Yurie Endo 遠藤由利江 61| Part 2 of --- 25|Sengoku Period Tanto (1467 - 1596), Uncategorized

58|Part 2 of — 24 Sengoku Period Tanto (戦国時代短刀)

Chapter 58 is a detailed section of Chapter 24, Sengoku Period Tanto.  Please read Chapter 24, Sengoku Period Tanto, before reading this part. 

0-timeline - size 24 Sengoku Period

　　　　　      The red circle above indicates the time we discuss in this section  

Muramasa (村正)

This chapter discusses the famous Muramasa (村正).  Usually, many well-known swordsmiths come from one of the Goka-den (五家伝: the five main schools: Yamashiro-den, Bizen-den, Soshu-den, Yamato-den, and Mino-den).  However, Muramasa was not from Goka-den but from Ise Province.  The first-generation Muramasa was known as a student of He’ian-jo Nagayoshi (平安城長吉) of Yamashiro-den.  The Muramasa family existed through the mid-Muromachi period.  They spanned three generations from the mid-Muromachi to the Sengoku period. 

61 Ise map

Below is one of Muramasa’s tantos, made during the Sengoku period.  Since it was made during the Sengoku era, the blade shows the style of Sengoku-period swords.  It reflects Mino-den characteristics, combined with Soshu-den traits. 

     

 Muramasa (村正) from Sano Museum Catalogue (permission granted)

Characteristics  on this Tanto

Muramasa’s tantos are typically about ten inches ± half an inch or so.  Hirazukuri (平作り). Thin blades with a sharp look.  The nioi base with small nie and sunagashi patterns (brushed sand-like patterns, as shown in the illustration below) appears.  The boshi (the top part of the hamon) is jizo (a side view of a human head).  The tempered line varies with both wide and narrow areas.  Some areas are so narrow, almost close to the edge of the blade, while others are broader.  Hako midare (box-like shape) and gunome (lined-up bead pattern) appear.  O-notare (large, gentle waviness) is a signature characteristic of Muramasa.  The pointed-tempered line is a typical characteristic of Mino-den (Sanbon-sugi).  Refer to Chapter 23, Sengoku Period Sword, and Chapter 24, Sengoku Period Tanto.

                                       

 

Yurie Endo 遠藤由利江 9| «Part 2» Middle Kamakura Period Yamashiro Den, Uncategorized

41| Part 2 of — 8 Middle Kamakura Period: Yamashiro Den 鎌倉中期山城伝

This chapter is a detailed part of Chapter 8| Middle Kamakura Period –Yamashiro Den（鎌倉中期山城伝).   Please read Chapter 8 before reading this chapter.

0-timeline - size 24 Middle Kamakura

　　　　 　The red circle indicates the time we discuss in this section

During the middle Kamakura period, the Yamashiro–den consisted of 3 main groups: the Ayano-koji (綾小路) group, the Awataguchi (粟田口) group, and the Rai (来) group.

When referring to a specific group, we use terms like “xxx ha,” “xxx ippa,” or “xxx ichimon.”   We use these three terms interchangeably.  They all mean “group.”   For example, when we say “Ayano-koji ippa,” we refer to the Ayano-koji group.

Ayano-koji Ippa (綾小路)

Sugata (shape) —————–Generally, a gentle or graceful kyo-zori shape.  The difference in width between the yokote line and the machi is minimal.  The sword is slender, yet thick, with a small kissaki.                                                                                                                      　　　

Hi and Engraving ———————– Bo-hi (single groove) or futasuji-hi (double grooves) 

Hamon ——————— Nie base with ko-choji (small clove shape) and ko-midare (small irregular).  Small inazuma (lightning-like lines) and kinsuji (golden streaks) may be present.   Double ko-choji (two ko-choji side by side) may appear.   

Boshi (tempered line at the kissaki area) ———————– Ko-maru (small round), yakizume (see the illustration below ), and kaen (flame-like pattern)   

Ji-hada —————– Small wood grain with a little masame (straight grain).  Ji-nie shows. 

Nakago (hilt) ———————— Long, slightly thick feel  

Ayano-koji Ippa swordsmiths ———-Ayano-koji Sadatoshi (綾小路定利)  Sadanori (定則）        

Awataguchi Ichimon (粟田口)

Many swordsmiths from the Awataguchi Ichimon (or Awataguchi group) were honored as the Goban Kaji (the top swordsmith) by Gotoba Joko, Emperor Gotoba (後鳥羽上皇).  Their general characteristics are as follows.

Sugata (Shape) ————————- Elegant torii-zori (or kyo-zori) shape.     

Hi and Engraving ————– The tip of the hi extends all the way up and fills in the ko-shinogi.   The end of the hi can be maru-dome (the end is round), kaku-dome (the end is square), or kakinagashi.

 

9 «part 2» 大小丸,焼詰,丸角止, 掻流   　　

              Maru-dome (rounded end)             Kaku-dome (square)          Kakinagashi

  • Hamon ———— The slightly wider tempered line at the bottom, then it becomes narrower at the top.  Nie base (called Nie-hon’i).  A straight tempered line mixed with ko-choji (small cloves) or a wide straight line combined with choji.  Awataguchi-nie appears.  Awataguchi-nie, which refers to a fine, deep, sharp, shiny nie that appears around the tempered line area. Fine inazuma (lightning-like lines) and kinsuji (golden streaks) emerge.

  • Boshi (tempered line at the tip area) —————— Ko-maru (small round)  and/or O-maru (large round).   The return is sharrow.  Yakizume, Nie Kuzure, and Kaen (flame)9-«part-2»-大小丸焼詰丸角止-掻流-1-e1547925390685.jpg

       Yakizume 　　　　　O-maru　　　　　Ko-maru　　     　 Yakikuzure

  • Ji-hada ————– Fine ko-mokume (wood swirls) with ji-nie.  Ji-nie is nie on ji-hada. Yubashiri and/or chikei appear.                                                                               
  • Nakago ——————————– Often featuresa two-letter inscription
  • Names of Awataguchi swordsmiths —– Awataguchi Kunitomo (粟田口国友 ),  Hisakuni (久国), Kuniyasu (国安),  Kuniyasu (国安), Kunikiyo (国清)

 Rai Ha (来)

The general characteristics of the Rai group are as follows.  However, each swordsmith has their own unique traits.

Sugata (shape) ——– Graceful and dignified.  Thick body.  Rai forged Ikubi Kissaki.         Hi and Engravings ————————- Wide and shallow hi.                                      Hamon ————————- Nie base.  Suguha (straight).  Wide suguha with ko-midare (small irregular) and choji (cloves).  Sometimes, there is a large choji at the lower part and a narrow suguha at the top.  Inazuma and Kinsuji appear around the yokote area.      Boshi ————————————- Komaru, yakizume (see the illustration above)            Ji-hada ——————— Finely forged itame (small wood grain).  Sometimes mixed with masame (parallel grain).  Fine nie.  Rai group’s swords occasionally show yowai tetsu (weak surface), which may be the core iron.    

Rai Ha swordsmiths———————- Rai Kuniyuki (来国行),  Rai Kunitoshi (来国俊) or Niji Kunitoshi (二字国俊),  Ryokai (了戒 ).  Rai Kunitoshi is said to be the son of Rai Kuniyuki. Ryokai is said to be the son of Rai Kunitoshi.

img017

    Rai Kuniyuki (来国行）Once my family sword, photo taken by my father with his  writing.    
9 «part 2» Rai Kuniyuki photo.jpg       Rai Kuniyuki hamon
 
Rai Kuniyuki (来国行）Sano Museum Catalogue (佐野美術館)  (permission granted)

Yurie Endo 遠藤由利江 29| Main Seven Area of Shinto Sword (part2), Uncategorized

28|Shin-to Sword — Main Seven Regions (part B 主要７刀匠地)

 
 
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 The red circle indicates the subject of this chapter

64Map with number with 8

3．Musashi ( 武蔵 ) in Edo ( 江戸 )

The katana and wakizashi made in the Musashi area have a shallow sori (curvature).  Often, the width of the blade’s upper part is narrow.  Usually, the hamon begins with a slight irregular pattern, then gradually shifts to a larger irregular pattern, and a few inches below the yokote line, it becomes a small irregular pattern again.  The boshi is usually a komaru-boshi.  The ji-hada may be rough.  Masame-hada shows on shinogi-ji.

Well-known swordsmiths in Musashi ———————————-Noda Hannkei (野田繁慶)                                                      Nagasone Okisato Nyudo Kotetsu (長曽根興里入道虎徹)

Nagasone Okisato Nyudo Kotetsu                        Noda Hankei (野田繫慶)                                   (長曽根興里入道虎徹)                                   from Compton’s collection “Nippon-to”    Once, my family sword                                                                                                               

4. Echizen ( 越前 ) and 5. Kaga (加賀 )

Many swordsmiths from the Mino (美濃) area moved to the Echizen and Kaga areas (#4  & #5 on the map above).  Therefore, swords made in these areas are called Echizen-seki and Kaga-seki.  Refer to Chapter 23 Sengoku Period (戦国) Sword for Mino-den.             The style of Echizen Yasutsugu (越前康継) is similar to that of Mino-den.

Well-known swordsmith in Echizen ————————-—Echizen Yasutsugu (越前康継 )

6. Hizen (肥前)

Both the katana and wakizashi from Hizen have well-balanced shapes.  The Hizen region tends to produce swords with a chu-suguha-hotsure (a medium-width straight hamon resembling frayed fabric) with fine nie (沸).  The boshi has a clean, regular line with a uniform width tempered line, as shown in the illustration below.  If you see a shin-to sword that has a chu-suguha hamon and a boshi that looks like the one below, it is often made by Hizen Tadayoshi (肥前忠吉).  Very fine Ji-hada (surface), sometimes called nukame-hada.

29 Hizen Tadayoshi Boshi

Well-known swordsmith in Hizen ——————————— Hizen Tadayoshi ( 肥前忠吉)

  1. Satsuma (薩摩 )

The swords made in Satsuma appear solid for both katana and wakizashi.  The kissaki (the top pointed area) is slightly stretched.  Yakidashi (a few inches above the machi ) shows a small, irregular hamon.  The hamon is o-midare with coarse nie called ara-nie. The ara-nie forms togari-ba (a pointed pattern; see the drawing below).  One of the characteristics of this region.

The region is well known for its Satsuma-nie.  That is, the ara-nie around the hamon continues and blends into the ji-hada area.  Therefore, the border between ha-nie and ji-nie is unclear.  Inside the hamon, it sometimes shows a thick line shaped like lightning.  This line is called Satsuma-no-imozuru (sweet potato vine), and is less desirable than inazume and kinsiji.  This is the most prominent feature of the Satsuma sword.  Boshi has a narrow-tempered line with a small irregular pattern.  This is called satsuma-boshi.  On the ji-hada surface, chikei (a long, dark line) appears.  This is called Satsuma-gane (薩摩金).

29 Satsuma Togari-ba

Well-known swordsmiths in Satsuma ——————  Izunokami Masafusa (伊豆守正房)                                                                                                 Ichinohira Yasuyo (一平安代)                                                                                       Mondonosho Masakiyo (主水正正清)

 

Yurie Endo 遠藤由利江 28| Main Seven areas among Shinto Sword (1), Uncategorized

27|Shinto Sword — Main Seven Regions (Part A ：主要７刀匠地)

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                            The red circle indicates the subject we discuss in this section

During the Shinto era, there were seven main prosperous regions where many swordsmiths gathered and actively forged swords.  These are Yamashiro (山城) in Kyoto, Settsu (摂津) in Osaka, Musashi (武蔵 ) in Edo, Hizen (肥前) in Saga, Satsuma (薩摩) in Kagoshima, Echizen (越前) in Fukui,  and Kaga (加賀) in Kanazawa.  Swordsmiths from each area shared common regional characteristics of their places.  Knowing each of these characteristics is the easiest way to understand Shin-to.  However, it is important to remember that each swordsmith within a group had their own unique way of sword-making.  The following are only general descriptions of these characteristics.

Below is a map of Japan.  Hokkaido is not shown on the map because swords were not made there during that time.

64Map with number with 8

1.  Yamashiro (山城) Kyoto

The Yamashiro shin-to sword has a solid and strong look.  The hamon near the lower part of the blade, just above the machi (区) area, shows suguha (straight hamon).  This is called kyo-yakidashi (京焼出し, meaning it starts with a straight hamon.  Then, it shows a sudden shift to a design of o-midare (大乱).  The o-midare (large irregular waviness) becomes less wavy about one or two inches below the yokote line, then continues into the boshi as a wavy hamon.  The design in the boshi is komaru-boshi.   See the illustration below. 

Ji-hada ———— Somewhat rough, (depending on the swordsmith).  Masame-hada (straight grain pattern) may show on shinogi-ji (between the ridgeline and back). 

Among the Yamashiro shin-to group, there was a group called the Mishina group (三品).  They were related to Mino-den (美濃).  Therefore, their boshi was often jizo-boshi (地蔵鋩子).  This is called Mishina-boshi (三品鋩子).  Jizo-boshi is an image of a man’s head.

The Well-known swordsmiths in Yamashiro area: Umetada Myoju (梅忠明寿)                                                                                                   Horikawa Kunihiro (堀川国広)                                                                                               Dewadaijyo Kunimichi (出羽大掾国路)

28 Mishina-Boshi Komaru-boshi, Kyo-Yakidashi

                                                  　     Iganokami Kinnmichi (伊賀守金道) Yamashiro Den, once my family sword

2．Settu (摂津) Osaka (大阪)

Settsu (Osaka) produced more wakizashi than katana.  They tend to make it slightly sakizori (the top half curving outward) with a slightly stretched boshi. A Settsu sword also shows yakidashi, similar to the previous Yamashiro sword.  However, unlike Yamashiro’s sword, the transition is not abrupt but relatively smooth, where suguha changes into notare (wavy pattern).  This is called Osaka Yakidashi.

Osaka Boshi ——-Hamon continues up to the yokote line, then komaru with a turn back.   Ji-hada————-Very fine,  almost no pattern, a solid surface like, especially, shinogi-ji (between the ridgeline and the back).  This is called Osaka-tetsu (iron).

29 Osaka Yakidashi Komaru Boshi

Well-known swordsmiths in Settsu area— Osaka Tsuda Sukehiro (大阪津田助広)                                                                                 Tsuda Sukenao (津田助直)                                                                                                   Ikkanshi Tadatsuna (一竿子 忠綱)

                                                                 Ikkanshi Tadatsuna (一竿子忠綱), once my family sword 

Yurie Endo 遠藤由利江 20 Nanboku-Cho Tanto, Uncategorized

19 | Nanboku-Cho Period Tanto（南北朝短刀）

0-timeline - size 24 Nanboku-cho
The circle indicates the time we discuss in this section

During the Nanboku-cho period, a type of tanto called hirazukuri ko-wakizashi sun-nobi tanto was made.  Hirazukuri means flat swords without the yokote line or shinogi.  Ko-wakizashi refers to a shorter sword.  Sun-nobi tanto means longer than a standard tanto.  This type is also known as Enbun Jyoji ko-wakizashi tanto because most of these tantos were created during the Enbun and Jyoji eras of the imperial period.  In Japan, a new imperial era begins when a new emperor ascends to the throne.  The Enbun era spanned 1356-1361, while the Jyoji period spanned 1362-1368.

20 Enbun Jyoji Kowakizashi Tanto

Sugata (姿: shape) ————A standard tanto measure is approximately one shaku.  Shaku is an old Japanese unit of measurement for length, and one shaku is roughly equal to one foot.  

8.5 sun (the sun is another old Japanese measurement unit of length) is approximately ten inches.  Ten inches is the standard size for a tanto, known as a josun tanto.  Anything longer than a josun tanto is called a sun-nobi tanto.  Anything shorter than a josun is called a sun-zumari tanto. 

Most of the Nanboku-cho tantos are longer than a josun tanto, approximately one foot two inches.  Therefore, they are called hirazukuri ko-wakizashi sun-nobi tanto.  Saki-zori (curved outward at the top.  See the illustration above).   Wide in width and thin in body.  Fukura kareru (no fukura means less arc).  Shin-no-mune.  See the drawing below.

20 Fukura           20 Shin-no-Mune

Hi, (樋: Grooves) and Horimono (彫り物: Engraving) ——- A groove or grooves on the mune side.  Bonji (Sanskrit, see Chapter 16 Late Kamakura Period (Early Soshu-Den Tanto),  koshi-bi (short groove),  tumetuki ken, and tokko-tsuki ken (see below) appear. The ken (dagger) is curved widely and deeply in the upper part and shallower and narrower in the lower part.  This is called Soshu-bori (Soshu-style carving).

20 Tokko, tume Ken

Hamon (刃: Tempered line) ——- The narrowly tempered section at the lower part gradually widens toward the top.  A similar wide hamon pattern extends into the boshi area.  The hamon in the kissaki area is kaeri-fukashi (deep turn back).  See the illustration below.  Coarse nie.  O-midare (large irregular hamon pattern).

20 Hitatsura

                                        From Sano Museum Catalogue

Ji-hada (地肌: the area between shinogi-ji and the tempered line) ——– a loose wood grain pattern called itame.  Yubashiri (see Chapter 16, Late Kamakura Period) and tobiyaki (irregular patchy tempered spots) appear.  Dense tobiyaki is called hitatsura (see the drawing above).

Nakago (茎: Tang) —- Short tanago-bara.  Tanago-bara refers to the shape of the belly of a Japanese fish called tanago (bitterling).

20 Tanago Bara

Tanto Swordsmiths during the Nanboku-Cho Period

Soshu Den ———————————————————-Hiromitu( 広光) Akihiro (秋広) Yamashiro Den ————————————————–Hasebe Kunishige (長谷部国重)   Bizen Den ——————————————————— Kanemitu (兼光) Chogi (長義 )

    Soshu Hiromitsu     “Nippon-To Art Sword of Japan “   The Walter A. Compton Collection

Yurie Endo 遠藤由利江 16 The revival of Yamato School, Uncategorized

15| The Revival of Yamato Den（大和伝復活）

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　　　　　　　　The red circle above indicates the time we discuss in this section

It is believed that sword-making first started in Yamato province (now Nara Prefecture) during the Nara period (710 to 794).  In the early days of sword-making, the forging techniques were primitive.  At that time, many swordsmiths lived in Yamato, but over time, sword-making in this region declined.

At the end of the Kamakura period, several powerful Buddhist temples emerged in the Yamato area, leading to conflicts among them.  Temples held significant political and military power to control large territories called shoen (荘園) through their large numbers of warrior monks, known as sohei (僧兵).  The most dominant group was Nanto Sohei (南都僧兵)*.  These groups of sohei demanded more swords to arm themselves, which revitalized the Yamato-den (school) and increased the number of swordsmiths in the Yamato area.   As a result, the Yamato-den group became active again.  The Yamato-den style is somewhat similar to the Yamashiro-den.    

*Nanto Sohei (南都僧兵)—————-Since around the 11th century, Buddhist temples grew powerful under the protection of the Joko (retired emperors).  These temples had many sohei (low-level monks who also served as soldiers). When power struggles arose among the temples, sohei fought as their soldiers on the battlefields.  Nanto Sohei were such soldiers at Kofuku-Ji Temple (興福寺).  Several large temples, such as Todai-ji (東大寺) Temple, controlled the Yamato area.

Sugata (姿: Shape) —————- Not much difference in style during the early part of Yamato–den and Yamashiro-den.  Shinogi is high.  Mune is thin.   Some Yamato-den have a shallow sori (curvature).

16 Yamato sword cross section

Hamon (刃文：Tempered line) ——————Narrow tempered line.  Mainly nie (沸).  Chu-suguha-hotsure (中直刃ほつれ: a medium straight line with a frayed pattern), ko-choji-midare (小丁子: a mixture of small clove-like patterns and irregular wavy lines), ko-midare (小乱: small irregular wavy lines), ko-gunome-komidare (小五の目小乱: small continuous half-circles mixed with wavy lines). 

The main features of the Yamato–den style sword are masame (straight grain).  Its tempered line often shows nijyu-ha (double straight lines), hakikake (brush mark trace), uchinoke (a crescent-shaped line), or a combination of these.   See the illustration below.

 

Boshi (鋩子: Tempered line at Kissaki area) ———- In the boshi area, a straight grain hamon pattern appears.  Yakizume or kaen. (Refer to Chapter 12, Middle Kamakura period: Tanto).  O-maru, ko-maru, nie-kuzure.  (Refer to Chapter 14, Late Kamakura Period Sword.  See the illustration below.)

                                 

15 Omaru Komaru Niekuzure

Ji-hada (地肌)：Area between the shinogi and the tempered line)———— mostly masame-hada (straight grain pattern 柾目肌). Fine ji-nie, chikei, or yubashiri.  (Refer to Chapter 14, Late Kamakura Period Sword (鎌倉末太刀).  See below.)

16 Masame Hada

Nakago (Hilt) ———————– Often displays Higaki Yasuri (檜垣), the finishing file pattern, as illustrated below. 

16 Higaki Yasuri

Names of the Yamato School Sword-smiths

Taema(当麻) Group————–Taema Kuniyuki(当麻国行)　Taema Tomokiyo(当麻友清) Shikkake (尻懸) Group———————————————-Shikkake Norinaga (尻懸則長) Tegai (手掻) group ——————Tegai Kanenaga (手掻包永) Tegai Kanekiyo(手掻包清) Hoshou (保昌) group———Hosho Sadayoshi ( 保昌貞吉) Hosho Sadamune (保昌貞宗)

Yamato Senjuin Saya Enso (大和千手院沙弥円宗)  once my family sword

Yurie Endo 遠藤由利江 15|Late Kamakura period

14| Late Kamakura Period Sword (鎌倉末太刀)

0-timeline - size 24 Late Kamakura

The red circle above indicates the time we discuss in this section

The beginning of the Soshu style

A new sword style called Soshu-den appeared after the Mongolian invasion during the later part of the Kamakura period.  The Kamakura region became prosperous under the rule of the Hojo family (北条).  Many swordsmiths moved to Kamakura.  These included the Kunitsuna group (国綱)  from the Yamashiro area and Fukuoka Ichimonji Sukezane (福岡一文字助真) and Kunimune (国宗) from the Bizen area.  They are the originators of Soshu-den (相州伝).  A well-known swordsmith, Goro-Nyudo-Masamune (五郎入道正宗), emerged during this time.

15 Soshu sword with explanation

Sugata (Shape 姿) ——- O–kissaki (large kissaki: 大切先) and chu-kissaki (medium kissaki: 中切先).   The tip of the hi ends lower (see the illustration below).  Hamaguri– ha is no longer in style.  The body has become thinner.  The original length was approximately three feet or longer, but most were later shortened to two feet, three inches, or four inches.  The shortened sword is called o-suriage (大磨上).

15 Kissak shape of 4

14 Hi end lower

Hamon——————–Ｎarrow Hamon and wide Hamon.     

Narrow Hamon ——- A mix of Suguha (straight),  Ko-choji (small clove-like pattern), and Ko-gunome (small half-circle pattern).  Small Nie base. (shown below)

10 Nie & Nioi

Wide Hamon ——– Notare midare (wavy).  O-gunome.  Nie base.  Ashi-iri (short line toward the blade, the right drawing below). Inazuma (lightning-like line) or kinsuji (bright line) may appear on a tempered line.  However, inazuma and kinsuji require trained eyes to detect.  It is difficult for beginners to see inazuma or kinsuji.  

15 Late Kamakura Soshu Hamon

Boshi————The main body and boshi have the same type of hamon.  At the tip of the kissaki, angle it back slightly or yakizume.  You might also see o-maru (large round), ko-maru (small round), kaen (flame-like), or nie-kuzure.  Yakizume and kaen (Chapter 12).

15 three boshi name

Ji-hada (between the shinogi and the tempered line) ——-Strong ji-nie (地沸), which are sand-like small dots appearing on the ji (between the tempered line and the mune).  Yubashiri (a cluster of ji-nie), kinsuji (a bright, radiant line formed by nie), inazuma (a lightning-like irregular line), or chikei (similar to kinsuji) may appear on the ji-hada.

15 Yubashiri, Chikei, Inazuma

Late Kamakura Period Soshu School Sword Smiths

From Bizen————–Fukuoka Ichimonji Sukezane (福岡一文字助真) Kunimune (国宗 )   From Yamashiro ————————————–Toroku- Sakon- Kunituna (藤六左近国綱) 

The three swordsmiths mentioned above originated the Soshu-den (school) in Kamakura.  Later, Tosaburo Yukimitu and his son, the famous Goro Nyudo Masamune, emerged.

More  Soshu Den swordsmiths other than above

From Yamashiro (山城)———- Rai Kunitsugu (来国次), Hasebe Kunishige (長谷部国重) From Etchu (越中) province ———————Gou- no-Yoshihiro (郷義弘) Norishige (則重) From   Mino (美濃) province ——————————————-Kaneuji (兼氏) Kinjyu (金重) From   Chikuzen (筑前) province —————————————————-Samoji (左文字)

Goro Nyudo Masamune (正宗): his hamon is like ocean waves. (Sano Museum permission granted)        

Masamune  (政宗）                                          Yoshioka Ichimonji （吉岡一文字）

Once owned by my family

 
 
 
 
 
 
 
 

Yurie Endo 遠藤由利江 14| Late Kamakura Period

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, within the limited offshore area of Kyushu.  When the strong winds arrived, the ships swayed, collided, 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 retreat from Japan due to a typhoon and shipwrecks.   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 team fighting tactics were far more effective than the Japanese’s 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 most frequently damaged part was the kissaki.  Japanese soldiers primarily used ikubi-kissaki swords in this war.  An ikubi-kissaki tachi has a short kissaki.  When the damaged part 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 section).  The short ikubi-kissaki becomes even shorter, and the hi rises too high into the boshi area.  Aesthetically, this appears unattractive.  Functionally, it does not work well.  To fix this flaw, a new style started to emerge toward the end of the Kamakura period.

14 Ikubi kissaki Damadge

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

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 created a new style.  This marks the beginning of the Soshu–den (Soshu is the Kanagawa area today).  Many renowned swordsmiths appeared during this period.

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 5 to 6-minute walk from Kamakura train station. 

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

            with  Mr. Tsunahiro Yamamura                    Honkaku-Ji Temple

Yurie Endo 遠藤由利江 12| Ikubi Kissaki, Uncategorized

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 swords 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, these blades 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-kissaki.  Ikubi 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-choji.  Suguha-choji features a straight line combined 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)

     Osafune Nagamitsu(長船長光)    From Sano Museum Catalogue (permission granted)   

     Osafune Mitsutada(長船光忠)                          Osafune Mitsutada(長船光忠)                   

 Once my family sword.  My father did the calligraphy and took these pictures for himself. 

Yurie Endo 遠藤由利江 10 |Middle Kamakura Period ---Bizen School, Uncategorized

9 | Middle Kamakura Period: Bizen Den (鎌倉中期備前伝)

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

Many swordsmiths worked in the Bizen (備前) school during the early Kamakura period.  However, their sword style is generally somewhat similar to the Yamashiro style.  Therefore, they are called Ko-bizen (古備前), meaning old Bizen.

The true Bizen school style appeared during the Middle Kamakura period.  Bizen Province had many advantages for producing great swords.  The area produced high-quality iron and abundant firewood.  Also, its location was conveniently located for people to travel from different regions.  As a result, many swordsmiths gathered there and produced large quantities of swords.  Due to competition among these smiths, the quality of Bizen swords is generally higher than that of other schools.  Therefore, it is often difficult to appraise Bizen swords because of the many subtle differences among the different swordsmiths.

The following three features are the most distinctive characteristics of the Bizen school.  

1.   Nioi-base tempered line.  The Nioi-base tempered line has finer dots than the Nie-base.   These dots are so small that they almost appear as a line. Technically, the tempering processes of these two are identical.  See the illustration below.                        2.   Ji-hada (surface of the body) appears soft.                                                                  3.  Reflection (utsuri) appears on the surface.

10 Nie & Nioi

Sugata (shape) —The length is approximately 33 inches ± a few inches. The blade is slightly wide and appears sturdy. The curvature of the blade is koshizori (腰反), meaning the deepest curve is at the lower part.  The body has an average thickness, and the kissaki is small.

 10 Middle Kamakura ---備前刀姿

Horimono (engraving) ——Engravings are rare.  The tip of the hi extends all the way to ko-shinogi, filling the entire area.

8 Hi

Nakago ——– Long and thin with a curve. The end of the nakago is rounded and resembles the bottom of a chestnut (kuri).  This shape is called kurijiri.   Refer to the illustration of the sword above.

Hamon (tempered area pattern)—— Nioi base. The tempered area is wide and consistent width.  The size of the midare (irregular wavy tempered pattern) is uniform.

Boshi ——– The same tempered pattern continues upward to the boshi area, and it often shows choji- midare (clove-shaped wavy pattern) or yakizume.

10 Boshi --- Bizen

Ji-hada ———— Fine and well forged.  The steel appears soft.  On the steel surface,  small and large wood-grain patterns are mixed.  Chikei (condensation of nie) and utsuri (cloud-like reflection) appear.

Bizen School Sword Smiths during Middle Kamakura Period

  • Fukuoka Ichimonji (福岡一文字) group ————-Norimune (則宗)  Sukemune (助宗) 
  • Yoshioka Ichimonji (吉岡一文字) group ——–Sukeyoshi (助吉) Sukemitsu (助光)        
  • Sho-chu Ichimonji (正中一文字) group —————Yoshiuji (吉氏)   Yoshimori (吉守)     
  • Osafune (長船) group ———–Mitsutada (光忠)  Nagamitsu (長光) Kagemitsu (景光)   
  • Hatakeda(畠田) group ————————————-Moriie (守家)  Sanemori (真守)  
  • Ugai (鵜飼) group ————————————————- Unsho (雲生) Unji (雲次)

              9 Middle Kamakura Bizen Fukuoka ichimonji 

Fukuoka Ichimonji (一文字) from “Nippon-to Art Swords of Japan”                                     The Walter A. Compton Collection