― Sword ―

 

1．Awataguchi HISAKUNI

"Hisakuni was the second son among the six Awataguchi brothers and was known by the name Tōjirō. Only a very small number of his signed works survive, limited to tachi and tantō, and he is regarded as a swordsmith who possessed an exceptionally high level of technical mastery and refinement, even among the many outstanding swordsmiths of the Awataguchi school.

This sword retains an elegant and graceful appearance despite being shortened, with a relatively slender form, gentle koshi-zori curvature, and a small kissaki (tip). The jigane, praised as nashiji-hada, features a finely forged ko-itame with fine ji-nie throughout, and nie-utsuri is also present. The hamon is a gentle chū-suguha with shallow undulations, incorporating ko-ashi and ko-gunome activities. Bright ko-nie are evenly distributed, giving both the jigane and hamon a clear, vivid brilliance. The bōshi turns back neatly in a refined ko-maru. Altogether, this is a sword of exceptional elegance and classical refinement."

 

2．Awaraguchi KUNIYOSHI

"Awataguchi Kuniyoshi was one of the leading swordsmiths of the Awataguchi school. He is known for having had Tōshirō Yoshimitsu who was celebrated as one of the “Tenga Sansaku” (Three Greatest Swordsmiths of Japan), as either his disciple or his son. His active period is clearly established by the survival of a dated work from Kōan 3 (1280).

Extant works by Kuniyoshi include tantō, tachi, and ken (straight swords), as well as a hira-zukuri uchigatana designated as an Important Cultural Property, named Nakigitsune. As seen in this work, his characteristic style features a finely forged tight ko-itame jigane, known as nashiji-hada, a texture distinctive to the Awataguchi school. The hamon is primarily suguha-based, with nioi forming the groundwork and a dense application of fine ha-nie. Both the jigane and the hamon appear bright and highly refined, and a notable characteristic of many of his works is the prominent appearance of nijūba (double temper lines)."

 

3．KUNIYUKI(Rai)

"Kuniyuki is regarded as the de facto founder of the Rai school. His tachi exhibit a variety of forms, including slender, standard, and wide-bladed examples, with the ikubi-kissaki (boar’s-neck tip) being typical. No dated works by Kuniyuki himself are known to survive; however, a sword by his son bearing the two-character signature Kunitoshi and dated Kōan 1 (1278) establishes Kuniyuki’s period of activity as the mid-Kamakura period.

This sword has a standard blade width, an ikubi-kissaki, and displays wa-zori curvature. The jigane consists of ko-itame mixed with itame, with fine chikei appearing throughout. Slightly rough surface known as Rai-hada can be seen in some areas, and nie-utsuri is also present. The hamon is based on a relatively wide suguha, intermingled with ko-gunome, ko-midare, and ko-chōji elements. Ashi, yō, sunagashi, and kinsuji are actively formed, with small tobiyaki appearing around the yakigashira. The bōshi also shows a lively irregular pattern. Overall, this is a superior work rich in dynamism and expressive vitality."

 

4．Rai KUNI[TOSHI]

"The Rai school, founded de facto by Kuniyuki, flourished from the Kamakura through the Nanbokuchō periods. Among its swordsmiths, Rai Kunitoshi played a central role in sustaining the school during the late Kamakura period and in establishing its firm and enduring foundation. Regarding Kunitoshi, there has long been debate as to whether he is identical with or distinct from the so-called “Ni-ji Kunitoshi"" (two-character Kunitoshi). While no definitive conclusion has yet been reached, the theory that they are the same individual is now widely regarded as the most plausible.

This tantō, with its well-balanced proportions in both width and length, presents a dignified and harmonious form. The ko-itame jigane is exceptionally refined, and the narrow suguha hamon, with subtle fraying, conveys a quiet elegance. The dated inscription indicates that this work was produced when the smith was eighty-one years old, making it one of the latest works and of considerable historical importance. Altogether, the piece embodies an ineffable sense of mature refinement and classical grace."

 

5．Attributed to Rai KUNIMITSU

"Rai Kunimitsu is traditionally regarded as the son of Rai Kunitoshi. The extant dated works attributed to him range from Karyaku 1 (1326) to Kan'ō 2 (1351), indicating an active career spanning approximately twenty-five years. He is renowned as a swordsmith of exceptionally high technical skill. His workmanship encompasses a wide variety of styles, including traditional shin-no-suguha, suguha-based hamon intermingled with ko-gunome and ko-chōji, as well as suguha-based patterns with subtle ko-midare.

This sword clearly displays the characteristic features of Rai Kunimitsu’s work. The jigane is composed of well-forged itame-hada, densely packed and covered with fine ji-nie, with a faint nie-utsuri appearing. The hamon is a chū-suguha executed in ko-nie-deki, with a wide nioiguchi. Both the jigane and the hamon appear bright and clear, demonstrating an excellent and highly refined level of workmanship."

 

6. Rai KUNITSUGU

"Rai Kunitsugu was a disciple of Rai Kunitoshi and is also said, according to one theory, to have been a cousin of Rai Kunimitsu. He produced relatively few tachi, and the majority of his extant works consist of tantō and small wakizashi, with extremely rare examples of ken (straight swords) and yari (spears). Because his workmanship strongly reflects the influence of the Sōshū tradition, he has long been counted among the Masamune Jittetsu (Ten Great Disciples of Masamune) and is honored with the title “Kamakura Rai.”

This sword displays a tightly forged ko-itame jigane overall, with dense ji-nie and finely appearing chikei. The hamon is suguha-based, subtly broken by gentle ko-notare, interspersed here and there with ko-gunome. Ha-nie is abundantly applied, and within the hamon appear rich activities such as ashi, yō, kinsuji, and sunagashi. The bōshi is also vigorous, with nie sweeping in a broom-like manner toward the tip. Altogether, this is a superb example firmly attributed to Kunitsugu, in which the distinctive characteristics of the Sōshū tradition are vividly demonstrated."

 

7. YOSHINORI(Sanjō)

"Sanjō Yoshinori is believed to have been active as early as the late Kamakura period; however, extant works date primarily from the early Muromachi period, with many surviving examples from the mid Muromachi period onward. There are also works made in Izumi, Mikawa, Echizen, and other areas, and he produced numerous yari as well as swords featuring blade carvings (horimono). Together with Heianjō Nagayoshi, he is regarded as one of the representative swordsmiths of Yamashiro-mono of the Muromachi period.

This sword, judging from the style of its signature, dates to around the Bunmei era of the mid-Muromachi period. It is slender in form with deep curvature, pronounced saki-zori, and a small kissaki, presenting a gentle and elegant silhouette characteristic of the time. True to Yamashiro workmanship, the jigane is tightly forged, with fine ji-nie evenly distributed, resulting in a clear and refined appearance. The hamon is based on a notare pattern, interspersed with ko-gunome and ko-chōji, and is further enlivened by activities such as ashi, yō, sunagashi, and kinsuji. Overall, this is an excellent work rich in activity and variation, fully expressing the refined qualities of Yamashiro swords."

 

8. YUKISADA(Attributed to Senjuin)

"The Senjuin school is known as the oldest of the five schools of Yamato, and early sword records (koken-sho) note the presence of smiths such as Yukinobu and Shigehiro as early as the late Heian period. Compared with the other Yamato schools, Senjuin workmanship is often characterized by more archaic features in its sugata, jigane, and hamon, and signed works are relatively rare.

This ken (straight sword) is constructed with a comparatively high shinogi. The jigane displays a strongly flowing itame-hada with subtle masame tendencies. The hamon is a suguha with a shallow notare, and the nioiguchi is bright and clear with abundant nie. Along the habuchi appear prominent features such as fraying, uchi-noke–like effects, and nijūba, all of which clearly express the distinctive characteristics of the Yamato Senjuin school.

Judging from its style and workmanship, this piece is considered to date no later than the late Kamakura period. With its high level of completion and strongly traditional expression in both jigane and hamon, this is an outstanding example, and the two-character signature “Yukisada” is of exceptional rarity."

 

9. TOMO(cut)(Attributed to Taima TOMOYUKI)

"The Taima school, founded by Kuniyuki, flourished from the late Kamakura period through the Nanbokuchō period. Although sword directories and other reference records enumerate a number of smiths associated with the school, extant signed works are extremely few.

This sword features a jigane of itame-hada with areas of flowing masame, accompanied by abundant ji-nie and chikei. The hamon consists of a notare pattern interspersed with ko-gunome, with well-developed nie showing sunagashi and nie-suji. Among Yamato works, the Taima school is particularly noted for the prominence of nie in both the jigane and the hamon, and these characteristic features are clearly expressed in this piece.

Notably, the remaining single character “tomo” (友) in the signature corresponds closely to the mei seen on a tantō by Taima Tomoyuki designated as an Important Sword in the 40th Jūyō Tōken designation. On this basis, this sword has been conclusively attributed to the same smith."

 

10. HŌSHŌ

"The Hōshō school resided in Takaichi District of Yamato Province and flourished from the late Kamakura period through the Nanbokuchō period. Its swordsmiths, including Hōshō Sadamune, Sadayoshi, and Sadakiyo, commonly used the character sada (貞) as a shared element in their names. Many tantō by the school survive, while extant tachi are few, and no signed, ubu tachi (retaining their original form) are known. Among the school’s smiths, Sadaoki is represented by the greatest number of surviving works, and among his tantō, particularly small-sized examples are common.

This piece displays a jigane forged in continuous masame from the base to the tip, with abundant ji-nie imparting a moist and refined appearance. The distinctive sō-masame forging, one of the most characteristic features of Yamato workmanship, is especially well expressed. The hamon consists of a notare pattern interspersed with nijūba, and the activities within the hamon are rich and well developed. Altogether, this is a work of excellent quality and refinement."

 

11. Yamato SHIZU

"The term Yamato Shizu originally refers to works made during the period when Kaneuji, one of the Masamune Jittetsu, resided in Yamato Province and signed his swords as “包氏” (Kaneuji), prior to relocating to Shizu in Mino Province. However, even after Kaneuji’s move to Mino, swordsmiths who succeeded to the Kaneuji name continued to work in Yamato, and today the term Yamato Shizu is understood to encompass these later makers as well. This work is attributed to the latter group.

The sword features a wide shinogi and a jigane with strongly flowing masame. In response to the jigane, kinsuji and sunagashi actively interact with the hamon, while the bōshi terminates in yakitsume. These characteristics impart a strong Yamato character, yet they are combined with the bold expressiveness of the Sōshū tradition. As a result, the clear and lively jigane and the richly varied hamon together display a synthesis that brings together the distinctive qualities of both traditions."

 

12. Kama[kura][jū]nin YUKIMITSU

"Yukimitsu is positioned as a slightly senior figure of Masamune, who elevated the Sōshū tradition to the level of high art. Early sword records (koken-sho) describe Yukimitsu as a swordsmith of remarkably broad expressive range, from suguha to hitatsura hamon. Among the extant signed works by Yukimitsu, most display suguha or shallow notare hamon; however, this piece is unique as the only signed example to exhibit a hitatsura hamon.

The hamon is based on notare with thickly applied nie, while vigorous kinsuji traverse both the jigane and the hamon. Yubashiri, tobiyaki, and muneyaki are interspersed, creating a lively and highly complex pattern that vividly substantiates the descriptions found in early sword records. The strong expression of Sōshū characteristics in this work has made it an important benchmark for the attribution of unsigned swords.

With its long signature accompanied by a dated inscription, the piece possesses exceptionally high historical value and stands as an indispensable work for the study of Yukimitsu."

 

 

13. Attributed to SADAMUNE

"Sadamune is said to have been a disciple of Masamune and was later adopted by him. While faithfully inheriting his master’s style, Sadamune developed a manner that is slightly more restrained and gentle in expression.

This tantō, with its thin kasane and shallow curvature, clearly reflects the stylistic characteristics of the Nanbokuchō period, during which Sadamune was active. The jigane consists of itame-hada mixed with ō-itame and mokume, with abundant chikei and thickly applied ji-nie, giving rise to a faint nie-utsuri–like appearance. The hamon is a characteristically gentle, shallow notare, richly covered with bright ko-nie. In keeping with the Sōshū tradition, rich activity can be seen along the hamon, and the nioiguchi shows variations in width and density, lending the sword a subtle and refined charm. In addition, this tantō is traditionally said to have been bestowed by Tokugawa Hidetada upon Tadafusa, son of Tadatoshi of the Fukamizo Matsudaira family, and is accompanied by an origami appraisal by Hon’ami Kōon."

 

14. Attributed to SHIZU

"Shizu Saburō Kaneuji is counted among the Masamune Jittetsu (Ten Great Disciples of Masamune). Tracing his lineage to the Yamato Tegai school, he relocated to Mino during the Nanbokuchō period and was active as one of the earliest Mino swordsmiths. His workmanship is characterized by a strong Sōshū influence, marked by abundant nie and vigorous activities both within the hamon and along the habuchi.

This sword displays a jigane of itame mixed with areas of mokume, the surface standing out with thick ji-nie and frequent chikei, giving it a powerful visual presence. The hamon is centered on gunome, interspersed with togari-ba of varying sizes and gentle ko-notare. Nie is profusely applied, resulting in noticeable variations in the width of the nioiguchi, while kinsuji, sunagashi, and yubashiri appear in places. Altogether, the lively sparkle of nie and the rich diversity of activities fully support an attribution to Shizu, making this a highly convincing example."

 

15. Attributed to GŌ

"The name Gō is said to be an abbreviation of Yoshihiro, who resided in Matsukura-gō in Ecchū Province. He is renowned as one of the Masamune Jittetsu (Ten Great Discipes of Masamune) and, during the Edo period, was praised as one of the Tenga Sansaku (Three Greatest Swordsmiths of Japan) together with Awataguchi Yoshimitsu and Sōshū Masamune. His works are distinguished by the vigorous activities within the hamon and the exceptional clarity of both jigane and hamon, and, like Sadamune, no extant signed works are known.

In this piece, the jigane shows bright and clear itame-hada with slight flowing tendencies and a somewhat rough texture, accompanied by visible chikei. The hamon is based on a shallow notare, intermixing ko-gunome and ko-notare, and the nioiguchi is richly covered with nie, with abundant kinsuji and sunagashi actively appearing throughout. Together, these features clearly display Gō’s strong interpretation of the Sōshū tradition.

With both the jigane and the hamon exhibiting remarkable clarity, and a wide nioiguchi with a soft, gentle texture, this work stands as an excellent example in which the distinctive style of Gō is fully expressed."

 

16. Fukuoka ICHIMONJI

"The two principal lineages of Kamakura-period Bizen swords are the Ichimonji and Osafune schools. The Ichimonji school continued to flourish through the Nanbokuchō period in locations such as Fukuoka, Yoshioka, and Iwato, producing many highly skilled swordsmiths. Its workmanship is distinguished by chōji-midare hamon, and in particular, the Fukuoka Ichimonji school of the mid-Kamakura period is renowned for its large ō-chōji and bloomed-flower-like jūka-chōji patterns, leaving behind many brilliant and decorative works.

This sword likewise displays a flamboyant irregular hamon featuring chōji, ko-chōji, and ko-gunome, with abundant ashi and yō, as well as tobiyaki and yubashiri, resulting in a dynamic composition that fully expresses the defining strengths of the school. Together with the vivid midare-utsuri clearly visible in the jigane, this piece offers numerous points of interest and stands as an outstanding example of Ichimonji workmanship."

 

17. ICHI(Yoshioka ICHIMONJI)

"The Yoshioka Ichimonji school flourished from the late Kamakura period through the Nanbokuchō period, following the Fukuoka Ichimonji school. While works with large-scale midare reminiscent of Fukuoka Ichimonji are occasionally seen, the school is generally characterized by hamon in which gunome stand out within the irregular pattern, tending toward a slightly more compact overall style.

This piece is a naginata that was later remounted as a wakizashi, and the character “ichi” (一) remains inscribed at the tip of the tang on the back side. The jigane is well forged in itame-hada with a slight admixture of mokume, while the hamon displays a midare composed of chōji intermingled with ko-gunome and angular elements. The workmanship clearly displays the characteristic stylistic range of the Yoshioka Ichimonji school."

 

 

18. CHIKAKAGE

"Chikakage is traditionally regarded as a disciple of Nagamitsu and is known to have left dated works spanning from the Bunpō era through the Jōwa era of the Nanbokuchō period. He was active around the same time as Kagemitsu, Nagamitsu’s son, and is thought to have been one of his closest associates. While Chikakage’s workmanship closely resembles that of Kagemitsu, his works are often distinguished by stronger nie, revealing his individual character.

Although this sword has been ō-suriage, it retains a broad width and a powerful overall form. The jigane displays prominent itame-hada with clearly visible midare-utsuri, while the hamon features kata-ochi gunome and frequent examples of reverse-slanting chōji.

These characteristics vividly express Chikakage’s distinctive style, making this an excellent example of his work."

 

19. Bishū Osafune YOSHIMITSU

"Osafune Yoshimitsu is said to have been the son of Kagemitsu and the younger brother of Kanemitsu. Judging from his extant works, he was active from the Genkō era in the late Kamakura period through the Jōji era of the Nanbokuchō period. While he generally used Hoku-chō (Northern Court) era names, it is noteworthy that works dated with Nan-chō (Southern Court) era names also survive, including a tantō dated Kōkoku 6 (equivalent to Jōwa 1). His early workmanship reflects the style of Kagemitsu, while works from the Nanbokuchō period tend to resemble that of Kanemitsu.

This sword exhibits a jigane in which itame-hada is tightly forged overall, interspersed with areas of mokume. Abundant ji-nie is present, with chikei appearing throughout, and vivid midare-utsuri is clearly visible. The hamon is based on suguha and incorporates ko-gunome, with the overall pattern forming a fine, small-scale irregularity. The tightly forged jigane and the restrained, small-patterned midare clearly express the distinctive characteristics of Yoshimitsu’s work. In addition, the dated inscription of Enbun 2 further enhances the piece’s historical value."

 

20. MOTOMITSU

"Motomitsu is said to have been either a son or a disciple of Kanemitsu and is regarded as one of the representative swordsmiths of the Kanemitsu lineage. Dated works by him survive from the Kōei through Eiwa eras. While his style closely resembles that of Kanemitsu, distinctive differences can be seen in features such as the inclusion of kata-ochi gunome.

Although this sword has been ō-suriage, it retains a broad blade and a powerful overall form. The jigane displays itame-hada interspersed with areas of clear mokume, and exhibits clear midare-utsuri. The hamon is formed in a ko-midare style incorporating kata-ochi gunome. Together, these characteristics clearly demonstrate the distinguish features of Motomitsu’s work."

 

21. KANENAGA

"Osafune Kanenaga of Bizen Province is traditionally regarded as a disciple of Osafune Nagayoshi. Although few signed works by Kanenaga survive today, a wakizashi dated Jōji 5 (1366) and designated an Important Art Object is known, displaying a hitatsura hamon. In addition, a tantō dated Shitoku 4 (1387), designated an Important Sword, and another tantō dated Kakei 2 (1388), designated a Special Important Sword, are also extant.

This sword presents the powerful form typical of the Nanbokuchō period, with a broad blade and a large, extended kissaki. The jigane is forged in fine ko-itame with areas of flowing hada, and a faint midare-utsuri appears. The hamon consists of gunome with opened bases, intermingled with chōji and pointed elements, with abundant ashi and yō, and ara-nie forming vigorously throughout. The bold overall appearance and the richly varied, prominent nie convey a compelling sense of power, clearly expressing the distinctive characteristics of Kanenaga’s work."

 

22. Bishū Osafune YASUMITSU

"The group of swordsmiths active in Bizen Province from the Ōei era of the early Muromachi period is collectively known as Ōei Bizen, and among them, Yasumitsu is regarded as one of its foremost masters.

This sword takes the form of a tachi with a slightly slender profile and gentle koshi-zori curvature reminiscent of Kamakura-period workmanship. However, despite its relatively narrow width, it features a thick kasane and displays sori extending toward the tip, presenting a quintessential early Muromachi-period appearance. The jigane is forged in itame with areas of flowing hada, producing clearly visible midare-utsuri. The hamon is a flamboyant midare incorporating chōji, gunome, and gunome with opened bases, while the bōshi forms an irregular pointed shape reminiscent of a candle wick. The blade carvings are finished with rounded terminations (maru-dome) above the machi. Altogether, the defining characteristics of Ōei Bizen are fully expressed, making this a finely executed and excellent work."

 

23. Bizen-no-kuni jū Osafune Genbei-no-jō SUKESADA

"Among the Osafune swordsmiths of the late Muromachi period, many bore the name Sukesada; however, those who used the title Genbei no Jō are noted for their superior skill and refined forging techniques, with a particular strength in suguha-based workmanship.

This sword features a tightly forged itame-hada, with thick ji-nie and abundant chikei, resulting in a clear and refined jigane characteristic of this swordsmith. The hamon accompanies ko-gunome and pointed elements, with strong nie and frequent activities of kinsuji and sunagashi, offering numerous points of visual interest. The place name Tenjinyama appearing in the signature refers to the castle of Urakami Munekage at the time. Furthermore, a sword Munekage-no-tame Uchigatana (designated as an Important Sword at the 26th Jūyō Tōken designation) forged by another Sue-Bizen swordsmith, Kiyomitsu, dated Eiroku 8 (1565)  is known. In light of this, the present sword may likewise be associated with the Urakami clan."

 

24. TAMETSUGU

"The Aoe school flourished primarily in the lower reaches of the Takahashi River in Bicchū Province. Works produced up to around the mid-Kamakura period are generally classified as Ko-Aoe, while those made thereafter through the Nanbokuchō period are broadly referred to as Aoe. Several swordsmiths bore the name Tametsugu, among whom the most celebrated work is the National Treasure Kitsunegasaki, traditionally preserved by the Kikkawa family of the Iwakuni domain.

This sword displays a jigane in which itame is prominently mixed with mokume, creating a slightly textured surface. Thick ji-nie is present, accompanied by abundant chikei, and a faint utsuri can be observed. The hamon is a suguha executed in ko-nie, with a soft and gentle nioiguchi. The so-called chirimen-like jigane, together with the refined and orderly suguha, lends the sword a dignified and elegant presence, clearly expressing the characteristic features of Ko-Aoe workmanship. Moreover, this piece is a rare signed example and possesses exceptionally high value as a historical reference."

 

25. AOE

"The Aoe school is known as a lineage from Bicchū Province, a region famed for iron production, and is believed to have been active primarily in the lower reaches of the Takahashi River. Works dating no later than the mid Kamakura period are generally referred to as Ko-Aoe, while those produced thereafter through the Nanbokuchō period are broadly classified as Aoe.

This sword exhibits the characteristic Nanbokuchō-period form, with a wide blade and a large, elongated kissaki. The jigane is forged predominantly in fine ko-itame, with areas of itame and subtle admixtures of mokume, producing a chirimen-like texture in places. The hamon is based on suguha, incorporating ko-gunome with ko-ashi, and features a bright, well-defined nioiguchi with ko-nie. Together, these elements clearly express the distinctive characteristics of Nanbokuchō-period Aoe workmanship, making this an excellent example with both jigane and hamon appearing bright and refined."

 

26. Komihara MASAHIRO

"The group of swordsmiths who flourished in Mihara, Bingo Province, from the late Kamakura period through the Nanbokuchō period is collectively known as Ko-Mihara, and Masahiro is regarded as one of its representative swordsmiths. At the time, the province contained numerous estates belonging to major central temples and shrines, such as Renge-ōin, and it is believed that there were close cultural exchanges with Yamato. As a result, the workmanship of the Mihara school often exhibits characteristics associated with the Yamato tradition.

This sword is attributed to Ko-Mihara Masahiro. According to a kiritsuke mei, a later-added inscription recording its history, it is known that the blade was shortened (suriage) during the Shinshintō period by Sukenao of Bizen Province. The jigane shows flowing itame-hada with a slightly standing texture. The hamon is a restrained chū-suguha in ko-nie-deki, featuring a tight and well-defined nioiguchi, while the bōshi turns back gently in a small round form. These features clearly express the characteristic style of Ko-Mihara workmanship, making this a fine and representative example."

 

27. Sa(Sa SADAYOSHI)

"The Samonji lineage of Chikuzen Province emerged during the Nanbokuchō period and was active in a tradition strongly influenced by the Sōshū style, characterized by abundant nie, setting it apart from the generally calmer suguha-based workmanship common among Kyūshū swords. Sa Sadayoshi is regarded as the son of Yasuyoshi, and among the Sa lineage, his works often emphasize suguha as the fundamental pattern.

This piece, originally a naginata and later converted into a sword, features a jigane of well-forged itame-hada with a pronounced standing texture. Ji-nie is abundant, with chikei appearing throughout, giving it a slightly whitish tone. The hamon is based on suguha, incorporating ko-gunome and ko-togariba, and is strongly formed in nie. Within the hamon, activities such as kinsuji and sunagashi are vividly present, while uchinoke and nijūba appear along the habuchi. The bōshi rises sharply and ends in a pointed tip, a characteristic feature of the Sa lineage. Within the relatively calm suguha-based hamon, the powerful beauty of nie distinctive to the Sa lineage is clearly expressed. This is an excellent work attributed to Sa Sadayoshi."

 

28. Bungo-no-kuni YUKIHIRA

"Yukihira was a swordsmith of Bungo Province and is traditionally said to have been a disciple of Sō Sadahide. A tachi bearing a date of Genkyū from the early Kamakura period is extant, making his period of activity clear. Among early Kyūshū swordsmiths, he is regarded as the most accomplished and renowned, and a relatively large number of his works survive today.

This sword displays a slender form with gentle koshi-zori, a subdued curvature at the base, and a small kissaki, presenting a typical form seen in works up to the early Kamakura period. The jigane has a soft, gentle texture, almost sticky in appearance, characteristic of early Kyūshū swords. The hamon is suguha-based, with a slightly blurred nioiguchi, lending the blade an archaic and elegant presence."

 

29. TOMOYUKI

"Takada Tomoyuki of Bungo Province is known as the founder of the Takada school, which began in the Nanbokuchō period and flourished greatly from the late Muromachi period through the Edo period. His workmanship is characterized by a whitish-toned jigane and hamon that often incorporates angular gunome.

This wakizashi displays a typical Enbun–Jōji era form, with a wide blade, extended length, and shallow curvature. The jigane consists of itame mixed with mokume, showing a faint whitish tone, while the hamon is calm in composition, featuring gunome with minimal undulation, pointed elements, and areas of ko-notare with ko-ashi. In places, the angular shaping of the hamon distinctly reveals the characteristic style of Takada Tomoyuki. Signed works by this swordsmith retaining their original nakago and preserved in good condition in both jigane and hamon are extremely rare, making this an important piece for understanding the early Takada school."

 

30. Enju KUNITOKI

"The Enju school of Higo Province flourished from the late Kamakura period through the Nanbokuchō period in the Waifu area of Kikuchi District. Its founder is said to have been Tarō Kunimura, who is traditionally regarded as the grandson (through his daughter) of Rai Kuniyuki of Yamashiro Province. The school produced many highly skilled swordsmiths, among whom Kunitoki is counted as one of its leading masters, believed to have been either the son or a disciple of Kunimura.

This work displays a jigane of slightly flowing ko-itame, while the hamon is a chū-suguha subtly interspersed with ko-gunome and executed in ko-nie. The bōshi runs straight and turns back in a rounded form at the tip, clearly expressing the stylistic characteristics of the Enju school. In particular, the jigane is densely covered with fine ji-nie and delicately worked chikei, and the nioiguchi is bright. Overall, this is a refined and elegant piece."

 

31. KUNIHIRO

"Kunihiro was originally a samurai in the service of the Itō family of Hyūga Province in Kyūshū. After the fall of the family, he traveled widely throughout Japan, refining his swordmaking skills and forging swords in various regions. From Keichō 4 (1599), he settled at Ichijō Horikawa in Kyoto, where he trained many outstanding disciples. He is said to have passed away in Keichō 19 (1614).

This sword displays the characteristic form of Keichō-period shintō, with a broad blade, little difference between the widths at the base and the tip, and a large kissaki. The jigane consists of itame mixed with mokume, displaying the coarse, standing texture distinctive of the Horikawa school. The hamon is a shallow notare intermingled with ko-gunome, and the nioiguchi is uneven, giving a subdued appearance as it gently merges into the hamon. Altogether, these features vividly express Kunihiro’s individual style, making this a representative example of his work."

 

32. Awataguchi Ōmi-no-kami TADATSUNA

"The first-generation Ōmi no Kami Tadatsuna was the father of Ikkanshi Tadatsuna and was active in Settsu Province. A signed work records that he was 39 years old in Keian 1 (1648), from which it is understood that he was born in Keichō 14 (1609) and that this sword was forged when he was 49 years old.

This piece features a finely forged ko-itame jigane, densely covered with fine ji-nie, with chikei appearing throughout. The hamon is overall a wide suguha, incorporating gunome mixed with chōji, with abundant ko-nie. Kinsuji, nie-suji, and sunagashi are vigorously present. In particular, the wide chōji hamon is characteristic of the early work of Ikkanshi Tadatsuna, suggesting that the father’s style was inherited by the son."

 

33. Nagasone Okisato KOTETSU Nyūdō

"Nagasone Kotetsu was originally an armor smith from Echizen Province. At around the age of fifty, he moved to Edo and turned to swordmaking. He first signed his works as Okisato, later taking Buddhist vows and adopting the name Kotetsu, initially written as Kotetsu (古鉄 or 虎徹) and subsequently as Kotetsu (乕徹).

This sword displays the Kanbun-shintō form with shallow curvature. The hamon begins with a long at the base and is composed of notare intermingled with gunome. In places, pairs of large and small gunome appear together, forming the so-called hyōtan-ba (gourd-shaped pattern). The jigane and hamon are both bright and clear, and the distinctive characteristics of Kotetsu’s early work are well expressed, allowing his high level of skill to be fully appreciated. Additionally, this sword bears a cutting test inscription (saidan-mei) in gold inlay on the sashiura side of the tang, performed by Yamano Kanjūrō Narishisa and dated Manji 3 (1660)."

 

34. Fujiwara TADAHIRO

"Tadahiro was the legitimate son of the first-generation Tadayoshi (Musashi Daijō Tadahiro) and succeeded to the name Tadahiro in Kanei 9 (1632) at the young age of nineteen. The continued prosperity of the family thereafter can be attributed not only to Tadahiro’s innate talent for swordmaking, but also to the support of the many capable disciples trained by his father, Tadayoshi. Tadahiro remained active for more than sixty years until his death at the age of eighty-one in Genroku 6 (1693), making him the most prolific swordsmith of the Hizen tradition; consequently, a large number of his works survive today.

This sword displays Tadahiro’s favored suguha hamon, together with a finely forged ko-itame jigane densely covered with ji-nie, forming the so-called konuka-hada (fine rice-bran pattern). The bōshi turns back promptly in a small round form. Altogether, these features clearly exemplify Tadahiro’s typical and representative style."

 

35. Fujiwara MASAHIRO

"Masahiro, Yukihiro, and Tadakuni, disciples and relatives of Tadayoshi, are collectively referred to as Waki-Hizen. In contrast to the main Hizen lineage, which specialized in suguha hamon, these swordsmiths were known for their skill in producing midare hamon. Kawachi Daijō Masahiro, the son of Yoshinobu (the son-in-law of the first-generation Tadayoshi), is regarded as particularly outstanding among the Waki-Hizen swordsmiths.

This work features a powerful and imposing form, exceeding three shaku one sun in blade length and with a wide mihaba. The jigane displays itame hada richly covered with ji-nie, and the hamon is a hitatsura-style pattern incorporating distinctive and unconventional elements characteristic of Masahiro. The overall impression is both magnificent and dignified. Notably, at Enoshima Shrine in Kanagawa Prefecture, there exists a votive tachi by Masahiro dated Shōhō 4 (1647), with a blade length of three shaku one sun and a hitatsura hamon. Based on this close similarity, it is possible that this sword was likewise made as a votive dedication."

 

 

 

36. Mondo-no-shō Fujiwara MASAKIYO

"Mondo no Shō Masakiyo studied swordmaking under Masafusa, a swordsmith in the service of the Satsuma domain. He initially signed his works as Kiyomitsu, later changing his name to Masakiyo. In Kyōhō 6 (1721), by order of Tokugawa Yoshimune, he was summoned to Edo together with Ichinohira Yasuyo of the same province, and was honored with the opportunity to forge swords for Yoshimune at the Edo Ohama Palace. In recognition of his exceptional skill, Masakiyo was granted permission by the shogunate to carve the ichiyō-aoi crest on the tang.

While Yasuyo, who together with Masakiyo represents one of the two great masters of Satsuma shintō, is known for forging calm, notare-style suguha, this work exemplifies Masakiyo’s own characteristic style. The hamon is nie-dominant, based on notare and intermingled with ko-gunome, gunome, and pointed elements, showing abundant kinsuji and sunagashi. Altogether, it vividly reflects Masakiyo’s conscious pursuit of the superior traditions of the Sōshū masters."

 

― Mountings ―

 

1.  Kuro-Urushi Togidashi Same Koshikizami Saya Higo Uchigatana Koshirae

Higo koshirae (sword mountings) reached its full development under the guidance of Hosokawa Sansai Tadaoki, daimyō of the Kumamoto domain in Higo Province. Accomplished in both the martial and literary arts, he was also a leading disciple of Sen no Rikyū and deeply versed in the tea ceremony. The defining aesthetic of Higo mountings lies in their deliberate avoidance of ostentation and excess, instead seeking a refined, understated elegance within simplicity.

This example features a hilt covered in black-lacquered samegawa (ray skin), wrapped in smoked leather using the katatsumami-maki technique. The menuki depict a sankosho (three-pronged vajra), carved in katachi-bori from a shibuichi ground. The kojiri is finished in the traditional tetsu-doro-zuri style, while the scabbard is executed in a kuro-urushi togidashi-same finish. Together, these elements beautifully express the wabi aesthetic central to the Hosokawa school of tea. The accompanying sword, a work from Takada bearing both a signature and a dated inscription, is likewise of considerable historical value.

 

2. Kuro-roiro Saya Aikuchi Tantō Koshirae

Kanō Natsuo was a towering figure in metalwork active from the late Edo to the Meiji period. He served as a professor at the Tokyo Fine Arts School (now Tokyo University of the Arts) and was appointed an Imperial Household Artist (Teishitsu Gigeiin), a position regarded as the precursor to today’s Living National Treasure designation. Natsuo was born in Kyoto in Bunsei 11 (1828) and was adopted at a young age into the Kanō family, who were sword dealers. After completing his training in metal carving, he began his career in Kyoto under the name Natsuo, and in Ansei 1 (1854) he moved to Edo.

This work is a complete koshirae (mountings) created by Natsuo in Hinoto-u (1867). As it comprises kyū-tokoro-mono—nine fittings all made by Natsuo—it possesses particularly high historical value. Among these, the solid-gold menuki depicting coiled dragons (maru-ryū) are especially noteworthy, clearly showcasing Natsuo’s outstanding carving technique.

 

3. Kuro-Urushi Botan Zōgan Kin-Makie Saya Aikuchi Tantō Koshirae

An aikuchi koshirae is a style of mounting in which the fuchi of the hilt and the koikuchi of the scabbard meet directly, without the use of a tsuba (sword guard). All of the metal fittings for this mounting were made by Fukawa Kazunori, the son of a senior disciple of Jippensha Ikku. Kazunori studied painting under the late Katsushika Hokusai before later turning to metalwork.

This work is a richly ornate koshirae, featuring a black-lacquered scabbard lavishly adorned with gold maki-e and metal fittings scattered with motifs of peonies and butterflies. The depictions of the peonies and butterflies are particularly skillful, reflecting Kazunori’s background and early aspirations as a painter, while the chisel work is executed with great precision down to the finest details. The piece clearly reveals both his artistic lineage and his high level of technical mastery. The maki-e, metal fittings, and overall design are all of the highest quality, resulting in an elegant aikuchi tantō koshirae that brings together the full refinement of advanced craftsmanship.

 

― Fittings ―

 

1. Eda Kiku-zu Menuki (Branch Chrysanthemum Menuki)

These menuki are made of yamagane (unrefined copper) and feature branch chrysanthemums carved in katachi-bori, finished with gilding. They show a pronounced curvature to fit the shape of the hilt, and the gentle wear to the gilding further enhances their sense of age. Although the carved leaf veins are simple, they are executed with a strong, confident touch. The craftsman intentionally carved the branches and leaves in a slightly flatter manner to make the three-dimensional chrysanthemum blossoms stand out more prominently. The style is reminiscent of the decorative metal fittings found on armor such as ō-yoroi, making these menuki valuable examples for understanding the historical development of sword mountings.

 

2. Idaten Shōshitsuki Zu Menuki (Skanda and Swift Demon)                                

The second generation of the Gotō family, Gotō Sōjō, was the second son of its founder, Yūjō. He served the Ashikaga shogunate after his father and later took the Buddhist name Sōjō at the age of forty, eventually receiving the honorary title Hōgen.

This pair of solid-gold menuki was authenticated by the 12th head of the main Gotō family, Mitsumasa (Jujō), as the work of the second-generation Sōjō. The design depicts Idaten, a Buddhist guardian deity, chasing the fleet-footed demon Shōshitsuki, who has stolen the Buddha’s sacred relics. The flowing garments of the running Idaten and the tense, swelling musculature of Shōshitsuki are vividly rendered with superb chisel work. These dynamic contrasts clearly showcase Sōjō’s spirited and masterful technique, making this an exceptional example of his craftsmanship.

 

3. Hijōgi Zu Kōgai(Gutter Ruler)                                

Gotō Sōjō, the second generation of the Gotō family, is counted among the first three geenerations of the Gotō family. His style closely resembles that of his father, Yūjō, maintaining a traditional, dignified, and classical aesthetic. As with Yūjō, no works bearing Sōjō’s own signature are known to exist.

This piece is a kōgai that depicts the simple motif of a hijōgi (a ruler used when drawing straight lines with a brush), expressed on a shakudō nanako-ji plate in the traditional Gotō manner. The gold inlay of the warabite stands out beautifully against the fine color of shakudō, giving the piece an air of elegance. Accompanying this work is an origami authentication paper by Gotō Mitsumasa (Teijō), the 9th head of the main Gotō family, identifying it as a work of Sōjō. This makes it an especially valuable example.

 

4. Hachi Zu Kōgai (Bee)

Gotō Sōjō, the second generation of the Gotō family, was the second son of the first-generation founder, Yūjō. His common name was Jirō, and his given name was Takemitsu. Following in his father’s footsteps, he served the Ashikaga shogunate and, at the age of forty, took the tonsure and adopted the name Sōjō.

This kōgai features a bee carved in high relief on a groove-shaped area chiseled into a shakudō nanako-ji base. The nanako (fish roe-like pattern) and the bee show gentle wear from handling over the centuries, giving the piece an appealing sense of age and quiet dignity. Amid this soft patina, the gold warabite shines subtly, providing visual focus and enhancing the refined character of the work.

Accompanying this piece is an origami authentication document issued in Meireki 2 (1656) by Gotō Mitsutomo, the tenth-generation of the Gotō family, attributing it to Sōjō and noting its appraisal value as “ichi-mai ni-ryō” in gold.

 

5.  Agehachō Mon Sansō-zu Mitokoromono (Swallowtail Butterfly)

Gotō Mitsutomo (Renjō) was born in Kanei 5 (1628) as the fourth son of Gotō Sokujō, the eighth generation of the Gotō family. In Jō-ō 1 (1652), he succeeded as the tenth generation of the main line. Although the Gotō family had long resided in Kyoto, Mitsutomo became the first to move to Edo in Kanbun 2 (1662) following a shogunal order. From that time until the seventeenth generation, Tenjō Mitsunori, the Gotō family continued to live in Edo. Mitsutomo took the tonsure in Tenna 3 (1683) and adopted the name Renjō, later passing the family leadership to Mitsunobu (Tsūjō) in Genroku 10 (1697).

This set of mitokoromono (menuki, kozuka, and kōgai) is signed by Mitsutomo himself. The fittings are made of shakudō and decorated with gold iroe depicting swallowtail butterflies. The delicate wing patterns are expressed with remarkable precision, reflecting both the traditional techniques and established motifs of the Gotō family, and expressing the refined elegance characteristic of their work.

 

6. Genpei Kassen Zu Mitokoromono (Genpei War)

Gotō Mitsuhiro was born in Tenmei 8 (1788) as the eldest son of Jūjō, but later became the adopted heir of Jōken and succeeded as the fourth head of the Jizaemon branch of the Gotō family. His younger brothers included Gotō Ichijō and Mitsutada.

This set of mitokoromono depicts scenes from the Battle of Yashima in the Genpei War. The menuki represent “The Final Moments of Satō Tsugunobu” (嗣信最期), who lost his life in battle.

The kozuka shows “The Fan Target” (扇の的), in which Nasu no Yoichi shoots the fan atop a boat.Th e kōgai portrays “Kagekiyo Pulling the Shikoro” (景清の錣引き), where Akushichibyōe Kagekiyo tears off the shikoro neck-guard of Mionoya Jūrō’s helmet. Made of shakudō with gold, silver, and copper takabori iroe (high-relief colored-metal decoration), the fittings display remarkable detail—from the lacing of the armor to the bits of the horses. They demonstrate the high level of craftsmanship inherited within the Gotō family.

 

7. Sayū Namako Sukashi Tsuba (Sea Cucumber)

The founder of the Hirata family of Higo, Hikozō served Hosokawa Sansai in Kyoto and later moved to Kumamoto when the Hosokawa family was transferred there. He died in Kumamoto in Kanei 12 (1635). His students included Shimizu Jingo (his nephew) and Nishigaki Kanshirō, and together with Hayashi Matashichi of the Owari line, they came to form the four major schools of Higo metalworkers. Technically, the Hirata school inherited many elements of the Shōami tradition, frequently using colored metals such as yamagane, brass, and shakudō. Their work is characterized by refined decorative techniques, including Amida-yasuri and Okina-yasuri file patterns.

This tsuba (sword guard) features a flat plate typical of Hikozō’s style, with large openwork designs of sea cucumbers (namako) on both the left and right sides. The rim is fitted with the Odawara fukurin, a technique said to be unique to Hikozō. The piece brings together the expressive qualities for which Hirata Hikozō is best known, embodying a sense of wabi-sabi beauty.

 

8. Karigane Tsunagi Sukashi Tsuba (Goose)

Hayashi Shigemitsu, the son of Hayashi Matashichi, succeeded his father in serving the Hosokawa family and is said to have made tsuba (sword guard) while living in Hisasue, Kasuga Village.

This tsuba, made of a polished iron plate, features openwork of interconnected karigane (wild geese). The well-forged iron shows the beautiful purplish patina characteristic of Higo Hayashi workmanship. Although the karigane openwork consists of a repeated single motif, it still conveys a sense of delicacy. Compared with the first-generation Matashichi, Shigemitsu is known for producing more highly polished plates and finer openwork, qualities that are clearly evident in this piece. It is also one of the few signed works by Shigemitsu, making it an important example for understanding his artistic range.

 

9. Mado Kiri Sukashi Tsuba (Window Paulownia)

Nishigaki Kanshirō was born in Keichō 18 (1613) in Nakatsu, Buzen Province, the son of a Shinto priest. He later became a student of Hirata Hikozō and went on to serve the Hosokawa family of the Higo Kumamoto domain as a highly esteemed craftsman.

This tsuba (sword guard) is an example of Kanshirō’s well-known “mado-kiri” openwork design featuring paulownia motifs. The well-forged iron plate is shaped like a chrysanthemum flower, and the openwork paulownia leaves are skillfully engraved with kebori to express fine leaf veins. The gold nunome-zōgan inlay is also executed with great precision. It's clearly reflects Kanshirō’s exceptional craftsmanship and stands as an excellent example of his work.

 

10. Karakusa Zu Tsuba (Arabesque)

Nishigaki Kanshirō was born in Keichō 18 (1613) in Nakatsu, Buzen Province, the son of a Shinto priest. He later became a student of Hirata Hikozō and went on to serve the Hosokawa family of the Higo Kumamoto domain as a highly esteemed craftsman.

This tsuba (sword guard) by Kanshirō is made of suaka (pure copper), carved in sukisage-bori (relief carving), with karakusa (arabesque) patterns rendered in flat gold inlay. The meticulous workmanship of the inlay is remarkable, and the subtle patina harmonizes beautifully with the copper, giving the piece an understated, refined character. It is an excellent work with many points to appreciate.

 

11. Daruma Zu Fuchigashira(Bodhidharma)

Yasuchika was born in Kanbun 10 (1670) as the son of a Shōnai-domain retainer. He first studied under Shōami Yoshihisa, then moved to Edo in Genroku 16 (1703) to train under Nara Tokimasa. Around the Shōtoku era (1711–16), he entered the service of the Moriyama domain in Ōshū. Excelling in carving, iroe, and inlay techniques, he is counted as one of the “Nara Sansaku"" (Three Masters of Nara) along with Toshinaga and Jōi.

This work depicts Daruma in high relief with suemon-zōgan iroe (appliqué-style inlay) on a brass base finished with nekokaki-yasuri file marks (resembling the scratches of a cat). The modeling of Daruma’s face is masterful, vividly conveying an expression of deep anguish. Gold coloring is applied only to the eyes and earrings, and by placing Daruma in the lower right of the composition, Yasuchika creates a sense of tension and visual focus. The piece clearly showcases the artist’s refined sense of composition.

 

12. Shōjuka Zō Zu Tsuba (Elephant Under the Pine Tree)

Konkan was one of the leading metalworkers of Edo. Born into the Asai family, he later became a disciple of Iwamoto Ryōkan, was adopted into the Iwamoto family. He succeeded to the Iwamoto school, a branch of the Yokoya school. He excelled in high-relief carving combined with iroe (colored metal decoration), developing an elegant and witty style that blended Nara and Yokoya traditions.

This tsuba (sword guard) is made in the unusual kobushi-gata (fist-shaped) form. An elephant in shibuichi (silver and copper alloy) is carved in high relief on the front, while an aged pine tree appears on the reverse in sukisage-bori (relief carving). Although the height difference between the elephant and the ground is relatively subtle, the plate around the legs are carved down, skillfully demonstrating a strong sense of volume and strength. The playful composition which enclosing a massive elephant within the shape of a fist reveals Konkan’s refined sense of humor.

 

13. Hatō Unryū Zu Fuchigashira (Waves and Cloud Dragons)

Iwamoto Konkan, whose original family name was Asai, was born in Edo in Enkyō 1 (1744). After the early death of the fifth-generation Ryōkan, Konkan, his junior fellow disciple, succeeded as the sixth head of the Iwamoto family. Although the Iwamoto lineage originally belonged to the Yokoya school, Konkan studied the carving techniques of the Nara school, particularly those of Yasuchika, and went on to establish a distinctive Edo style that skillfully combined the strengths of both the Yokoya and Nara traditions.

This fuchigashira is made of polished brass and depicts a dragon among clouds, rendered in sukidashi-takabori (raised relief) with inlay and colored-metal decoration (iroe). The dragon moving through a sea of clouds and the surging waves are filled with dynamic energy, vividly demonstrating the artist’s exceptional technical skill.

 

14. Iseebi Zu Tsuba (Spiny Lobster)

Ishiguro Masayoshi first studied under Sano Naoyoshi and later trained with Masatsune, the first-generation founder of the Ishiguro school. Taking one character from each of his teachers’ names, he changed the latter from 好 to 美 and adopted the name Masayoshi, written as 政美. He went on to become a leading master of the Ishiguro school and trained many disciples.

In this lavish tsuba (sword guard), a shakudō nanako-ji ground is conceived as a sandy beach, against which turbulent waves are carved in silver. Set against this background, three spiny lobsters (ise-ebi) are arranged in a tomoe-like composition. The Ishiguro school is renowned for its brilliantly decorative bird-and-flower designs, and this depiction of spiny lobsters likewise displays the school’s exceptional skill. The work is a masterpiece that reveals Masayoshi’s deep understanding of living creatures and his highly accomplished powers of depiction.

 

15. Ashiba Daruma Zu Fuchigashira (Reed Leaf Bodhidharma)

Kōno Haruaki was a pupil of Yanagawa Naoharu. He began signing his work as Haruaki during the Bunka era (1804–1818) and is said to have attained the rank of Hōgen around the Bunsei era (1818–1831). His style is varied, ranging from relatively ornate works in the Yanagawa manner to more restrained pieces with limited use of colored metals. Known also for his love of travel, he is believed to have spent his final years in Echigo.

This pair of fuchgashira is carefully finished in shibuichi (silver and coppr alloy). The kashira features a boldly rendered Daruma facing forward, executed in sukidashi-takabori (raised relief), while the fuchi depicts a moonlit scene of clustered reeds expressed through gold and silver inlay and colored-metal decoration. Together, the fittings present the motif of Daruma among reed leaves (Royō Daruma). The Daruma’s expression, realistic down to the fine details of the beard and wrinkles yet with a subtle touch of humor, vividly showcases Haruaki’s technical mastery and reflects his prominence in the late Edo-period metalworking world.

 

16. Tekkai Sennin Zu Tsuba (Hermit Tekkai)

Hamano Shōzui was a disciple of Nara Toshinaga and later became a leading figure in Edo metalwork. He trained many accomplished artisans, including Noriyuki, Naoyuki, Masayoshi, and Kaneyuki, and established the Hamano school, a lineage associated with machibori (town carving). His work employs a wide range of techniques—such as taka-bori, sukidashi-bori, and katakiribori—with great freedom, and his technical skill is highly regarded alongside that of the “Nara Sansaku” (Three Masters of Nara).

This tsuba (sword guard) is made of iron. On the front, Tekkai Sennin (Li Tiegui) blowing his soul is depicted in high relief with inlay and colored-metal decoration, while the reverse shows a pine tree and mountain stream carved in sukidashi-takabori (raised relief). The powerful presence of Tekkai Sennin and the hollowed trunk of the aged pine convey a strong sense of force and vitality. This work exemplifies the bold, dynamic carving style seen in Shōzui’s later years.

 

17. Watarigani Zu Kozuka (Crab)

Murakami Jochiku lived in Shiba, Edo and used the art name Kanshōdō. He is said to have originally trained as an inlay craftsman specializing in stirrups before later turning to metalwork. He excelled in suemon-zōgan (appliqué-style inlay) and hira-zōgan (flat inlay), and is particularly known for works depicting insects, fish, and animals such as cats, rendered boldly in high-relief inlay with a strong, design-oriented composition.

This work is a typical example of Jochiku’s style, featuring crabs rendered in taka-bori iroe (high relief with colored-metal decoration) on a shakudō nanako-ji ground. Although the crabs are stylized, the realism of the carapace surface is striking. The crabs, along with the rocks and shells to either side, are carved at varying heights, while the flowing water in the background is expressed in flat inlay, creating a subtle sense of depth. This piece fully demonstrates the high level of technical skill achieved by Jochiku.

 

18. Shōgi Koma Sukashi Tsuba (Shōgi Piece)

Shōami Masanori was one of the leading Kyō-Shōami (Kyoto-based Shōami) metalworkers active from the early to mid Edo period. This tsuba (sword guard) is made of shakudō and features nikubori ji-sukashi openwork of four shōgi pieces—ōshō (king), hisha (rook), kakugyō (bishop), and kinshō (gold general)—arranged on the four sides of the plate. The rim is decorated with karakusa (arabesque) motifs rendered in subtly varied colors. The characters on the shōgi pieces are written in the "Minase-sho" style, a calligraphic script developed by Minase Kanenari (1514–1602), a court noble and renowned calligrapher of the Muromachi period. Shōgi pieces bearing Kanenari’s calligraphy were prized among both the court aristocracy and the warrior class and were often used as gifts, giving rise to the saying, “将棋駒の銘は水無瀬家の筆を以って宝とす" (Shōgi pieces are treasured when inscribed by the hand of the Minase family). The placement of the characters toward the front of the inscribed face also indicates that the design was modeled on shōgi pieces from before the Edo period.

 

19. Ungetsu Hototogisu Zu Menuki (Clouds, Moon, and the Little Cuckoo)

Ichinomiya Nagatsune was born in Kyōhō 6 (1721) in Echizen–Suruga under the name Kashiwaya Chūhachi. He later went to Kyoto, where he studied under Yasui Takanaga of the Gotō lineage. Early in his career he used the name Setsuzan, later changing it to Nagatsune and adopting the art name Ganshōshi. He also studied painting under Ishida Yūtei, the teacher of Maruyama Ōkyo, and achieved such renown that he was praised as “Sōmin of the East, Nagatsune of the West.”

This pair of menuki depicts clouds, the moon, and a cuckoo. The motifs are carved in katachi-bori on a solid gold ground, with silver and shakudō applied in okigane iroe (applied colored-metal decoration). The work is an outstanding example that fully demonstrates Nagatsune’s exceptional powers of observation and his highly accomplished carving technique.

 

20. Hatō Kai Zukushi Zu Fuchigashira (Waves and Shells)

This pair of fuchigashira features an auspicious kaizukushi (assorted shells) motif. The design is rendered in high relief on a solid gold nanako-ji ground, with silver, shibuichi, shakudō, and suaka applied in iroe inlay. The waves are carved with striking dynamism, while the varied textures of the shells are skillfully expressed through the use of multiple colored metals.

Nagatsune studied painting under Ishida Yūtei, the teacher of Maruyama Ōkyo, and was renowned for his keen powers of observation. Combined with his exceptional carving skills, this ability enabled him to produce many outstanding works. This piece stands as an excellent example, fully comparable to his finest creations.

 

21. Tako ni Fugu Zu Menuki (Octopus and Pufferfish)

The Ōtsuki school was one of the distinguished lineages of Kyoto metalworkers, and Mitsuoki was the son of Mitsuyoshi, the third-generation master of the school. His style is described as efū (picture style), characterized by chisel work that resembles brushstrokes, as if painted. Surviving hanging scrolls executed by Mitsuoki himself demonstrate that he possessed considerable skill with the brush, alongside his achievements as a metalworker.

This pair of menuki features an octopus and a pufferfish. The octopus (tako in Japanese), associated with the auspicious wordplay ""takō"" (much good fortune), and the pufferfish (fugu), whose name echoes ""fuku"" (good fortune), have long been favored motifs in sword fittings. The lifelike rendering of the octopus’s supple tentacles and suction cups, as well as the subtle contrast between the dorsal and ventral textures of the pufferfish, is executed with remarkable precision, revealing Mitsuoki’s high level of technical skill. While highly realistic in texture and form, the expressions retain a painterly sensitivity, clearly conveying Mitsuoki’s distinctive artistic personality.

 

22. Zō Zu Tsuba (Elephant)            

Minayama Masaoki (応起) was a pupil of Ōtsuki Mitsuoki and was initially known under the name Masaoki (応興). He lived in the Nijō area of Kyoto. His style, like that of other artists of the Ōtsuki school, is characterized by a refined yet decorative approach that combines a rich variety of colored metals with highly intricate carving.

This tsuba (sword guard) depicts an elephant with its body curled inward, rendered in niku-bori over the entire shibuichi (silver and copper alloy) plate. Gold and silver inlay with colored-metal decoration is applied to highlight the elephant’s tusks and body. Although modest in size, the carefully finished ground and the generously modeled carving give the elephant a strong sense of volume and even weight. Together with the high level of detail in the carving, the work stands as an impressive example in which Masaoki’s refined carving skills are fully brought to bear.

 

23. Aoi Karakusa Nawame-mon Zu Tsuba (Hollyhock Arabesque Rope Pattern)

From around the Genroku era (1688-1704), tsuba (sword guards) produced in Ise-Kameyama are known to have been made by a group of craftsmen descended from the lineage of firearm smiths of Kunitomo Village in Ōmi Province. These works are referred to as “Kameyama tsuba,” after the place where the artisans resided. They are also known as “Hazama tsuba,” as many bear the single character hazama (間) engraved in the signature.

Teiei is recognized as a representative master of this group. His works are known not only from Kameyama but also from other locations, bearing signatures such as “Jōshū Yodo ni oite” (城州於淀) and, as seen in this piece, “Sōshū Sakura ni oite” (総州於佐倉).

This tsuba is decorated with Aoi karakusa nawame-mon (hollyhock arabesques and rope-pattern motifs), rendered in sahari-zōgan (a copper-tin alloy inlay) on an iron plate. The work clearly exemplifies the defining characteristics of Hazama tsuba.

 

24. Kazashi Zu Daishō Menuki (Hat Ornament)

Gotō Ichijō was a master metalworker who brought the Gotō family lineage to its final flowering. At the age of fifteen, he succeeded to the headship of the Hachirōbei branch of the family and subsequently changed his name several times, using the art names Mitsutaka, Mitsuyuki, and Mitsuyo. In Bunsei 7 (1824), he was awarded the court rank of Hokkyō in recognition of his contributions to the production of sword fittings for Emperor Kōkaku, at which time he adopted the art name Ichijō. He was later promoted to the rank of Hōgen and passed away in Meiji 9 (1876) at the age of eighty-six.

The term kazashi in this context refers to artificial floral ornaments used to decorate ceremonial headgear in major Kyoto festivals, with the hierarchy of flowers ranked as wisteria, cherry blossoms, and yamabuki (Japanese kerria). This pair of dai-shō menuki depicts wisteria and yamabuki in gold iroe and cherry blossoms in silver iroe on a shakudō ground. The carving is dignified and refined, with each petal and leaf rendered in meticulous detail. The elegant yet eye-catching contrast between the shakudō ground and the colored-metal decoration further highlights Ichijō’s exceptional sensitivity to color, making this an outstanding example of his work.

 

25. Kasumi Shiki Hana Zu Kozuka (Mist and Flowers of the Four Seasons)

Kiyotoshi, whose real name was Tanaka Bunjirō, was one of the leading Edo metalworkers of the late Edo period. Born in Bunka 1 (1804) in Bushū as the son of a tsuba (sword-guard) maker, he initially trained under Gotō Sōjirō Seijō as a sword-guard craftsman. However, he was more drawn to metalwork and pursued his studies independently, developing a distinctive and refined style of his own. He went on to found the Tōryūsai school and is counted among the three great masters of metalwork active at the end of the Edo period. He was awarded the court rank of Hokkyō in Kōka 2 (1845), followed by promotion to Hōgen the following year (1846), and passed away in Meiji 9 (1876) at the age of seventy-three.

This kozuka expresses drifting mist (kasumi) through a skillful contrast between polished shakudō and finely executed nanako-ji, while flowers of the four seasons are arranged across the surface in inlaid colored metals. Beyond the softly rendered petals of the peony, the composition stands out for its originality and elegant wit. The work vividly conveys Kiyotoshi’s high level of technical mastery and refined artistic sensibility.

 

26. Kiri Hōō Zu Tsuba (Paulownia Phoenix)

Hagiya Katsuhira was born in Mito in Bunka 1 (1804). In Tenpō 15 (1844), he was appointed an official carving craftsman to the Mito domain. He played a central role in the flourishing of Mito metalwork in the late Edo period, training many notable successors, including his son Katsutoshi, Namekawa Sadakatsu, and Unno Shōmin.

This tsuba (sword guard) is made of polished iron in an elegant vertical oval form. The front depicts a phoenix soaring through clouds, while the reverse features a paulownia tree, both rendered in high relief with inlay and colored-metal decoration, presenting auspicious motifs on each side. The clean iron ground provides a striking contrast to the finely detailed, robustly three-dimensional carving of the paulownia and phoenix, clearly demonstrating the imposing style characteristic of Mito metalwork. This outstanding piece vividly showcases the exceptional skill of Katsuhira, a leading figure in the Mito metalworking tradition.

 

27. Kiri Hitoha Kōrogi Zu Kozuka (One-leaf Paulownia Cricket)

Tsukada Shūkyō studied sculpture under Katsumi Kansai and painting under Shibata Zeshin, and later became a disciple of Kanō Natsuo.

This kozuka depicts a fallen paulownia leaf and a cricket, rendered in high relief with colored-metal decoration on a shakudō ground. Extremely shallow hammer marks are applied to the surface of the leaf to suggest its veins, while touches of gold iroe at the leaf’s tip delicately express areas of discoloration, conveying the subtle sense of a leaf beginning to wither. The composition, intentionally offset from the center, further enhances the quiet, melancholic atmosphere of autumn. This piece was formerly in the collection of Ryūshidō and is accompanied by a tomobako (original storage box) bearing an inscription written by Shūkyō himself.

 

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