13| Late Kamakura Period: Genko (鎌倉末元寇)

0-timeline - size 24 Late Kamakura

                       The circle represents the time we discuss in this section

GENKO 元寇  (1274 and 1281)

Kublai Khan, the grandson of Genghis Khan, attempted to invade Japan twice, in 1274 and 1281.  Both times, a powerful typhoon struck Japan.  The Mongols sent a large number of soldiers, along with all kinds of supplies, on numerous ships to Japan.  These ships had to stay very close to each other, side by side, front and back, in the limited offshore area of Kyushu.  When the strong winds arrived, the ships swayed, hit each other, and capsized.  Many people fell into the ocean, drowned, and lost supplies in the water.

Although Mongol soldiers landed and fought against the Japanese army, they had little choice but to leave Japan because of a typhoon and shipwreck.   As a result of this strong wind, Japan was saved, and it seemed like Japan had won.  This was when the famous Japanese word “kamikaze” (divine wind) was created.

The Mongols had far superior weapons compared to the Japanese.  They had guns, which the Japanese did not.  Their group fighting was far more effective than the Japanese one-on-one combat style.

After the Mongolian invasion, it became clear that the Ikubi-kissaki style sword needed to change.  When swords were used in battle, the area most frequently damaged was the kissaki.  Japanese soldiers primarily used ikubi-kissaki swords in this war.  An ikubi-kissaki tachi has a short kissaki.  When a damaged area of the kissaki is whetted out, the top part of the yakiba (tempered area) disappears, and the hi (a groove) rises too high into the boshi area (the top triangle-like area).  The short ikubi-kissaki becomes even shorter, and the hi rises too high into the boshi area.  Aesthetically, this looks unattractive.  Functionally, it does not work well.  To compensate for this flaw, a new style started to emerge in the latter part of the Kamakura period.

14 Ikubi kissaki Damadge

During the latter part of the Kamakura period, swordsmiths started to create a new style to address this flaw.  Additionally, pride and confidence grew among people after driving the Mongols away, which was reflected in the swords’ appearance.  Generally speaking, the hamon and the shape of the sword became stronger and more showy.

The Kamakura area prospered under the Hojo family’s rule.  Many swordsmiths moved to Kamakura from Bizen, Kyoto, and other regions during this time and developed a new style.  This marks the beginning of the Soshuden (Soshu is the Kanagawa area today).  Many famous top swordsmiths appeared during this time.

One of the famous swordsmiths is Goro-nyudo Masamune (五郎入道正宗)You can easily visit Masamune’s tomb in Kamakura.  It is located at Honkaku-Ji Temple, about a five to six-minute walk from the Kamakura train station. 

While I was attending Mori Sensei’s (teacher) sword study group, one of the students I studied with was a twenty-fourth-generation descendant of Masamune.   Although he does not carry the Masamune name, he has been making wonderful swords in Kamakura.  He also makes high-quality kitchen knives.  The name of his shop is “Masamune Kogei (正宗工芸),and it is a short walk from Kamakura Station.  To find his shop, ask at the information center at the train station.

54 Yamamura 1 54 Honnkakuji 3         May 2019   Mr. Tsunahiro Yamamura and I                    Honkaku-Ji Temple

12| The Middle Kamakura Period: Tanto (Dagger 鎌倉中期短刀)

0-timeline - size 24 Middle Kamakura

The red circle indicates the area we discuss in this chapter 

It is rare to see a tanto (短刀 dagger) made during the Heian period.  During the middle Kamakura period, many high-quality tanto were produced.  They were called to as takenoko-zori shaped tanto, with takenoko meaning bamboo shoot.  The back of the tanto curves inward slightly.

                              Middle Kamakura Period                                                                                                      Yamashiro School Tanto

12Tanto drawing Mid Kamakur

Sugata (shape)———-Hirazukuri.  This means there is no shinogi, no yokote line.  See the illustration above.  The standard tanto size is approximately ten inches.  The width is neither too wide nor too narrow, making it a very well-balanced size.  The body is slightly thick.  High gyo-no-mune (行の棟) and shin-no-mune (真の棟) 

13 Mune drawing

Hamon (刃文) ——————— The tempered area is narrow.  Nie base.  Suguha-midare (a straight-line pattern with an irregular wavy shape) or suguha-choji (a straight-line pattern with small choji)The tempered edge line may show a frayed look.

Boshi(tempered line at Kissaki area) ———Yakizume,   Kaen,   Nie-kuzure.

13 Hamon and Hi

Engravings (彫刻) ———- Often, various types of engravings are done on the lower part of the body.   These may include one or two grooves, Sanskrit, suken (spear), dragon, etc.  For the Sanskrit and spear, refer to the illustration in Chapter 8.

13 Hamon and Hi

Tanto Swordsmiths in the Middle Kamakura Period

Awataguchi group(粟田口)———————————Awataguchi Yoshimitu (粟田口吉光)  Rai group (来) ——————————————————————-Rai Kunitoshi(来国俊)  Soushu Group  (相州) ——————————————Shintougo Kunimitu (新藤五国光)  Bizen group (備前) —————————————————— Bizen Kagemitu (備前景光) Bungo no Kuni Group (豊後の国) ——————–Bungo-no-kuni Yukihira (豊後の国行平)

13 Rai kunimitsu Tanto photo 2  来国光(Rai Kunimitsu)

This Photo by Unknown Author is licensed under CC BY-SA        Creative common  Free media  Attribution-Share Alike 3.0 Unported (CC BY-SA 3.0)

 

11| Ikubi Kissaki (猪首切先)

 
0-timeline - size 24 Middle Kamakura
 
The circle indicates the time we discuss in this chapter.

Through the experience of the Jokyu-no-ran war (Chapter 10), the design of the sword shifted to a wider, sturdier, and more impressive style.  The swords made around this time are called “ikubi-kissaki “.  Ikubi means a wild boar’s neck.  The kissaki area of ikubi-kissaki-style swords resembles a boar’s neck, with a somewhat stout appearance.

The middle Kamakura period was the golden age of Japanese sword-making.  Many top swordsmiths created exceptional swords during this time.  Experts agree that there are no mediocre swords among Ikubi-kissaki swords.

IkubiKissakiSword  12 Ikubi Kissaki sword style

SUGATA (shape) —————— Originally 3 feet or longer, they were often shortened in later years.  Wide width.  Thick kasane (thick body) with hamaguri-ha, meaning the sword’s cross-section is shaped like a clam.  The difference in width between the near yokote line and the machi is minimal.  The shinogi is high and narrow.  The cross-section of an Ikubi-kissaki sword is shown below. 

12 蛤刃と鎬

KISSAKI  ————- Ikubi-kissakiIkubi means the neck of a wild boar.  It is thick, short, and stout in appearance.  Kissaki is short and wide at the yokote line.  The illustration below shows an exaggerated image of an Ikubi-kissaki.

12 Ikubi Kissak drawing

Hamon (刃文) —— Kawazuko-choji (tadpole-head shape pattern). O-choji (large clove-shape pattern), ko-choji (small clove-shape), a mixture of o-choji and ko-choji, or suguha-chojiSuguha-choji features a straight line mixed with a choji (clove-shape) pattern.  

12 Hamon Kawazuko-choji                     O-choji                          Ko-choji                  Suguha-choji     (tadpole head)                   (large clove)                (small clove)      (straight and clove)

Boshi (鋩子) ——Yakizume: the hamon ends almost at the tip of the kissaki, with no return. Sansaku Boshi: the hamon narrows at the yokote line, created by Nagamitsu (長光), Kagemitsu (景光), and Sanenaga (真長).  See below for Yakizume and Sansaku Boshi.          

                                                                 

12 Yakizume

   Yakizume       11 Sansaku Boshi(三作Sansaku-boshi

Ikubi Kissaki Sword Smiths

Fukuoka Ichimonji Group (福岡一文字) —————Fukuoka Ichimonji Norimune (則宗) Kamakura Ichimonji Group(鎌倉一文字) ———— Kamakura Ichimonji Sukezane (助真) Soshu Bizen Kunimune Group(相州備前国宗)——– Soshu Bizen Kunimune (国宗)Bizen Osafune Group(長船)——————Bizen Osafune Mitutada(長船光忠) Nagamitsu(長光)   Ugai Group————————————————————————- Ugai Unji (鵜飼雲次)

11 nagamitsu 1    11 Nagamitsu drawing  Osafune Nagamitsu(長船長光)    From Sano Museum Catalogue (permission granted)         

img028   img027

Osafune Mitsutada(長船光忠)                          Osafune Mitsutada(長船光忠)                        *Were family sword This photo was taken by my father and writings on the white paper were written by him.