1． Yasutsuna
Yasutsuna is a renowned swordsmith representing the Ko-Hōki swords. While his active period is noted as during the Daidō era in the inscription registry, it is considered reasonable to classify him as a swordsmith from the late Heian period based on the characteristics of his existing works.
This particular sword has a significant history, having been passed down through the Mōri family of the Chōshū domain in Nagato Province. The bo-hi (long grooves) carved on both sides of the blade are a basic form of blade engravings which can be seen throughout various periods. The purposes of these grooves have been discussed for a long time, including practical effects such as reducing the weight of the blade.


2． Sadatsuna
In Hōki Province, Yasutsuna and the other swordsmiths such as Sanemori, Aritsuna, Sadatsuna, Yasuie and Sanekage were active from the late Heian period to the early Kamakura period, and their works are collectively called Ko-Hōki-mono.
The short groove carved on the lower part of the blade, on the surface facing outward when wearing it, is called koshi-bi, and is commonly known as the "wasure-bi" (forgotten groove). It can be found not only on Ko-Hōki swords like this one but also on Ko-Bizen-mono. Additionally, some ancient sword texts (koken-sho) mention that similar engravings and carvings can be seen on works by Sanjō Munechika and the swordsmiths of Ōshū Mokusa, Katsuyasu and Mitsunaga.


3． Hiromitsu
Hiromitsu, along with Akihiro, was a swordsmith active during the Nanbokuchō period, following Sadamune. Many of his signed works are large tantō and ko-wakizashi that clearly exhibit the characteristics of the era, and he is particularly known for his gorgeous hitatsura hamon. 
The groove applied to this sword, which flows towards the back of the blade, resembling the tip of the sword, is called tō-hi and is a type of carving primarily applied to tantō in the hirazukuri style and wakizashi. During the domain government period, this sword was passed down through the Naruse family of the Inuyama domain in Owari Province.


4. Nobukuni
According to densho (a family manuscript), the first-generation Nobukuni is recorded as the son or possibly the grandson of Ryō Hisanobu (Ryōkai’s child). The works from the 3rd year of the Enbun era and the 1st year of the Kōan era exhibit the straight hamon characteristic of the Rai school, as well as the flowing pattern on jigane that clearly proves the swordsmith, regardless of the style of hamon. Additionally, Nobukuni has traditionally excelled in engraving across all generations, and this piece by the first generation showcases simple yet skillfully carved tō-hi (grooves) and soe-bi (thin grooves carved parallel to tō-hi) on both the front and back side of the blade.


5. Yasusada
According to Kamata Gyomyō's "Shintō Bengi (encyclopedia of shintō)", Yamato-no-Kami Yasusada is said to be from the Kishū Ishidō school, and a prominent theory suggests that he is actually Izumi-no-Kami Kaneshige based on his style and the way his tang is created. His works can be broadly classified into two types: one based on notare with angular gunome, and another based on gunome.
"Hachiman Daibosatsu" engraved on the surface of the blade facing outward when wearing it, has long been regarded as a deity of national protection and a guardian of Buddhism. Particularly as the connection with the Seiwa Genji and other samurai clans deepened, Hachiman Daibosatsu became widely revered as a guardian deity of samurai warriors.


6． Bishū (The rest is unknown due to being cut off)
The group of swordsmiths that flourished in Mihara, Bingo Province, from the late Kamakura period to the Nanbokuchō period is collectively referred to as Ko-Mihara. This sword, which has been shortened and part of the inscription is lost, is recognized as a work by the Masaie among the Ko-Mihara group, based on the remaining inscription. Despite being shortened, it features a long and wide blade. It shows a deep curvature in the middle, and a large tip, representing well the characteristics of the era.
The engraving on the surface of the blade facing inward when wearing it, reads "Kasuga Daimyōjin." Originally, this was the clan shrine of the Fujiwara family and is one of the twenty-two shrines that received special offerings from the Imperial Court in times of emergency.


7． Katsumitsu
Ossafune Katsumitsu, known as a representative swordsmith among Osafune in the late Muromachi period, which is called Sue-Bizen. According to the inscription registry, many of those who bore a common name in their signatures are listed, and among them, Ukyō-no-suke and his son Jirōzaemon-no-jō are famous.
This sword features a notably large form for its time, with the inscriptions "Tenka Taihei Kokka Annon (Heaven and Earth in Peace, the Nation in Tranquility" and "Fuki Manpuku Kairyō Manzoku (Wealth and Prosperity Fulfilled)" engraved on its surface. It is a rare work created as a prayer for peace during the war-torn time of the mid-Muromachi period.


8． Tsunahiro
The oldest sword by Tsunahiro dates back to the Tenbun era and is commonly believed to be from the first generation. The second generation is from the Tenshō era, the third from the Keichō era, the fourth from the Kanei era, and the fifth around the Manji era.
This sword is said to have been presented to the 46th Yokozuna sumo wrestler, Asashio, by Ise Torahiko, a well-known collector of the Horikawa school swords including “Yamanba-giri Kunihiro”, and an enthusiast of sumo, along with fellow sumo enthusiast and sword researcher Satō Kanzan, as a gesture of encouragement. The front side features an carving of Fudō Myōō in hitsu (a recess carved in a rectangular shape), while the back bears the inscription "大威徳明王 (Daiitoku Myōō)" engraved. Combining those two, the accompanying note on the scabbard includes the phrase, "可以不動心振威徳誉 (One should inspire with the virtue of a steadfast mind)".


9． Tadamitsu
The name Osafune Tadamitsu is noted in the inscription registry, indicating that the first generation originated around the Genkō era, but no swords by him have been found. Several generations are listed from the Nanbokuchō period to the Muromachi period, and the most renowned Tadamitsu is generally recognized as a prominent swordsmith of Sue-Bizen, alongside Katsumitsu and Munemitsu. Overall, he is well-regarded for his suguha among the Sue-Bizen swordsmiths.
The relief of tokkosho (A weapon symbolizing Buddha’s ability to destroy the evils) carved in the hitsu (a recess carved in a rectangular shape) on the front, and the sankozuka-tsuki-ken (three-pronged sword) carved on the back are believed to originate from the ancient Indian weapon known as the kongōsho (Buddhist ritual implements based on Indian mythology). In Esoteric Buddhism, these items symbolize the breaking of worldly attachments and are also used by ascetics during their rituals.


10． Sadakazu
The second-generation Sadakazu was born in Meiji 40 (1907) as the grandson of the first-generation Sadakazu. He not only mastered ayasugi-hada, the traditional style of the Gassan family, but also worked on Bizen and Sōshū traditions, and demonstrated high skills in blade engravings. In Shōwa 42 (1967), he received the Masamune Award, the highest prize, at the New Sword Exhibition, and in Shōwa 46 (1971), he was designated a Living National Treasure.
Several works known as "Hōchō Masamune" exist, and this particular sword is a reproduction of one which was passed down within the Naitō family of the Nobeoka domain in Hyūga during the domain government period, characterized by its goma-hashi (two thin carved grooves) in openwork.


11． Rai Kunitoshi
Kunitoshi is said to be the child of Rai Kuniyuki, with both a two-character signature (国俊) and a three-character signature (来国俊). There are theories suggesting that they are the same person or different individuals, and a definitive conclusion has not yet been reached. However, recent reevaluations of their styles and signatures are leaning toward the theory that they are indeed the same person, prompting a reexamination of the idea that they are different.
This tantō features a slightly narrow width and an elegant appearance with a slight curvature on the cutting-edge side. The hamon displays a suguha style with a hint of nijyūba, and the nioiguchi is bright and clear, showcasing its fine creation. The front of the blade is adorned with a suken design, while the back features a Sanskrit character, both symbolizing Fudō Myōō.


12. Nobukuni
Among the Nobukuni’s school in the Muromachi period, Saemon-no-jō Nobukuni and Shikibu-no-jō Nobukuni were the two representative swordsmiths known for their swords inscribed with the creation year Ōei, thus being praised as "Ōei Nobukuni." The character “国 (kuni)” in Saemon-no-jō Nobukuni’s inscription written in mirror writing is one of the highlights of his work.
Both Saemon-no-jō and Shikibu-no-jō were skilled in carving, and this sword features a total of six types of Sanskrit characters and a lotus pedestal, the seat of Buddhist statues, intricately carved into the hi (a groove), on both the front and back side of the blade, as well as on the flat surface.


13. Yasutsugu
The first-generation Yasutsugu was from Shimosaka in Sakata District, Ōmi Province, where he was known as Shimosaka Ichizaemon. He later moved to Echizen and served Yūki Hideyasu. In his early works, he inscribed "Higo-no-Daijō Shimosaka." Between the 10th and 11th years of the Keichō era, he was summoned to Edo, where he forged swords in the presence of both Tokugawa Ieyasu and Tokugawa Hidetada, and as a reward for the work, he was granted the hollyhock crest and the character "康" (yasu), changing his name to Yasutsugu.
This tantō is a copy of Ebina Kokaji, which was burned during the fall of Osaka Castle in the Summer Siege of Osaka. The front features a relief of a soken in the hi (a groove), while the back has overlapping engravings of Sanskrit characters, a kuwagata (hoe-shaped helmet crest), and a lotus pedestal. Even the number of mekugi-ana (peg holes) in the tang are replicated.


14. Yasutsugu Sandai
Echizen Sandai Yasutsugu was the third son of the first-generation Yasutsugu, known as Shirōuemon, and later changed his name to Ichizaemon. Although the exact year of his birth is unclear, there are swords dated to the Manji, Kanbun, and Enpō eras. It is said that he passed away on January 1st in the 3rd year of the Tenwa era, which clarifies his active period. 
This sword features a large and robust appearance, having a notare-based hamon with a nioiguchi that has prominent nie. It also showcases impressive engravings including a dynamic depiction of Shin-no-Kurikara, using the rich carving technique referred to as kinai-bori.


15. Niō Kiyonaga
The Niō school of Suō Province is said to have originated with Kiyozane during the Hōen era, or with Kiyohira during the Bunō era. However, due to the lack of definitive works remaining, Kiyotsuna is currently regarded as the practical founder. A prominent theory regarding the origin of the name "Niō" suggests it comes from the village of Nihonoshō in the same province, and the school continued making swords until the Shintō-ki (New Sword Period).
Swords from this school during the Muromachi period are noted for their unique engravings and carvings not found in other schools of the time, including reliefs of cranes and tortoises in the hitsu (a recess carved in a rectangular shape), as well as figures of the deity Totō Tenjin (Tenjin visiting China). This sword also showcases skillfully engraved figures of the Niō statues of Aun on both sides.


16. Hasebe
The Hasebe school, contemporaneous with Hiromitsu and Akihiro of the Sōshū school, is known for its gorgeous style of hitatsura-hamon. The representative swordsmiths of this school are Kunishige and Kuninobu, and according to the "Kōsei Kotō Meikan" (inscription registry of ancient swords), Kuninobu is said to be the son of the first-generation Kunishige and the younger brother of the second-generation Kunishige. The hitatsura of the Hasebe school is based on notare and gunome, and with Kuninobu's notare, it is particularly angular or somewhat nock-shaped. This sword is also showcasing a typical hamon style, emphasizing notare and gunome.
While engravings of the sankozuka-tsuki-ken (a sword with a three-pronged grip) and hatahoko (a flag tied to the head of a three-pronged spear) are often seen on his swords, depictions of Fudō Myōō, like that on this sword, are extremely rare.


17. Kunihiro
Kunihiro was originally a samurai serving the Itō family in Hyūga Province, Kyūshū. After the decline of the Itō family, he traveled through various provinces while honing his sword-making skills, producing swords in different regions along the way. After the 4th year of the Keichō era, he settled in the Ichijō Horikawa area of Kyōto, where he trained many outstanding disciples. He is said to have passed away in the 19th year of the Keichō era.
Kunihiro was also skilled in blade engravings and carvings, leaving behind a variety of works that include Sanskrit characters, various types of hi, and images of deities such as Daikokuten, Bishamonten, and Fudō Myōō, as well as inscriptions like "Buun Chōkyū" (long-lasting military fortune). This sword features Fudō Myōō on the front and the inscription "Hachiman-gū" on the back, showcasing his high level of skills.


18. Masatsugu
Suishinshi Masatsugu was the son of the second-generation Masahide and is said to have studied under Taikei Naotane, eventually marrying his daughter and becoming his son-in-law. His style and inscription characters correctly inherit the techniques of his master, and he was skilled in the Sōshū and Bizen traditions. He produced swords in Shitaya, Okachimachi, and is said to have passed away on March 11th in the 1st year of the Manen era.
This sword has a notare-hamon with gunome, exhibiting a small nie in the Sōshū style. The figures of the Niō statues of Aun, engraved on both sides, remind one of the styles of Yoshitane, who worked on sword engraving for the Suishinshi school.


19. Kunikiyo
The name Yamashiro-no-Kami Kunikiyo has been passed down through several generations, and according to common belief, the first generation was originally from Matsumoto in Shinshū. He traveled to Kyōto to study under Horikawa Kunihiro and later served Matsudaira Tadamasa in Takada, Echigo. It is said that he followed his lord Tadamasa when he was transferred to Fukui, Echizen. In February of the 4th year of the Kanei era, he received the title Yamashiro Daijō, and in February of the following year, Kanei 5, he became Yamashiro no Kami.
Throughout generations, Kunikiyo consistently engraved the chrysanthemum crest on the tang, but it is unique that this sword showcases a splendid branch chrysanthemum as blade engraving instead.


20. Kunisada
The first-generation Izumi-no-Kami Kunisada (Oya Kunisada; father Kunisada) was born in Hyūga and later traveled to Kyōto to study under Horikawa Kunihiro. However, based on his early style and inscriptions, it is believed that he was actually guided by his senior in his school, Echigo-no-Kami Kunitomo. This work features bright and sharp ji and hamon with a wide body and a large tip, characteristics of a robust wakizashi. Inside the hi (a groove) on the side of the blade facing outward when wearing it, a shōjō (a legendary creature from Chinese literature) is carved.
The shōjō is a mythical being originating from ancient Chinese texts, known for its fondness for drinking and dancing. It is also well-known in Japan, particularly in Noh performances. The depiction here effectively captures shōjō’s nature, as it holds a ladle in its right hand and a cup in its left, highlighting its love for alcohol.


21. Nobuhide
Kurihara Nobuhide was born in the 12th year of the Bunka era in Tsukigata Village, Nishikambara District, Echigo Province. In the 12th year of the Bunsei era, he moved to Kyōto and became a mirror maker. However, in the 1st year of the Kaei era, he moved to Edo and became a swordsmith under Kiyomaro. The oldest surviving sword by Nobuhide, dated to the 3rd year of the Kaei era, was discovered recently. Although it is believed that his time being as Kiyomaro’s student was short, his skill is high, with some works approaching the quality of his master. Additionally, he also engaged in various subjects for blade engravings, and this sword features a charming depiction of a rabbit, intricately illustrated using fine engraving techniques based on a draft by a designer.


22. Tomomitsu
Tomomitsu was a swordsmith of the Bizen Osafune school during the Nanbokuchō period, and he was one of the students of Kanemitsu, with a theory suggesting that he was Kanemitsu's younger brother. Within the school, his style is closest to that of Kanemitsu, and in terms of skill, it approaches his master's level. This work is recorded in the "Shūko Jisshu (ancient treasure catalog)," compiled by Matsudaira Sadanobu, as "相模国鎌倉荏柄天満宮蔵刀図 (a picture of the sword in the collection of the Egara Tenmangū Shrine in Kamakura, Sagami Province)", and is described as "made by Masamune". However, based on the quality of the ji and the hamon, and the composition of Sō-no-Kurikara engraved on the front, it has been identified as a work by Tomomitsu, showing a high degree of similarity to the ō-tachi by Tomomitsu in the collection of the Futarasan Shrine.


23. Katsumitsu
Osafune Katsumitsu is one of the representative swordsmiths of the late Muromachi period, known for the Sue-Bizen style, and many swordsmiths, including Ukyōnsuke and his son Jirōzaemon-no-jō, are mentioned in the inscription registry.
The Kurikara of the dragon's face engraved on the side of the blade facing outward when worn, positioned directly to the side, is the characteristic of the Sue-Bizen style, particularly seen in the swords dated from the 10th year of the Bunmei era to 30 and more years of the Eishō era. Additionally, it has been noted that the number of times the dragon's tail coils around the sankozuka (a three-pronged sword grip) tends to be two times before the Bunki era and three times afterward.


24. Kunimichi
Dewa Daijō Kunimichi (国路) was one of the top disciples of Horikawa Kunihiro. It is believed that he received the title of Dewa Daijō between March of the 18th year of the Keichō era and March of the 20th year. His swords often feature a notare-hamon with a pointed tip, a typical characteristic of the Mishina style. In the early period of his inscriptions, he temporarily used the character 道 (michi) for his name Kunimichi, written as “国道“ instead of “国路.” Additionally, in his later years, some works bear the character "来" (rai), suggesting a connection to the Mishina family.
On the side of the blade facing outward when worn, there is a bō-hi (a long groove) and the Shin-no-Kurikara, while the back side features futasuji-hi (two parallel grooves) and two characters of Sanskrit, along with a lotus pedestal, showcasing a variety of intricate blade carvings. These features enhance the already excellent quality of the ji and hamon, adding further brilliance to this sword.


25. Kunisada
The first-generation Izumi-no-Kami Kunisada (Oya Kunisada; Father Kunisada) was born in Hyūga and later moved to Kyōto to study under Horikawa Kunihiro. However, based on his early style and the way he inscribed his name, it is believed that he was actually guided by his senior in the same school, Echigo-no-Kami Kunitomo. He eventually relocated to Ōsaka with his fellow disciple, the first-generation Kawachi-no-Kami Kunisuke, and was granted the title of Izumi-no-Kami in the 9th year of the Genna era. In his later years, he became a monk and was known as Dōwa, passing away at the age of 63 in the 5th year of the Keian era.
His blade engravings and carvings include reliefs of Shin-no Kurikara carved inside the hitsu (a recess carved in a rectangular shape), Sanskrit characters, and goma-hashi (two thin carved grooves). The Kurikara features a distinctive carving style, with the dragon's neck extending long above the head and its eyes resembling "donguri-manako" (big round eyes shaped like acorns). This characteristic is well represented in this sword.


26.Kunisada
The first-generation Izumi-no-Kami Kunisada (Oya Kunisada; Father Kunisada) was born in Hyūga and later moved to Kyōto to study under Horikawa Kunihiro. However, based on his early style and the way he inscribed his name, it is believed that he was actually guided by his senior in the same school, Echigo-no-Kami Kunitomo. This sword features a notare-hamon with gunome, displaying ashi and yō, along with prominent nie, showcasing a quality similar to that of Echigo-no-Kami Kunitomo.
The engravings on both sides demonstrate deep and intricate chisel work, particularly the dragon's eyes of Kurikara on the front side. Like those of No. 25, they are uniquely engraved and are referred to as 'donguri-manako' (big round eyes shaped like acorns).


27. Masahide
The second-generation Masahide initially signed his works as Masahiro, later changing his name to Sadahide. In the 2nd year of the Bunsei era (1819), when his father, the first-generation Masahide, changed his signature to Tenshū, Masahide inherited the Masahide name and became a monk, signing as Shirokuma-Nyūdō Masahide. His style resembles that of his father, particularly of his later works, however, since there are only a few of his signed pieces, it is believed that he may have collaborated with or produced works on behalf of his father.
This sword is notable for being made from iron of a Russian anchor, as indicated by the inscription, and the blade features various engravings and carvings, including a Kurikara in the hitsu (a recess carved in a rectangular shape) on the front side. The style suggests a connection to Honjō Yoshitane, who frequently worked with the engravings for the Suishinshi school.


28. Saneo
Saneo, whose real name was Yamaura Noboru, was born in the 1st year of the Bunka era in Akaiwa Village in Shinshū (now Shigeno Village in Chiisagata District, Nagano Prefecture). In the 12th year of the Bunsei era, he studied under Kawamura Toshitaka who was a appointed swordsmith of the Ueda domain, alongside his younger brother Kiyomaro. He initially signed his works as Sadatoshi or Toshimasa, later changing to Masao and then Saneo. In his later years, he changed his signature to Toshinaga and passed away at the age of 71 in the 7th year of the Meiji era.
This sword features a dynamic wide body and a large tip, with a powerfully ascending dragon engraved on the front, and the Kurikara of a descending dragon on the back. According to one theory, it is said to have been gifted to Chiba Shūsaku, the founder of the Hokushin Itto-ryū (a kenjutsu school), from his disciples.


29. Norihiro
According to the inscription registry, Norihiro was from Kishū Ishidō and is said to have produced swords in Settsu. The inscription Nagasaka Yūhōken also refers to an engraver active in Settsu, known for his works featuring themes like kenmaki-ryū (a dragon coiled around a sword), Sanskrit characters, and hatahoko (a flag tied to the head of a three-pronged spear). Besides on Norihiro, his inscription are added on the works by Ōmi-no-Kami Sukenao, Ise-no-Kami Kuniteru and others, suggesting that he was engaged in blade engraving for various swordsmiths in Osaka.


30. Tadatsuna
Awataguchi Ōmi-no-Kami Tadatsuna was the son of the first-generation Ōmi-no-Kami Tadatsuna and later succeeded him as the second-generation, taking on the name Ikkanshi. His early works often feature midare-hamon with long, well-aligned chōji patterns similar to those of the first generation, while later works include gunome-midare, tōran-style midare, as well as suguha.
This sword exhibits a fine and tight jigane of ko-itame mixed with moku, along with a calm and wide straight hamon. It is particularly notable for the impressive engravings of ascending and descending dragons by the engraver Fujita Chōzaemon Toshitsugu is believed to have been Tadatsuna's teacher in engraving, although his works are rare. This sword is valuable for understanding the lineage of blade engraving.


31. Nanki
Nanki Shigekuni is said to have originated from Yamato and is considered a descendant of the Tedai school. He served Tokugawa Ieyasu during the Keichō era, producing swords in Sunpu. Later, in the 5th year of the Genna era, he moved to Kishū Wakayama along with Tokugawa Yorinobu when Yorinobu was transferred there. His swords can be categorized into two styles: one shows personal influence from Gō, while the other reflects the Yamato Tedai style.
Although there are not many of his swords with blade engravings, but some of his works feature relatively rich engravings, including the Shin-no-Kurikara, descending dragons, Sanskrit characters, and suken designs in different length. This sword is considered to have the most elaborate and powerful engravings among them, and the name of the engraver is preserved on the back side of the tang.


32. Tantō Tadayoshi
The first-generation Tadayoshi, known as Hashimoto Shinzaemon, was a appointed swordsmith for the Hizen Nabeshima domain. In the 1st year of the Keichō era, at the behest of the domain, he entered the school of Umetada Myōju in Kyōto alongside his fellow student Munenaga, where Tadayoshi learned sword-making and Munenaga learned engraving techniques. In the 3rd year of the same era, he returned to his domain and settled in Saga Castle town, where his school flourished under the domain's protection. In the 10th year of the Genna era, he once again traveled to Kyōto, received the title Musashi Daijō, and changed his name to Tadahiro. He also changed his family name from Minamoto to Fujiwara and passed away on August 15th in the 9th year of the Kanei era.
As in this sword, the engraving of Fudō Myōō inside the hi (a recess carved in a rectangular shape), with its right elbow raised and flames swirling to the left, is a composition often seen in the Umetada school, which Munenaga also inherited skillfully.


33. Wakizashi Tadayoshi
This wakizashi features a fine and tight ko-itame hada with a thick ji-nie. The hamon is chū-suguha with slight notare, ko-gunome and ko-chōji mixed, and the wide nioi displays prominent ko-nie, reminiscent of the classic works of Rai Kunimitsu.
As indicated by the additional inscription, this wakizashi has engraving by Munenaga at the bottom of the blade, with hatahoko (a flag tied to the head of a three-pronged spear) depicted on the frontof the blade, and Shin-no-Kurikara on the back, engraved in details with a skillful chiseling technique. A common characteristic of the Kurikara on Hizen swords, regardless of whether they are swords, wakizashi, or tantō, is that they always engrave it on the side facing inward when the sword is worn. This is trait is seen not only in Munenaga but also among other Hizen engravers.


34.
Gassan Sadayoshi was born in the late Anei era as the son of Gassan Sadachika. Around the 4th year of the Tenpō era, he moved from Kahoku Town in Yamagata Prefecture to Yariya Town in Osaka traveling via Edo, where he revived the traditional Ayasugi jigane passed down through his ancestors, establishing the Osaka Gassan school that has continued from the Meiji period to the present day. In addition to his family’s traditional ayasugi-hada, Sadakichi's swords also reflect the styles from the Sōshū, Bizen, and Yamato traditions.
This sword was made by Sadayoshi himself, however, as noted on the back side of the tang, it is a sword with blade engraving done by Gassan Sadakazu, the great-grandson of Sadakyoshi, who is designated as an Important Intangible Cultural Asset (Living National Treasure). It can be seen as a collaboration of the Gassan lineage across generations.


35.Munetsugu Kōka 2
Koyama Munetsugu was born in the 3rd year of the Kyōwa era in Ōshū Shirakawa and was commonly known by the name Sōbē (宗兵衛 or 惣兵衛), also inscribed as Issensai and Seiryōsai. Initially, he was the appointed swordsmith for the Matsudaira family of Shirakawa, but after the domain was relocated to Sei-shū Kuwana, he moved to Edo and continued making swords as a smith for the Kuwana domain. His period of sword-making extended from the latter half of the Bunsei era into the early Meiji era, and many of his works still remain today.
This particular sword has been passed down through the Hazama family, descendants of the Akō Forty-Seven Rōnin. It is noted on the tang that it features a kuko-kongōsho (Buddhist ritual implements used in esoteric practices) originally inherited by the family, which was donated to Heiken Temple at that time, engraved for the protection of the descendants.


36. Munetsugu Kōka 3
Koyama Munetsugu's teacher is said to be Katō Tsunahide, but considering his style, it seems he was significantly influenced by Katō Tsunatoshi. His style follows the Bizen tradition, featuring a beautiful tight jigane and a chōji-midare hamon with strong nioi.
This particular sword forged by Munetsugu exhibits a more pronounced nie than usual for Munetsugu's works, possibly because it was tempered by the Edo physician Hazama Sōgen. Additionally, the blade engravings on the front side depicting a Sō-no-Kurikara and the Sanskrit characters on the back were applied by the engraver Shūyōsai Nobusumi, and the metal parts of the mounting are also made by the same engraver.


37. Masayoshi
Hosokawa Masayoshi (the second generation) was known as Chikaranosuke, and he was the son of Hosokawa Yoshisuke (the first-generation Masayoshi) from Shimotsuke Province. He entered the school of Suishinshi Masahide, initially taking the name Masakata, then changing it to Morihide, and finally to Masayoshi. He became the appointed swordsmith for the Matsudaira family of Tsuyama domain in Mimasaka Province, residing mostly in Edo where he made swords and trained many disciples. He passed away at the age of 73 in June of the 5th year of the Ansei era.
The various engravings include the Shitennō-zō (Statue of the Four Heavenly Kings) engraved by Yoshitane on the four sides of the wakizashi and katana. Since there are very few swords by Masayoshi featuring engravings by Yoshitane, and it is rare for Yoshitane himself to have inscribed a piece, making it a highly valuable artifact.


38.Mitsuoki
Endō Mitsuoki was born in the 37th year of Meiji era and joined the Nihon-tō Tanren Denshū-jo (Japanese Sword Forging Training Institute) in the 10th year of Shōwa. In the New Japanese Sword Exhibition held in the 16th year of Shōwa, he had become the highest rank of Special Honor. He continued to make swords after the war and received mukansa-nintei (non-examination certification) from the Society for the Preservation of the Japanese Art Sword, in the 56th year of Shōwa.
This particular sword was made by Mitsuoki as a gift sword shortly after the outbreak of the Pacific War, and another sword made as a gift by Ikkansai Shigemasa is well known. The blade features inscriptions engraved by Abe Akitada, a metalworker and engraver from Niigata Prefecture, which read "Kōkoku no kōhai (The Rise and Fall of Imperial Japan) and "Kakarite kono seisen ni ari (Depends on this military expedition)“.


39 .Masamine
Sumitani Masamine was born in the 10th year of Taishō (1921) in Tatsumi-chō, Matsutō-machi, Ishikawa District, Ishikawa Prefecture (now Tatsumi-chō, Hakusan City). While studying mechanical engineering at Ritsumeikan University, he founded the Japanese Sword Research Club and conducted research on the production and polishing methods of Japanese swords. Upon graduation, he joined the Ritsumeikan Japanese Sword Forging Research Institute and studied under the swordsmith Sakurai Masayuki. The following year, he moved to the Kōkoku Japanese Sword Forging Institute in Onomichi City, Hiroshima Prefecture, where he began his own research into sword making. In 1956, he built a new sword forging studio called "Sanryū-tei" at his home, and he continued his work in sword making until his death in 1998.
This particular sword was created as a copy of the "Nihon-gō" to commemorate the construction of the former Sword Museum. The blade engraving and carving was done by Kokeguchi Senshū, and the relief of Shin-no-Kurikara on the flat surface is truly powerful, closely approaching the original work.


40. Myōju
Umetada Myōju, commonly known as Hikojirō, is said to have initially been called Shigeyoshi or Muneyoshi, later becoming a monk and adopting the name Kakuhō Myōju. The oldest work bearing the Myōju signature is a sword dated to "August in the 3rd year of Keichō" (an Important Cultural Property).
Myōju is known as a master of engraving and carving, and the composition of a pearl-chasing ascending dragon on the front side and a pearl-chasing descending dragon on the back side as seen in this piece, is commonly found in his works. Similar compositions can also be found in tantō in "Shintō Bengi," a sword research book from the late Edo period, indicating that this distinctive style was recognized even at that time.


41.Tadatsuna  Genroku 12
Awataguchi Ōmi-no-Kami Tadatsuna is the son of the first-generation Ōmi-no-Kami Tadatsuna and later succeeded him as the second generation, taking the name Ikkanshi. His early works feature long chōji-midare with well-aligned yokigashira, similar to those of his father, while his later works include gunome-midare and tōran-style midare, as well as suguha. He is also skilled in engraving and carving, harmonizing beautifully with the blade without damaging it.
This sword features Kurikara engraved on the front, along with Sanskrit characters, koshi-hi and soe-bi (thin grooves carved parallel to koshi-hi), and tsume carved on the back. The strength and impact of the Kurikara on the front particularly exemplify the distinctive engraving and carving style him.


42. Tadatsuna   Genroku 13
The style of Ikkanshi Tadatsuna in his early works features long chōji-midare with well-aligned yakigashira, similar to that of the first-generation Tadatsuna. However, in his later works, he also produced gunome-midare, tōran-style midare, and even suguha. This particular piece showcases a tōran-style hamon with variations in height, displaying some tobiyaki, but it uniquely incorporates long chōji-style hamon within the tōran, highlighting his distinctive ingenuity.
The blade engraving features Kurikara on the front, and on the back, it includes Sanskrit characters and a sankozuka-tsuki-ken (a three-pronged sword), demonstrating his exceptional skill.


43 Tadatsuna   Hōei 5
Awataguchi Ōmi-no-Kami Tadatsuna is the son of the first-generation Ōmi-no-Kami Tadatsuna and later succeeded him as the second generation, taking the name Ikkanshi. His early works feature long chōji-midare with well-aligned yokigashira, similar to those of his father, while his later works include gunome-midare and tōran-style midare, as well as suguha. He is also skilled in engraving and carving, harmonizing beautifully with the blade without damaging it.
This sword features hi (grooves) rounded at the bottom ends carved on both the front and back sides. Beneath them, the front side displays his signature ume-Kurikara, while the back side is powerfully engraved with long Sanskrit characters and a sankozuka-ken (a three-pronged sword).


44. Tadatsuna
Awataguchi Ikkanshi Tadatsuna, known for his skill in blade engraving, worked on both intricate subjects such as ume-Kurikara, sankozuka-ken, and Fudō Myōō, as well as relatively simpler motifs like Sanskrit characters, goma-hashi (two thin carved grooves), and bō-hi (grooves).
This sword features a densely detailed ascending dragon on the front, while the back showcases Sanskrit characters along with wide and narrow hi (grooves) and tsume. The ascending dragon on the front harmonizes with the variations in height of the tōran-style hamon, creating a composition that appears to depict a dragon soaring above the waves.


45. Kotetsu
Nagasone Kotetsu was originally an armor maker from Echizen. Around the 2nd year of the Meireki era, when he was about 50 years old, he moved to Edo and became a swordsmith. He was commonly known as Sannojō and took the name Okisato, but later became a monk, adopting the name "Kotetsu Nyūdō." Initially, he used the characters for his name as "古鉄 (Kotetsu)," but later switched to "虎徹," and from August of the 4th year of the Kanbun era, he began using the characters “乕徹.”
This piece features a Sō-no-Kurikara and a lotus pedestal on the front, while the back is carved with Sanskrit characters and a relief of Daikokuten (the deity of wealth) inside a hitsu (a recess carved in a rectangular shape). Notably, there are few swordsmiths from the Shintō period who specialized in Daikokuten carvings, and the composition, depicting Daikokuten standing in front of a relatively small rice bale, is unique to Kotetsu.


46. Masashige
Tegarayama Masashige, commonly known as Asashichi, is the younger brother of the third-generation Tegarayama Ujishige. He was a swordsmith from Himeji in Harima Province and a descendant of the first-generation Yamato-Daijō Ujishige. Having lived at the foot of Mount Tegara (Tegarayama), his family has carried that name through generations. In the 8th year of the Tenmei era, he became the appointed swordsmith for the Shirakawa Domain in Ōshū. In his later years, he received the characters "神妙 (Shinmyō)” from Matsudaira Sadanobu, which he is said to have inscribed on his finest works.
Although there are not many works with the inscription "Horisaku Onashi" or "Horidōsaku," meaning that the person who produced the sword and applied the engravings is the same, this piece features delicately engraved designs, including the ascending pearl-chasing dragon, Sanskrit characters, the sankozuka-ken (three-pronged sword), and plum trees.


47. Nobuhide
Kurihara Nobuhide was born in the 12th year of the Bunka era in Tsukigata Village, Nishikanbara District, Echigo Province. Initially, he became a mirror maker in Kyōto, but in the 1st year of the Kaei era, he moved to Edo and became a student of Kiyomaro. Except for a period of about two and a half years during which he made swords in Ōsaka from August of the 1st year of the Genji era to January of the 3rd year of the Keiō era, he was active in Edo. In the 8th year of the Meiji era, he returned to Echigo Sanjō, and in the 10th year, he created the sacred mirror for Yahiko Shrine.
In his swordsmithing, the quality of the jigane and hamon approaches that of his master, Kiyomaro. In terms of blade engraving, he is known for intricate depictions of deities such as Ama-no-Uzume-no-Mikoto, Susanō, Kannon riding a dragon, and cherry blossoms, using precise chiseling techniques. This piece also features a finely detailed Fudō Myōō carved inside the hitsu (a recess carved in a rectangular shape), with meticulous attention to his attire and the kensaku he holds.


48. Sadatsugu (Shōwa 16)
Takahashi Sadatsugu was born in Meiji 35 (1902) in Ōmachi Village in Saijō, Niihama District, Ehime Prefecture. From Taishō 6 to 7 (1917-18), he began his apprenticeship under the father-and-son duo, Gassan Sadakazu and Sadakatsu, to train in sword making. In Taishō 8 (1919), he became a trainee swordsmith for the Chūō Tōken-kai (Central Sword Association) and graduated in Taishō 12 (1923). Afterward, he returned to his hometown to continue his studies in sword making and moved to Matsuyama in Shōwa 5 (1930) to further his activities.
This sword, which was passed down in the Nabeshima family, is a copy of the Important Art Object, Kagemitsu. It features a tō-hi (a groove) with a finely carved suken inside and a depiction of harami-ryū (a dragon with a belly that looks like a sail filled with wind) on the back, showcasing the blade carving that remains true to the original.


49. Sadatsugu 39 years old
Takahashi Sadatsugu was born in Meiji 35 (1902) in Ōmachi Village in Saijō, Niihama District, Ehime Prefecture. From Taishō 6 to 7 (1917-18), he began his apprenticeship under the father-and-son duo, Gassan Sadakazu and Sadakatsu, to train in sword making. In Taishō 8 (1919), he became a trainee swordsmith for the Chūō Tōken-kai (Central Sword Association) and graduated in Taishō 12 (1923). Afterward, he returned to his hometown to continue his studies in sword making and moved to Matsuyama in Shōwa 5 (1930) to further his activities.  This sword is said to be a copy of "Koryū Kagemitsu," the sword worn by Kusunoki Masashige. However, it does not simply replicate the shortened state of the original but instead recreates its original form. The blade features a Kurikara on the front side when worn, and long Sanskrit characters on the back, carved inside the hi (grooves) positioned at the bottom of the blade.


50. Sadatsugu  Shōwa 28
After World War II, sword making was prohibited by the GHQ (General Headquarters), but those involved made efforts to seek approval for production. It is known that Takahashi Sadatsugu presented a tantō to Walton Walker, the Commanding General of the U.S. 8th Army, the American Occupation Force in Japan, in Shōwa 25 (1950).
Thanks to these efforts, in Shōwa 28 (1953), the making of swords as art objects was officially recognized. This particular sword was created in that year and exemplifies the skill of the swordsmith, as indicated by the inscription "百日精魂を此の一刀に盡くす" (Devoting my whole spirit of a hundred days to this one sword). The jigane and hamon showcase his exquisite style. Additionally, the blade engravings and carvings, including a bō-hi (groove) and soe-bi (thin grooves carved parallel to the bō-hi), a Shin-no-Kurikara inside the hitsu (a recess carved in a rectangular shape), and the inscription "Hachiman Daibosatsu," highlight his exceptional technique.