible connection with this school.
This particular sword features a shape with both koshi-zori (curvature near the guard) and saki-zori (curvature near the tip). The jigane shows itame mixed with mokume, and the surface has a flowing, rough texture. The hamon displays small gunome with nie and prominent sunagashi. The style closely resembles that of the Hokke school. The fact that this sword is signed and dated is a favorable point, providing valuable insight into the Kusado forging tradition, making it a highly significant example.


No. 21 Wakizashi Mei Bishū Shigetoshi Saku (Bingo, Jidai Nanbokuchō-makki naishi Ōei)
Shigetoshi of Bingo province is listed in the meikan (inscription registry) as belonging to the Tatsubō school, and used by several swordsmiths noted from the Enbun to Eishō eras. This particular sword is believed to date from the late Nanbokuchō period to the Ōei era.
The sword is slightly elongated, and the wide blade is slightly thick, and has a shallow curvature. The jigane displays flowing itame with areas of mokume, and fine jinie with chikei. The hamon is a thin suguha, with small gunome and small notare mixed in, forming a ko-nie with subtle yubashiri. The bōshi returns to a small round shape. This sword is well-constructed and serves as a rare example showing the style of the Tatsubō school and this swordsmith, making it a valuable piece for understanding their work.


No. 22 Tantō Mei Sa
Samonji, commonly known as Ōsa, was a swordsmith from Chikuzen, said to be the son of Jitsua. The inscription "左" (sa) is an abbreviation for “左衛門三郎” (Saemon-saburō). He broke away from the traditional styles of Kyūshū-mono and developed a more sophisticated style, with bright and sharp jigane and hamon. Many of his tantō have survived, and most of them are small, with shallow curvature and a thin hira-zukuri construction.
This particular tantō is the smallest known work by him, with a standard width and inward curvature. The jigane consists of tight itame with fine ji-nie. The hamon features a mix of notare and small gunome, displaying ko-nie. The bōshi returns to a sharp point. Both the jigane and hamon are bright and sharp, showcasing the refined and elegant style typical of Samonji's work.


No.23 Wakizashi Mei Kunihiro Saku (Sa)
Since the emergence of the Chikuzen-no-kuni Samonji school, its members, such as Yasuyoshi, Yukihiro, Yoshisada, Kunihiro, Hiroyuki, Hiroyasu, and Sadayoshi, have all inherited the school's style and were highly active in swordsmithing. Kunihiro is said to be the son of Yoshihiro, or according to one theory, the son of Sadayuki. Although there are few extant signed works by him, a surviving tantō dated to the 12th year of the Shōhei era provides insight into his active period. His style includes both the slightly large midare hamon based on notare and a straight hamon with small gunome mixed in. Historically, the Honami family has tended to certify works with prominently active irregular hamon as Kunihiro kiwame, referring to them as "sa-ichirui."
This wakizashi has a wide body, shallow curvature, and an extended length, giving it a grand and impressive appearance. The jigane shows itame, with some areas exhibiting hadadachi-utsuri. The hamon is narrow and features notare with small gunome mixed in, while the bōshi is sharp and pointed. The sword displays a typical style of the Samonji school, and is particularly powerful in both its shape and the expression of its jigane and hamon.


No. 24 Ko-tachi Mei Bungo-no-Kuni Sō Sadahide Saku
Sadahide was a monk from Mount Hiko in Bungo province, said to be the teacher of Yukihira. Compared to Yukihira, who was relatively prolific, there are fewer signed works by Sadahide, with three of his representative works designated as Important Art Objects.
This sword is a tachi preserving its original features, with a koshi-zori (curvature near the guard) and a shallow curvature towards the tip, along with a ko-kissaki, reflecting the style of the late Heian period to the early Kamakura period. The jigane consists of flowing itame, with a slightly rough surface, fine ji-nie, and chikei, presenting a soft, rich iron texture. The hamon is a chū-suguha, with strong nie, featuring some kinsuji, and the bōshi is finished without a return, displaying the characteristic style of ancient Kyūshū swords in both the jigane and hamon. It is a very rare and valuable signed example, retaining its original features.


No. 25 Wakizashi Mei Shinano-no-Kami Kunihiro
Kunihiro was originally a warrior serving the Itō family of Hyūga province in Kyūshū. After the family's fall, he traveled across various regions, honing his swordsmithing skills and producing swords in many areas. After the 4th year of the Keichō era, he settled in Kyōto, in the Ichijō Horikawa area, where he trained many talented disciples. He is said to have passed away in the 19th year of the Keichō era.
This particular sword features a jigane with a slightly rough but clearly visible pattern. The hamon displays a gunome-midare with a wide nioiguchi, featuring strong nie and sunagashi.　Along with the bright nioiguchi, all these characteristics reflect Kunihiro's intention to follow the Sōshū tradition with top-quality craftsmanship. This piece is a fine example of Kunihiro's style, showcasing power and excellence in its overall presence.


No. 26 Katana Mei Echigo-no-Kami Kanesada
The second-generation Kanesada learned from the first-generation Echigo-no-kami Kanesada, succeeded his teacher's position, and adopted the name Echigo-no-kami Kanesada. Later, he also went by the name Sakakura Gonnoshin Terukane. His style is often based on the patterns of Sukehiro, with many works featuring tōran-midare or gunome-midare in the style of the Monju school. Occasionally, he also produced swords with large notare or straight hamon. This particular sword features a large tōran-style gunome-midare, a hallmark of the second-generation Kanesada's work. Particularly distinctive are the arrowhead-shaped hamon and the unique Katayama-midare, with features such as the continuous gunome pattern below the yokote. The wide nioiguchi is bright, with a good amount of nie, making this a fine example of his craftsmanship.


No.27 Wakizashi Mei Shigemasa
Shigemasa is a swordsmith believed to be either the son or disciple of Hankei. His style, tang construction, and signature presentation are all quite similar to Hankei's, and very few of his works have survived.
This particular sword features an ō-itame hada with a rough surface that consists of distinctive chikei, known as hijiki-hada. The hamon is a notare with a mixture of gunome and ko-gunome, and there are areas showing subtle yubashiri at the peaks of the pattern. The appearance of the jigane and hamon, the mortar-shaped tang end, along with the engraved signature made with a chisel called sukui-tagane, are all similar to those of his teacher. This sword is of significant value for the study of Shigemasa's style, as very few of his works still exist.


No.28 Katana Naotane
Naotane was born in the Dewa province, in Yamagata, and his real name was Shōji Minobei. He used the swordsmith name Taikei. In May of the 4th year of the Bunsei era, he was granted the title of Chikuzen Daijō, and in the 1st year of the Kaei era, he moved to Kyōto, where he changed his title to Mino-no-suke. As a young man, he traveled to Edo, entered the school of Suishinshi Masahide, and later served the Akimoto family, just as his master had done.
This sword features a large, robust form with a wide blade. The jigane is composed of tightly forged ko-itame, and the hamon is a midare style, with angular gunome mixed with other patterns like chōji. It is a work in the Bizen tradition, a style in which Naotane was particularly skilled. The nioiguchi is mildly bright with a soft reflection, reminiscent of the appearance of kōtō (ancient swords). This piece is an excellent example of his high-level craftsmanship, showcasing his remarkable skill.


No.29 Katana Tsunahide
Tsunahide was the eldest son of Katō Kunihide, a swordsmith for the Yonezawa domain. His younger brother was Chōunsai Tsunatoshi. Tsunahide moved to Edo to study under Suishinshi Masahide and also had disciples of his own, such as Koyama Munetsugu and Akama Tsunanobu. Tsunahide was particularly skilled in producing chōji-midare and tōran-midare hamon in the Bizen tradition, and his craftsmanship was highly regarded.
This sword features a very tight ko-itame jigane, giving the surface a clean, almost featureless appearance. The hamon is a tōran-ba, incorporating a variety of patterns such as gunome and gunome-chōji, along with a well-defined nioiguchi. The tang is inscribed with the names of his master, Suishinshi Masahide, his son Sadahide, as well as students from the school, including Taikei Naotane and Nakatsuka Mitsuhide. This inscriptios indicate that the sword is a collaborative effort, adding significant historical value to the piece.


No. 30 Katana Mei Tōto ni-oite Nagasaka Bizen-no-suke Munetsugu Kore wo Tsukuru
Koyama Munetsugu was originally a swordsmith employed by the Matsudaira family of Shirakawa, in the Ōshū region. After the family relocated to Kuwana, he moved to Edo and became a swordsmith for the Kuwana domain, receiving the title of Bizen-no-Suke in the 2nd year of the Kōka era (1845). His style was rooted in the Bizen tradition, and he was a prolific swordsmith, particularly skilled at producing chōji-ba.
This particular sword has a thick and heavy body with an extended kissaki, giving it a substantial and imposing presence. The itame-hada in the jigane is strongly flowing and contains some masame, along with chikei, creating an impressive effect. The hamon is centered around chōji-ba, with a variety of activities such as gunome and gunome-chōji. The gently bright nioiguchi consists of nioi, with ara-nie in some areas, while the jigane also shows some nie. Overall, the sword is rich in activities, and the way Munetsugu has harmonized the jigane and hamon without any flaws demonstrates his exceptional skill and craftsmanship.




No. 31 Katana Mei Kurihara Chikuzen-no-Kami Taira-no-Ason Nobuhide
Kurihara Nobuhide studied under the swordsmith Kiyomaro in Edo during the Kaei era. After working in Uraga and Ōsaka, he returned to Edo and later went back to his hometown of Echigo Sanjō, where he also created a mirror for the Yahiko Shrine. His style, inherited from Kiyomaro, is known for sharp craftsmanship, a hamon with strong nie, and a talent for blade engravings and carvings.
This particular sword features a construction typical of the Kiyomaro school. The blade is not thick, with a sharp and large kissaki. The hamon features kakubaru-ba (square-edged pattern) centered around gunome, mixed with togari-ba (pointed pattern), and consists of long kinsuji and sunagashi, along with a nioiguchi displaying prominent ara-nie. This complex and angular construction of the hamon is a hallmark of Nobuhide's style. The engraving of Fudō Myō-ō (the deity who drives away evil spirits) on the front side of the blade, when worn, is powerfully carved, showcasing the full extent of the swordsmith's craftsmanship in this remarkable piece.


No. 32 Wakizashi Mei Ōshū Shirakawa Kashin Masashige
Masashige was born in Himeji, Harima. He succeeded as the fourth generation of the Tegarayama school, the son of the third-generation Ujishige, and later changed his name to Masashige. In the 8th year of the Tenmei era (1788), he served Matsudaira Sadanobu of the Shirakawa domain and moved to Edo. His style was influenced by the Ōsaka Shintō swordsmith Tsuda Sukehiro, and he favored creating tōran-midare hamon.
This particular wakizashi features a thick, extended blade with a wide, robust shape. As indicated by the inscription "Hori saku onashi" (engraved and made by the same person), the blade engravings were applied by Masashige himself. The lower half of the hamon features a shallow notare, aligned with the position of the engraving, while the upper half features a tōran-style hamon blended with rounded peaks, a style Masashige was known for. This wakizashi is a rare example of a sword where Masashige's engravings and his characteristic swordsmithing technique are beautifully integrated, showcasing his full range of skill.


No. 33 Tantō Mei Harima-no-Kami Teruhiro
Harima-no-Kami Teruhiro was originally from Owari. He entered the school of the first-generation Higo-no-Kami Teruhiro, became his son-in-law, and served the Fukushima family, later moving on to serve the Asano family. His style is characterized by prominent nioi and strong nie, producing a calm ko-notare hamon. The connection to the swordsmith Umetada Myōju, whom his master is said to have studied under, is evident in his work.
This particular tantō features a thick, extended blade with refined construction. The jigane is composed of tight ko-itame, with fine jinie present and a notable chikei. The hamon is based on suguha, with the lower half incorporating ko-notare, and the wide nioiguchi displays thick and delicate nie. It also shows uchinoke and kuchigai-ba, along with kinsuji and sunagashi. This tantō, which follows the style of older works, is an outstanding piece with a refined, elegant quality.


No. 34 Katana Mei Hizen-no-Kuni Jūnin Iyo-no-Jō Minamoto-no-Munetsugu
The first-generation Iyo-no-Jō Munetsugu is said to have lived in Hizen Isahaya. However, his jigane and tang construction differ from those of other Hizen swordsmiths. His works are characterized by a strong nie, lively midare hamon, and a style influenced by the Sōshū tradition, particularly in the manner of Shizu.
This sword features a wide blade with a deep curve and an extended tip, creating a majestic appearance. The hamon has a notare base with high and low undulations, incorporating a variety of patterns such as gunome, chōji, and togari-ba. It also displays rich nie, along with versatile activities such as ashi, yubashiri, and sunagashi in multiple areas. The overall effect is dynamic, full of movement and variation. Including the distinctive tang construction, which reduces the thickness near the blade, this piece strongly reflects the unique characteristics of Iyo-no-Jō Munetsugu within the Hizen tradition, making it stand out as a notable example.


No. 35 Katana Mei Hizen-no-Kuni Jūnin Minamoto-no-Muneyasu
Regarding Hizen-no-Kuni Muneyasu, it is mentioned in "Shintō Bengi" that he may have been a student of Iyo-no-Jō (the first generation), and further references in "Shintō Ichiran" and "Kokin Kaji Bikō" also list the signature as belonging to a disciple of Iyo-no-Jō. However, the current consensus identifies it as the first signature of the second-generation Iyo-no-Jō Munetsugu.
This sword is one of the few surviving works by the swordsmith, showing the same characteristics as the first-generation Munetsugu in both the jigane and hamon. The hamon is lively and varied, incorporating a mix of gunome, togari-ba, and chōji-like patterns in a notare. Various activities such as tobiyaki, niesuji, and sunagashi demonstrate bold and dynamic changes, making the sword stand out with a lively and gorgeous appearance.




【Sword Mountings】
No.1
This ornate mounting features a handle decorated with a black ray skin covering, wrapped with brown lacquered leather in the morotsumami-maki style. The menuki (ornamental metal grips) on the handle depict a design of hairyū-zu (dragons) on a yamagane (unrefined copper) base. The kozuka (small knife) has a high-relief kichiji-mon yonsō-zu (crest with four 吉 characters) design on a shakudō-nanakoji (red copper alloy base, engraved with fine fish roe patterns). The kōgai (hairpin carried in the scabbard) features a kurikara (dragon and sword) design in high relief on a yamagane-nanakoji base. The sayū suhama sukashi (symmetrical islands design) tsuba (handguard) are crafted in openwork on tettsui-meji (hammered-texture base metal). Overall, the metal fittings are composed of antique pieces from an earlier production period. The scabbard is also made in an old style, with the black lacquer having aged over time, giving it a refined and classical appearance.


No.2
This is an uchigatana mounting with cherry tree designs on all the metal fittings and a black lacquered shibokawa-nuri scabbard. Compared to the glossy black lacquer, kuroroiro-nuri, of formal style, shibokawa-nuri is a lacquer finish that expresses the surface as though it is wrapped in wrinkled leather. The kurigata and origane (small hooks attached to the scabbard), fuchigashira (metal fittings on the handle of the sword), and kojiri (metal fitting on the bottom of the scabbard) follow the old style, with particular emphasis on the kurigata and origane, which have a powerful form that strongly conveys a sense of the era.
The kōgai (hairpin carried in the scabbard) and kozuka (small knife) were made by Gotō Mitsutomo, the tenth generation of the Gotō family. He was a metalworker who moved from Kyōto to Edo under a shogunate order. It is believed that the fittings were created to match the traditional designs of the fuchigashira and kurigata, with others reworked to form a complete mounting.


No.3
The Hantachi koshirae is a mounting that combines the styles of both the tachi koshirae and the uchigatana koshirae, designed to serve both purposes. While incorporating the metal fittings of a tachi, it omits elements typical of an uchigatana, such as the kozuka (small knife) and kōgai (hairpin carried in the scabbard). This mounting features a scabbard finished with byakudan-nuri (transparent lacquer applied to reveal the pattern beneath), and the handle is wrapped in a contrasting nantō-iro (bluish deep green) cord in the katatsumami-maki style. This color scheme creates a refreshing impression, while the metal fittings, adorned with gold aoi-mon (hollyhock crests) scattered generously on the nanako-ji (metal base with fish roe pattern), help to tighten the overall color balance. The mounting as a whole exudes both magnificence and dignity, with the fine and meticulous craftsmanship of the metalworker evident in the lacquer finish, handle wrapping, and fittings.
Additionally, the sword housed in this mounting is the Important Cultural Property designated "Katana Gakumei Kunitoshi" (an heirloom of the Aizu Matsudaira family).


No.4
This is a wakizashi koshirae with a scabbard featuring finely applied sendan-kizami (a carving pattern resembling a spindle wrapped with threads), finished in kuroro-iro (black lacquer). The intricate craftsmanship of the sendan-kizami enhances the overall elegance of the mounting.
The fuchigashira (metal fittings on the handle of the sword), kozuka (small knife), wari-kōgai (split hairpin carried in the scabbard), and kojiri (metal fitting on the bottom of the scabbard) were made by Gotō Mitsumasa. Each piece is crafted from a combination of oboro-gin (matte silver alloy) and shakudō (red copper), polished to a smooth finish. They are adorned with inlaid gold, silver, and pure copper, creating a splendid and vibrant appearance.


No.5
Sasayama Tokuoki belonged to the prestigious Ōtsuki school of Kyōto metalwork and studied under Kawarabayashi Hideoki, a top disciple of Ōtsuki Mitsuoki. During this period, the school flourished, with skilled craftsmen such as Ōtsuki Mitsuhiro, Kaizan Ōki, Tenkōdō Hidekuni, and Matsuo Gassan. However, Tokuoki himself was particularly renowned for his craftsmanship.
This tantō koshirae features metal fittings made by the same craftsman. The fittings showcase various plant motifs, including unkin (a motif of cherry blossoms as clouds and autumn leaves as brocade), daffodils, and orchids, all finely carved into a silver base. The scabbard is finished in kuroro-nuri (black lacquer), with a seigaiha (calm wave pattern) and unkin kasumi-mon (unkin with a haze), depicted over shu-urushi-nuri (red lacquer), creating a striking and harmonious overall appearance. The entire mounting is an exceptionally elegant work.


No.6
Miyata Nobukiyo was born in Kyōto in the 14th year of the Bunka era (1817) and became the adopted son of the Miyata family of Kamo Shrine at the age of fifteen. He later studied metalworking under Gotō Mitsuyasu and Gotō Mitsuakira, the 16th generation head of the Gotō family. In the 4th year of the Tenpō era (1834), he became independent and eventually worked as a contracted metalworker for the Nanbu domain.
This mounting is an aikuchi-tantō koshirae, featuring metal fittings made solely by Nobukiyo himself. The zuiun (whirling clouds) pattern spans the entire set of fittings, from the fuchigashira (metal fittings on the handle of the sword) to the dōgane (ring-shaped metal fittings used as a clasp) and kojiri (metal fitting on the bottom of the scabbard). This design enhances the curled dragons on each of the mitokoro-mono (menuki, kōgai, and kozuka), making them appear as though emerging from a vast sea of clouds. The exquisite carving skills are notable, but it is Nobukiyo's remarkable expressive power that elevates this mounting to a masterpiece.




【Sword Fittings】
No. 1 Kuruma-sukashi Tsuba
The kacchū-shi tsuba, as the name suggests, refers to sword handguards created by craftsmen who specialized in making armor, as a secondary skill. Those made before the Momoyama period are called ko-kacchū-shi (old armorers). These tsuba are believed to have been created by applying techniques used in forging helmet plates, small armor plates, or face guards to the making of tsuba. The design consists of a large, thin, flat metal plate with simple openwork, and the motifs and characters give insight into the thoughts and beliefs of the warriors.
This tsuba is thought to date from the Nanboku-chō period to the early Muromachi period. It is a large and imposing iron handguard with an openwork wheel design. The well-balanced, rusted iron surface lends it a refined quality, and the shaping of the edges is robust and powerful.


No. 2 Kikka-sukashi Tsuba
The kacchū-shi tsuba (handguard made by an armorer) is characterized by the use of well-forged iron, with thickened and shaped edges, and thin iron plates with openwork carvings applied to them. This large iron tsuba follows the same construction method, featuring hammer marks that convey a sense of maturity and age over time. The evocative quality of the aging is evident even at the edges of the openwork chrysanthemum design, lending the piece a refined and dynamic presence. This tsuba is a bold work by a ko-kacchū-shi from the early Muromachi period.


No. 3 Nihiki Inoshishi-zu Menuki
The second-generation Sōjō of the Gotō family, was the second son of the first-generation Yūjō. Sōjō served the Ashikaga shogunate after his father. At the age of forty, he shaved his head and became a monk, adopting the name Sōjō, and later attained the rank of Hōgen. According to the official genealogy passed down through the Gotō family, he was born in the 1st year of the Chōkyō era and passed away on August 6th in the 7th year of the Eiroku era at the age of seventy-eight.
This menuki (ornamental metal grip) depicts two wild boars running swiftly, rendered in red copper with gold. The color application is thick, and the quality of gold is good. Additionally, the reverse side is adorned with inyō-kon (convex and concave protrusions on the back of each of the two menuki), reflecting the quality and status characteristic of the top three generations of the Gotō family.
This work comes with a certificate of authenticity (origami) by Gotō Mitsutaka and is also a part of the collection passed down through the Kōnoike family.


No. 4 Gensō Yōkihi Futatokoro-mono
The fourth-generation Kōjō of the Gotō family, was born in the 2nd year of the Kyōroku era. Initially serving the Ashikaga shogunate, he later became a retainer of Oda Nobunaga. In the 9th year of the Tenshō era, at Nobunaga’s command, Kōjō, along with his eldest son Mitsumoto (Tokujō), struck the world’s largest gold coin, Mujirushi-no-ōban (10-ryō). Kōjō was highly regarded as a master craftsman, often considered second only to Yūjō in skill.
This futatokoro-mono (menuki and kōgai) features, on the front menuki, Gensō (Emperor Xuanzong), and on the back menuki and kōgai, Yōkihi (Yang Guifei). The figures are delicately engraved on a red copper alloy base with gold and silver. The intricate depictions of the figures, their splendid kimonos, and the fine details demonstrate an extraordinary level of craftsmanship, showcasing the skill of a true master.


No. 5 Jūnishi-zu Menuki
These menuki (ornamental metal grips) by Gotō Kōjō are made of thick, solid gold, used luxuriously. Kōjō’s carving, often described as "high as mountains and deep as valleys," adds a sense of three-dimensionality and creates a composition with depth. The dense carving can sometimes risk becoming overly cluttered, but in these pieces, the twelve zodiac animals are arranged with exquisite spacing. This arrangement is a result of Kōjō’s skill in creating depth in his work. The animals are carved with such precision that their gazes seem carefully calculated, almost as if their sounds could be heard. These masterpieces fully showcase the carving techniques of Kōjō, who was regarded as the second-best metalworker after Yūjō. These menuki come with a certificate of authenticity (origami) by Gotō Mitsmasa and are part of the collection passed down through the wealthy Kōnoike family.


No. 6 Oyako Kohyō-zu Kozaka
The seventh-generation Kenjō of the Gotō family was the third son of the fifth-generation Tokujō, born in the 14th year of the Tenshō era. He founded a branch family, the Rihei family, but succeeded to the seventh-generation headship of the main Gotō family following the death of his older brother Eijō. He was also invited by the Maeda family of Kaga, and, along with his cousin Kakujō, traveled to Kaga every other year, playing a key role in the later flourishing of the Kaga Gotō family.
This kozuka (small knife) is carved with a parent and child tiger (or leopard) motif on a shakudō-nanakoji (red copper alloy base, engraved with fine fish roe patterns) with a gold crest. While tigers (or leopards) are a common subject not only in the Gotō family but also in other schools, the vividness of the mottling in the red copper alloy and the lively, masterful thickness of the carving set this piece apart. It is a distinguished, high-quality work with Kenjō’s own inscription, exemplifying superior craftsmanship.


No. 7 Mon-chirashi-zu Tsuba
The tsuba (handguard) maker Nobuie of Owari is a renowned metalworker, celebrated as one of the finest craftsmen of iron tsuba, alongside the Kaneie of Kyō Fushimi. Nobuie’s tsuba are known for their exceptional forging of the iron, with diverse styles in the base iron that create a refined, yet powerful impression. As a result, his tsuba are praised as being ideally suited for the uchikatana mountings.
This tsuba features floral motifs, including a mokko shape and a mitsudomoe crest. At first glance, the carving appears simple, but upon closer inspection, the depth of the carving, the varying thickness of the lines become evident. This creates a strong presence without overwhelming the overall design. The carving technique is carefully crafted to highlight the high quality of the iron, arguably the most notable feature of Nobuie’s tsuba. The excellent quality of the base iron, the gradual tapering of the rim, the texture of the hammer marks, and the exquisite relief work all contribute to making this tsuba both powerful and striking. It is a tsuba that embodies the finest qualities of iron, a true celebration of the metal itself.


No. 8 Amida-mon-zu Tsuba
Yamayoshi (山吉), along with Hōan, is a leading tsuba (handguard) maker representing the Owari tsuba, with a style that shares common elements. The shape is dignified, the forging is excellent, and the iron skeletons, raised by annealing, appear here and there, giving the piece an air of elegance while evoking strength. The inscriptions on the handguards include "山坂吉兵へ," "山吉兵へ," and "山吉兵," suggesting the inheritance of the name over several generations.
This piece is slightly smaller, but it is a fine tsuba with striking, strongly forged rims and iron skeletons that catch the eye. In contrast to the rough rims, the surface is delicately engraved with an Amida-yasuri (halo of Amitabha design created with a file) pattern, and the splendid harmony of these elements elevates the quality of the work, adding an additional elegance to it.


No.9 Kunenbo-zu Tsuba
Umetada Myōju lived in Nishijin, Kyōto, and is revered as the "founder of Shin-tō (New Sword) swordsmithing." He was also skilled in sword engraving, and as a tsuba (handguard) maker, he is celebrated alongside Kaneie and Nobuie as one of the "Three Great Masters of the Momoyama period."
His style is characterized by geometric patterns in nunome-zōgan (gold inlay that creates a fabric-like texture) when the base is iron. When using brass or red copper alloy, he incorporated color alloys such as gold, silver, red copper, and copper into his unique hira-zōgan (flat inlay) techniques, often depicting auspicious tree motifs like grapes and kūnenbo (citrus tree). This tsuba is a typical example of his later style, with the inlay on the brass blending harmoniously with the base metal, showcasing the essence of a master craftsman.


No. 10 Hachibō-sei-zu Tsuba
The founder of the Hirata family of Higo, the first-generation Hikozō, served Hosokawa Sansai in Kyōto. After the Hosokawa family was transferred, he moved to Kumamoto, where he passed away in the 12th year of the Kanei era (1635). From his school, students such as Shimizu Jingo (his nephew) and Nishigaki Kanshirō emerged, and together with Hayashi Matashichi of the Owari school, they formed the four major schools of Higo metalworking.
Technically, the Hirata school inherited many traditions from the Shōami school: While iron was sometimes used, alloys such as yamagane (copper alloy), brass, and shakudō (a red copper alloy) were also frequently employed. Techniques like inlay work and decorative features such as Amida-yasuri (halo of Amitabha design created with a file) and okina-yasuri (concentric circles created with a file) added a rich aesthetic charm.
This piece, made of pure copper, is adorned with okina-yasuri and features an elegantly archaic hachibō-sei (octagram, eight-pointed star) design, carved with kōsuki-kebori (fine engraving using a chisel with a half-moon shaped tip). It is an excellent example of Hikozō-kiwame, showcasing an antique elegance.


No. 11 Shioridake-sukashi Tsuba
The founder of the Hayashi school of Higo metalwork, Hayashi Matashichi, was born in Kumamoto in the 18th year of the Keichō era (1613). He was also known as Kiyosaburō Shigeharu, and his craft name was Matashichi. His ancestors were from Owari Province, and during his father Seibei’s time, they moved to Higo Kumamoto to serve as gunsmiths for Katō Kiyomasa. After the Katō family lost their domain, the family continued to serve the Hosokawa family. Matashichi passed away in the 12th year of the Genroku era (1699) at the age of eighty-seven.
This tsuba (handguard) displays the unique, well-forged iron texture characteristic of Matashichi’s style. The soft, thick, and well-defined form of the bamboo stem, along with the leaves arranged as if swaying in the wind, are intricately designed with exceptional balance and high overall quality, making this piece a refined and superb example.


No. 12 Shōjō Fukurō-zu Tsuba
The first-generation Jingo is said to have been the nephew of Hirata Hikozō. When Hosokawa Sansai retired and moved to Yatsushiro in the same province, Jingo accompanied Hikozō in this relocation.
Jingo is known for his distinctive style among Higo metalworkers. On the front of his tsuba (handguard), he often depicted large, powerful birds of prey, uryū (dragons in rain), and other such motifs using shinchū suemon-zōgan (brass inlay). On the reverse side, he typically placed smaller designs, with a gentler use of color and thickness, creating a sense of wabi-sabi and quiet beauty.
This tsuba features a large owl perched on a pine tree on the front, while a faint glimpse of a pine branch appears on the reverse. The contrast between the two sides, with their differing compositions, is a defining characteristic of this work, beautifully showcasing the metalworker’s mastery.




No. 13 Eda Botan-zu Kozuka
Yokoya Sōmin was adopted by his father, Sōyo, who was a disciple of the Gotō family. Although he came from a family known for the iebori style of engraving, after retiring from his official position, he developed his own style and came to be recognized as the founder of the "machibori" (town engraving) style. He was also closely associated with the Kanō school-influenced artist Hanabusa Icchō and is said to have received guidance from him on designs and motifs.
This kozuka (small knife) is made of shakudō-nanakoji (a red copper alloy base, engraved with fine fish roe patterns) and has no koberi (frame or rim), a technique frequently used by Sōmin. In the center of the front, there is a peony design made of shibuichi (a silver and copper alloy) in suemon-zōgan (a style of inlay work), with the leaves rendered in takabori kin-iro-e (high-relief carving with gold coloring). The lifelike sculptural carving, which almost seems to leap off the surface, showcases the distinctive characteristics of Sōmin's work. The large signature seen in his later years is also magnificently engraved, revealing a combination of Sōmin's boldness and hidden technical finesse, making this a superb example of his craftsmanship.
No. 14 Shamo-zu Fuchigashira
Nara Toshinaga, commonly known as Tahei, is recognized as one of the "Nara San-Saku" (The Three Masters of Nara) alongside Yasuchika and Jōi. He is the oldest of the three and is renowned for his exceptional craftsmanship. His sharp and intricate sukidashi-takabori (a style of high-relief carving) and his skillful use of zōgan-iroe (inlay and color decoration) stand out. Particularly in fuchigashira (metal fittings on the hilt of a sword), he has left behind many masterpieces.
This fuchigashira with a rooster design, which can occasionally be seen in Toshinaga's works. The design features a brass base, with omoto (commonly known as the evergreen plant) and a snail depicted on the fuchi (collar at the base of the grip of the hilt), while the rooster is inlaid in the kashira (cap at the end of the hilt) using red copper alloy and copper. The rooster's body stands tall, with its rough feathers delicately carved, conveying its power and ferocity. In contrast, the omoto leaf, upon which the snail is perched, forms a graceful and smooth curve. This combination of intricate carving techniques demonstrates Toshinaga's exceptional skill, creating a piece that evokes diverse impressions through different carvings.


No. 15 Nami Ryū Sansui-zu Tsuba
Yasuchika was born as the child of a samurai in the Shōnai domain. He moved to Edo in the 16th year of the Genroku era (1703) and became a disciple of Nara Tatsumasa. Around the Shōtoku era, he was employed by the Ōshu Moriyama domain, a branch of the Mito domain. Alongside Toshinaga and Jōi, he is referred to as one of the "Nara San-Saku" (The Three Masters of Nara). His works are characterized by meticulousness and rich depth, whether in his carving, iroe (color decoration), or inlay work.
This tsuba (handguard) features a round iron base. On the front, a dynamic dragon and treasure orb leap through waves in the sukibori carving technique, with the dragon intricately inlaid in the gold nunome-zōgan technique to highlight various parts of its body. On the back, a tranquil landscape featuring a rōkaku (multi-storied building), mountains, and a river is carved, creating a contrast between movement and stillness on the front and back. In addition to the delicate carving in the finest details, the positioning of the dragon's limbs on the front and the skillful depiction of perspective on the back such as geese flying from the distant moon and the arrangement of a hermitage and boat in the foreground, showcase Yasuchika's exceptional techniques in this remarkable tsuba.


No. 16 Oyako Niwatori-zu Daishō Tsuba
Ishiguro Masatsune, originally known as Koretsune, studied under Katō Naotsune and Yanagawa Naomasa. When he became independent, he adopted the characters from both of his masters' names, changing his name to Masatsune and became the founder of the Ishiguro school, known for its intricate carving style. Masamori is the inscription used during the early years of the second-generation Masatsune, from the Anei era to around the Tempō era, and succeeded his father as the second-generation master after his father’s death in the 12th year of the Bunsei era (1829).
This large and small pair of tsuba (handguards) is a collaborative work by father and son, Masatsune and Masamori, with both depicting parent and chick chickens along with chrysanthemums and bamboo. They use shakudō-nanakoji (a red copper alloy base, engraved with fine fish roe patterns) with high-relief carving and iroe (color decoration), signature techniques of the Ishiguro school. The realistic and detailed carving of the chicken's feathers, tail, and legs exemplifies the essence of Ishiguro's famous kachō-bori (flower-and-bird carvings). This piece is also a great example of how carving techniques were passed down from father to son.


No. 17 Kame-zu Menuki
Ichinomiya Nagatsune was born in the 6th year of the Kyōhō era (1721) in Echizen Suruga. He initially went by the name Kashiwaya Tadahachi, later moved to Kyōto, and studied under Yasui Takanaga, a metalworker associated with the Gotō school. In his early years, he used the inscription Setsuzan, before changing his name to Nagatsune and adopting the inscription Ganshōshi. He also studied painting under Ishida Yūtei, a disciple of the famous artist Maruyama Ōkyo, and gained such fame that he was called "Sōmin of the East, Nagatsune of the West."
This menuki (ornamental metal grips) depicts a turtle, carved in yō-bori (a style of carving) on a copper base, with gold and red copper alloy applied in the zōgan-iroe (inlay and color decoration) technique. The shell and skin texture of the turtle are beautifully rendered through detailed carving, giving the turtle a lifelike appearance. This menuki exemplifies Nagatsune's exceptional skill in realistic depiction and his outstanding carving techniques.


No. 18 Tsuina-zu Menuki
Minayama Ōki is said to have been a disciple of Ōtsuki Mitsuoki, commonly known by the nickname Naoichi, and is believed to have lived in Nijō in Kyōto. His first inscription was 応興 (Masaoki), which he later changed to 応起 (Masaoki), and he also used the names Reibokudō and Chikufūdō.
This menuki (ornamental metal grips) is carved with the yō-bori technique on a solid gold base, with silver, red copper alloy, and copper inlays using the okigane-zōgan-iroe (inlay and color decoration) technique. The design depicts an oni (demon representing evil or misfortune) and a hiiragi (holly representing protection or purification). The carving technique is extremely detailed, and this menuki allows one to fully appreciate the exceptional skill of Ōki.


No. 19 Kurikara-Ryū-zu Mitokoro-mono
Ōkawa Teikan was born in the 11th year of the Bunsei era (1828) in Mito, as the son of Ōkawa Motosada, the founder of the Ōkawa school. He trained under his father and became a court metalworker for the Mito domain. After his father’s death, he moved to Edo and settled in Mukōjima. His carving techniques were highly regarded, and he mastered various styles of carving, becoming a representative metalworker of Mito.
A menuki, kozuka, and kōgai are collectively referred to as Mitokoro-mono, and these pieces are depicting the Kurikara dragon. The meticulous carving of details such as the scales and claws is evident, while the dragon’s realistic expression reflects the distinctive style of the Mito metalworkers, who were not constrained by traditional forms. These are masterpieces that fully showcase the superb craftsmanship that elevated the style of Mito carving.


No. 20 Kuchikui Seirei-zu Kozuka
Kanō Natsuo was born in the 11th year of the Bunsei era (1828) in Kyōto. He studied under Okumura Shōhachi and Ikeda Takatoshi. After the Meiji period began, he was entrusted by the government with creating the initial designs for new currency and became active as a professor at the Tōkyō Bijutsu Gakkō (Tōkyō School of Fine Arts) and an imperial craftsman. Natsuo’s works, which combine intricate skill with rich expression, are highly prized by collectors and are considered the finest in the Meiji metalworking world.
This kozuka (small knife) depicts a single dragonfly perched on a decaying post. What is particularly noteworthy is the skillful composition of the design. The empty space on the left side of the design and the subtly raised water surface further emphasizes the melancholic autumn scene. This work exemplifies Natsuo’s ability to draw the viewer into the world of the art.