My Yamato Sword (大和所有刀剣)

Chapter 16|The Revival of Yamato Den(大和伝復活)and  Chapter 51| Part 2 of —– 16 The Revival of Yamato Den (大和伝復活) was the discussion about Yamato-Den.  It may be appropriate to show my Yamato sword here.  I obtained this sword at the yearly San Francisco swords show a few years back.

Characteristic:  Munei (cut short and no signature).  Yamato Den, Tegai-ha (Yamato school Tegai group).  Length is 2尺 (shaku) 2寸(sun) 8 1/2 分(bu) —27&1/4 inches.  Very small Kissaki and Funnbari.  This shape is typical of the end of Heian to early Kamakura period though nobody said so.

my-yamato-sword-e1555694162999.jpg

 

The Entire view of the sword and Kantei-Sho (NBTHK* Paper).  It is ranked “Tokubetsu Hozon Token”.  * Nihon Bijutsu Token Hozon Kyoukai (日本美術刀剣保存協会)

My Yamato sword 4

My Yamato sword.jpg 2

My Yamato sword 3

My Yamato sword 5

On Hamon, Sunagashi, Nijyu-ba shows very faintly.   I could not take a good photo of boshi.  But it is Yakizume like.  Ji-Hada is Itame with faint Masame, almost Nashiji-Hada (possibly because of my eyes).  Nie-Honni . 

 

51| Part 2 of —– 16 The Revival of Yamato Den (大和伝復活)

This chapter is the continued part of chapter 16|The Revival of Yamato Den (大和伝復活 .   Please read chapter 16 before reading this chapter.

51 Japan map Yamato

At the end of the Kamakura period, in the Yamato area, powerful temples expanded their territory.  They had the political and military power to control the area.  Especially a few powerful temples owned a large territory.   They were called Shoen (荘園).  The demand for the Sword increased by warrior monks called Sohei (僧兵).  That started the revival of Yamato school.  Some of the big temples had their own swordsmiths within their territory.  Todaiji-temple (東大寺) backed Tegai (手掻 ) group.  Senjuin (千手院 ) group lived near Senju-Do (千手堂 ) where Senju Kannon (千手観音 ) was enshrined.  The name of the Taima group came from Taima-Ji temple (当麻寺).  Shikkake group (尻懸 ) and Hosho group (保昌 ) as well.  Those five groups are called Yamato Goha  (Yamato five groups).

General Characteristic of Yamato Den

Yamato Den (大和伝) sword always shows Masame (柾目, straight grain like) on somewhere on Ji-Hada,  Jigane or Hamon.   Please refer to the 16 Revival of Yamato Den (大和伝復活) for its general characteristic.  Masame is sometimes mixed with Mokume (burl like) or Itame (wood grain like).  Either way, Yamato sword shows Masame somewhere.  Some sword shows Masame entirely or some shows a lesser amount.  Because of that, Hamon tends to show Sunagashi (brush stroke like) or a double line like Hamon called Nijyu-ha.

Taima or Taema group (当麻 )

  • Shape —– Middle Kamakura period shape and Ikubi Kissaki style
  • Hamon —–Mainly  Medium Suguha.  Double Hamon.  Suguha mixed with Choji. Shows Inazuma, Kinsuji, especially under Yokote line Inazuma appears.
  • Boshi —– Often Yakizume. Refer Yakizume on 16 Revival of Yamato Den (大和伝復活)
  • Ji-Hada Ji-Tetsu —– Small wood grain and well knead surface.  At the top part of the sword, wood grain pattern becomes Masame.

 Shiikkake Group (尻懸  )

  • Shape —– Late Kamakura period shape. Refer 15 Late Kamakura Period Sword
  • Hamon —– Mainly Nie (we say Nie Honni). Medium suguha frayed, mixed with small irregular and Gunome (half circle).  Double lined, brush stroke like pattern.  Small Inazuma, Kinsuji
  • Boshi —– Yakizume, Hakikake (swept trace by broom) and Ko-maru ( small round)
  • Ji-Hada, Ji-Gane —– Small burl mixed with Masame.  Shikkake group sometimes shows Shikkake Hada.  That is,  Ha side shows  Masame and Mune side shows burl.

Tegai Group ( 手掻 )

  • Shape —– Early Kamakura Thick Kasane (body).  High Shinogi.  Koshizori.
  • Hamon —– Narrow tempered line with medium Suguha Hotsure (frayed Suguha).  Mainly Nie.  Double tempered line. Inazuma, Kinsuji shows.
  • Boshi —– Yakizume (no turn back ), Kaen (flame like).
  • Ji-Hada Ji-Gane —– Fine burl mixed with Masame.  

 

51 Kanenaga photo Yamato51 Kanenaga ilustration Yamato

Tegai Kanenaga of Yamato.  From Sano Museum Catalogue (permission granted)

The illustration shows Notare (wave-like Hamon) and Suguha Hotsure (frayed Suguha) and Kinnsuji.

Example of Kantei process how to figure out the maker of the sword using the above photo

  • To determine Jidai (time) by Sugata (shape) —-—-Heian (possible),  Early Kamakura (possible),   Middle Kamakura (possible),  Late Kamakura (possible),  Nanboku – Cho (unlikely),  Muromachi (possibly No),   Sengoku (possibly No),  Shinto ( possibly No),  Shinshin-To (No)
  • To judge from Hamon (actual view shows Masame)——-Yamashiro-Den (possible),  Yamato-Den (very possible),  Bizen-Den (unlikely possible),  Soshu-Den (unlikely possible),  Mino- Den (No)
  • Jihada (actual view shows Nie a lot) —–Yamashiro-Den (possible),  Yamato-Den (very possible),  Shoshu-Den (unlikely possible),  Bizen-Den (unlikely ),  Mino-Den (unlikely)

By looking at the bold letter above, analyzing the above information, you conclude and come up with the name of the swordsmith.  In reality, to Kantei, bring more checkpoints and come up the name.

 

50|Part 2 of —– 15|Late Kamakura Period Sword

This chapter is the detailed part of chapter 15| Late Kamakura Period Sword.  Please read chapter 15 before this section.

14 Ikubi kissaki Damadge

As I explained in chapter 14 Late Kamakura Period History (鎌倉後期), Ikubi Kissaki sword shows a flaw (above illustration) when the damaged area was repaired.  To compensate for this flaw, in Late Kamakura Period, swords smiths started to forge swords with longer Kissaki and a tip of Hi ends lower than Yokote-line.  So that in case the Yokote-line was lowered after the repair, Hi does not go higher than Yokote-line

15 Masamune (Sano)15 Masamune hamon (Sano)

Above photo is Goro Nyudo Masamune( 五郎入道正宗 ).  Please look at the size and shape of Kissaki.  This is definitely different than previous Ikubi Kissaki, or Ko-Gissaki.  This is a typical late Kamakura period Kissaki style.  This is O-Suriage (largely shortened).  Under Kamakura Bakufu, many swordsmiths moved to Kamakura.  They were Toroku Sakon Kunituna (藤六左近国綱 ) of Yamashiro Awataguchi  group(山城粟田口),  Fukuoka Ichimonji Sukezane (福岡一文字助真) and Kunimune (国宗 )of Bizen area.  They are the origin of Soshu-Den (相州伝).  Eventually, Tosaburo Yukimitsu (藤三郎行光)  appeared and his son is the famous Masamune (正宗)On the illustration above, Kinsuji, Inazuma is shown inside the Hamon.  The clear line inside the Hamon is Inazuma and Kinsuji.  Kinsuji, Inazuma are the collection of Nie looks like a line.  Masamune is famous for Inazuma, Kinsuji.  Masamune lived in Kamakura, his Hamon looks like an ocean wave when it is viewed sideways.

50 part 2 of 15 吉岡.photo50 part 2 of 15 吉岡

The above picture is Yoshioka Ichimonji (吉岡一文字).  Kissaki is also like the one of Masamune.  It is longer than previous Ikubi Kissaki or Ko-Gissaki.  This is Chu-Gissaki.  Kissaki like this is the important point to determine what period the sword was made.  Hamon has Choji, Gunome, Togariba (pointed tip), very tight Nie.

 

50 part 2 of 15 運生 photo50 part 2 of 15 運生 

Above photo is Ukai Unsho (鵜飼雲生).  This is also the sword from the late Kamakura period.  But it has Ko-Gissaki.  This sword does not have the late Kamakura period Chu-Gissaki style.  Narrow Hoso-Suguha is somewhat like earlier time than the late Kamakura period.  I chose this sword here to show that the sword does not always have the style of that period.  To Kantei*, first, look at the style and shape and give yourself some idea of the period of the time you think it was made.  But in this case, Kissaki does not indicate late Kamakura periodNext thing to do is to look at the different characteristic of the sword one by one like Hamon, Nie or Nioi, Jihada, etc,  and determine what period, which Den, which province and finally come up with a swordsmith’s name.  This process is called Kantei.

*Kantei – – – – – – to determine the name of the swordsmith by looking at the characteristic of the sword without looking at the Mei (inscription).  Mei is not always there either because it is shortened or some other reasons.

All the photos above are from Sano Museum Catalogue.  Permission to use is granted.

48|Part 2 of —– 13|Middle Kamakura Period Tanto 鎌倉中期短刀

This chapter is a continued part of Chapter 13 Tanto Middle Kamakura PeriodPlease read Chapter 13 before you read this section.  13|Tanto ( 短刀) Middle Kamakura Period

As Chapter 13 described, during middle Kamakura period, the shape of Tanto is called Takenoko zori . That means the tip of Tanto curves inward a little.  The drawing on Chapter 13 is a little exaggerated to show the curve.  Refer 13|Tanto ( 短刀) Middle Kamakura Period.   But the real Tanto is not so obvious. Maybe a few millimeters.   Usually, the length of the Tanto is approximately 12 inches or less.  10 inch Tanto is called Jyosun (定寸 ), longer than that is called Sun-nobi (寸延び ), and less than that is called Sun-zumari (寸詰り )

 

13 «Part 2» Tanto photo 

The above photo is Tanto by Shintogo Kunimitsu (新藤五国光). This style is called Kanmuri Otoshi.  That means the steel of Mune side (opposite side of cutting edge)  is shaved off. The length is approximately 10 inches.  Wood grain surface, Nie on Ji (refer to the name of the parts 4 |Names of Parts ).  Very finely forged.  Hamon is medium Suguha (straight).  Boshi is Ko-maru (small round).  Because of the Kanmuri-Otoshi style, it may not be easy to see the Takenoko-zori, the Mune side bend inward very slightly.  Among Tanto producer, Shintogo Kunimitsu is considered the top Tanto Maker.

 

13 «Part 2»Tanto photo with Saya

Above photo is the same Shintogo Kunimitsu with Saya.  Saya is a scabbard.  The top white handle part is made with Sharkskin.  Both photos are from Sano Museum Catalog.  Permission granted.

 

 

 

47|Part 2.5 of —–12|Ikubi Kissaki(continued)

Continued from Chapter 46

Bizen Saburo Kunimune (備前三郎国宗)

Another swordsmith needs to be mentioned in this section is Bizen Saburo Kunimune (備前三郎国宗).  In middle Kamakura period, the Hojo clan invited the top swordsmiths to Kamakura area.  Awataguchi Kunitsuna (粟田口国綱) from Yamashiro Kyoto, Fukuoka Ichimonji Sukezane  (福岡一文字助真) from Bizen area, Bizen Kunimune (備前国宗) from Bizen area moved to Kamakura together with his group of people.  Those three groups started the Soshu Den (相州伝).  Refer to 14|Late Kamakura Period History (鎌倉後期)

Sugata (shape)  —– Ikubi Kissaki style.  Sometimes Chu-Gissaki.    Thick body.  Narrow Shinogi width.  Koshi-Zori

Horimono (Engravings)  —– Often narrow Bo-Hi ( single groove)

Hamon (Tempered line) —– O-Choji Midare (large clove irregular) with Ashi.  Or Ko-Choji Midare (small clove irregular) with AshiNioi base with Ji-Nie (Nie in the Hada area).  Some top of the Hamon is squarish with less Kubire ( less narrow at the bottom of the clove).  Hajimi ( rough surface).  Also, he did as follows — Lower part shows Choji, the upper part shows less work without Ashi. 

12 «Part 2» 国宗刃紋 佐野

Kunimune Squarish Kawazuko Choji Hamon (Sano Museum Catalog permission granted)

 

Boshi  —– Small irregular.  Yakizume or short turn back.

Jitetsu —–Woodgrain.  Fine Jitetsu with some Ji-Nie (Nie inside Jihada).  Midare Utsuri (irregular shadow) shows.  A few Hajimi (rough surface).

12 «Part 2» 国宗  

Above photo is Kunimune   (国宗 Sano Museum Catalog, permission granted)  Even though Kunimune is famous for Ikubi Kissaki,  and this is the chapter for Ikubi Kissaki, this one is Chu-Gissaki.

 

12 (second part 2) 照国神社

Above photo is a picture from the official site of Terukuni Shrine in Kyushu.  You can go the site by clicking,  http://terukunijinja.pkit.com/page222400.html

Above photo is the National treasure Kunimune of the Terukuni Shrine in Kagoshima prefecture.  This Kunimune sword was lost after WWII.  The chairman of the Board of Miles Laboratory in Elkhart Indiana, Dr. Compton found this sword in an antique store in Atlanta.  Alka Seltzer is one of the well-known products among many of their products.  He was deeply into the sword collection and knew a lot about the Japanese sword.  When he saw this sword, he realized this is not just an ordinary sword.   He bought it and inquired to the Nihon Bijutu token Hozon Kyokai (Sword museum).  It turned out to be the famous missing National treasure of Kunimune of Terukuni Shrine.  He returned the sword to Terukuni Shrine without compensation in 1963.  My father became a friend of his around this time through Dr. Homma and Dr. Sato ( leading sword experts).  Since then, the Compton family and my family became close friends.  Dr. Compton asked Dr. Honma and my father to come to the US and examine his swords in his house (he had about 400 swords)  and swords of New York Met, Philadelphia Museum and the Boston Museum.  My father wrote about this trip and the swords he examined in those museums and published the book in 1965; the title is “Katana Angya (刀行脚)”. Since then, we visited his house and they visited our house more frequently.   Around this time must be the best time of his life for Dr. Compton and for my father.  Both of them could spend time on their interest and having fun.  It was the best time of my life too.

One time when I visited his house, he showed me his swords in his basement for hours almost all day.  His house was really huge and the basement he built as his study room was with fire prevention and had great lighting.   It was really nicely done and functioned correctly as the storage place for his many art objects.   Then his wife, Phoebe said to Compton that he cannot keep a young girl (I was a college student) in the basement all day long and looking at the swords.  He agreed and then he took me to his cornfield to pick some corns for dinner.  The basement to a cornfield, not much improvement?  So his wife Phoebe said that she will take me shopping and lunch in Chicago.   That is good,  but too far.   The distance between Elkhart and Chicago is about two hours by driving a car, too far just for shopping and lunch.  To my surprise, we got on the company private airplane to fly to the top of the roof of the department store then do the shopping and lunch, came back with the same private airplane.

Miles Lab. and Sankyo, a Japanese large pharmaceutical company had a business tie-up as Miles-Sankyo Pharmaceutical Company then.   Dr. Compton used to come to Japan quite often, officially for business purpose.  But whenever he came to Japan he used to spend many days with sword people and I used to follow my father.  One of the female workers of Miles-Sankyo, her job was to translate the sword book into English.  My parent household was filled with Miles-Sankyo products.  Miles Lab. had a big research institute in Elkhart Indiana.  I visited several times there.  One day I was sitting with Dr. Compton in his office, looking into the sword book with our head together.  That day, a movie actor John Forsythe was visiting the research lab.  He was the host of the TV program the Miles Lab was sponsoring.  All the female employees were making a big fuss over him.  Then he came into the Compton’s room to greet him thinking the chairman must be sitting on his big chair at his desk looking like a chairman.  But he saw Compton looking into the sword book with his head against my head.  The appearance of Dr. Compton was just like any chairman of the board of a big company one can imagine, and I was a college student looking like a college student.   John Forsythe had a strange expression that he did not know what to think of what he was seeing.

29|Seven Main Areas of Sin-To Sword (partB)

27 Shinto time line
    The circle indicate the subject of this chapter

28 map with number

 2  Settu (摂津 ) at Osaka ( 大阪 )

Settu, Osaka created more Wakizashi than Katana. They tend to make slightly Sakizori ( outward curvature above half way) and slightly stretched BoshiSettu Osaka sword also has Yakidashi like the previous Yamashiro Kyoto sword, except the area where Suguha changes to Notare (wavy pattern) is smooth.  This is called Osaka Yakidashi.  Illustration below.

Osaka Boshi—– Hamon continues up to Yokote line, then Komaru with a turn. Jitetsu —–Very fine, almost solid like surface especially Shinogi-ji (the area between ridgeline and back) is solid like surface.  This is called Osaka-Tetsu (iron)

29 Osaka Yakidashi Komaru Boshi

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

img073

Awataguchi Ikkanshi Tadatsuna (粟田口一竿子忠綱 ) Previousely family owned

 

3.Musashi ( 武蔵 ) at Edo ( 江戸 )

Both Katana and Wakizashi have shallow sori (less curvature).  Often top area tends to narrow down.  Often but not always, unlike Settsu or Yamashiro, Hamon starts out the same design as the rest of the entire design except a little bit gentler.  Boshi is the same as Kyo-Boshi.  Jitetsu is almost the same as Kyoto.  Masame shows on Shinogi-ji.

Well known swordsmiths in Musashi area are Nagasone-Okisato-nyudo-Kotetsu (長曽根興里入道虎徹), Noda Hannkei (野田繁慶  ).

img070

Nagasone-Okisato-nyudo-Kotetsu (長曽根興里入道虎徹) Previously family owned

4. Echizen ( 越前 ) and Kaga (加賀 )

Many sword makers of Echizen and Kaga moved from Mino (美濃 )area.  Their style of Echizen Yasutsugu  is similar to Mino style.  Because of that, the sword made in this area are called Echizen- Seki, and Kaga-Seki. (refer to 24|Sengoku Period (戦国) Sword. )

Well known swordsmith in Echizen is Echizen Yasutsugu (越前康継 )

5.  Hizen (肥前)

Both Katana and Wakizashi have well-balanced shape. Hizen area tends to make a sword with Chu-Suguha-Hoture (medium width straight Hamon with the frayed look) with fine Nie (沸). Boshi has a standard and ordinary clean line with the tempered line of uniform width. Shinto sword with Chu-Suguha is often made by Hizen Tadayoshi (肥前忠吉). Very fine Ji-tetsu (surface), sometimes called Nukame-Hada.

29 Hizen Tadayoshi Boshi

Well known swordsmith in this area is Hizen Tadayoshi ( 肥前忠吉)

 

6.  Satsuma (薩摩 )

The sword made in Satsuma has a sound shape on both Katana and Wakizashi. Kissaki (the point area) is stretched. Yakidashi (a few inches of the tempered area above Machi ) is small irregular that is similar to Koto. Hamon is O-midare with coarse Nie. Togari-ba (pointed design) appears with coarse Nie. Mino school often have Togari-ba. One of the characteristics of this region is Satsuma-nie. It means that the coarse Nie around Hamon continued into Ji-hada area.  Inside Hamon, sometimes shows a thick line shaped like lightning.  This is called Satsuma-no-Imozuru (sweet potato vine of Satsuma). This is the biggest characteristic of Satsuma sword. Boshi has a narrow tempered line with the small irregular pattern, similar to Koto, this is called Satsuma-Boshi. On  Jitetsu (surface) Satsuma-gane (薩摩金) sometimes shows that is a dark line like Chikei .

29 Satsuma Togari-ba

Well know swordsmiths of this area are Izunokami Masafusa (伊豆守正房  ),  Ichinohira Masayoshi ( 一平安代 ), Mondonosho Masakiyo (主水正正清 )

25|Sengoku Period Tanto (戦国時代)

23 time line Sengoku Period

The circle indicate the time we are discussing in this section

25 Chukanzori Tanto

Chukan-zori (中間反り)————— The back of Tanto is straight.  Unlike Takenoko zori, Chukan-zori does not bend forward, or does not bend outward.    Hamon (刃文) Tempered line———–Sanbon-sugi (三本杉),  O-notare (大湾),  Yahazu-midare (矢筈乱), Hako-midare (箱乱),  Gunome-choji (五の目丁子),  Chu-suguha (中直刃).    Carving (彫物) —————Often grooves

 

24 Sannbon sugi,hako, yahazu, O-midare)

Tanto Length ———————— Tanto is one Shaku (12 inches ).  Standard size Tanto is called Josun Tanto. This is 8.5 Shaku (about 9 inches).  Longer than Josun is called Sun-nobi Tanto (寸延) Tanto.  Shorter than Josun is called Sun-Zumari Tanto (寸詰).

Takenoko-zori Josun (筍反定寸)  ———– This type of Tanto is made during Sengoku Period looks like Rai Kunimitsu of Yamashiro-den.   Hamon (刃文)———–Hoso-suguha (細直刃).  You see Katai-ha somewhere.  Below illustration.  Masame- hada appears Mune side.   Jitetsu (地鉄)———Whitish surface and sometimes Shirake –Uturi that is the whitish faint cloud-like effect on jitetsu.

 13 Middle Kamakura Period Tanto24 Suguha katai-ha

Sunnobi-tanto (寸延短刀)———-Looks like the one from the end of Soshu-Den. You may see Hitatsura at Sakizori area.  The condition of the Hitatsura shows on the lower part of Tanto, less on the upper part.

25 Sun-Nobi Tanto25 Hitatsura

Hirazukuri Takenokozori- Sunzumari-Tanto———–This is a unique Tanto for Sengoku-period.   Hirazukuri is flat sided sword without a Shinogi, Yokote line, or obvious Kissaki.   Takenoko-zori is the shape of the bamboo shoot, that means the back of the sword bends inward.   Sunzumari is shorter than 9 inches long (shorter than 8.5 shaku, 25 cm).  The width of the lower part of the blade is wide and thick, the width of the tip is narrow and thin.  It has sharp look.  Carving(彫物) ———Deeply carved Ken-Maki-Ryu (a dragon wrapped around a spear).   Hamon (刃文)———–Tempered line is wide.   Nioi base.  Irregular Hamon or wide Suguha (straight) and Chu-Suguha (medium straight).  Return is deep.    Jitetsu (地鉄)——fine and wood burl.

Moroha-Tanto (諸刃短刀)—————-Double-edged blade with a Hamon on both edges. Often Bonji (Sanscrit) is engraved.   About 9 inches long.   Hamon (刃文) ———Tempered line is wide.   Nioi base.  Irregular Hamon or wide Suguha ( Straight) and Chu-Suguha (medium straight).  Return is deep. Jitetsu地鉄——- Fine and wood burl.

25 Moroha Tanto
Moroha Tanto

 

 

20 | Nanboku-Cho Tanto(南北朝短刀)

18 Nanbokucho time line

The circle indicates the time we are discussing in this section

The type of Tanto during Nanboku-Cho Period was called  Hirazukuri-Kowakizashi-Sunnobi- Tanto.   Hirazukuri means flat sword without Yokote line and without Shinogi. Ko-Wakizashi means shorter sword. Sunnnobi Tanto means longer Tanto. This is called Enbun Jyoji Kowakizashi Tanto.  Because the majority of this type of shape was made around Enbun, Jyoji Imperial era.  Each time the Emperor changed, Japan changed the names of the era.  Enbun was from 1356 to 1361, Jyoji was from 1362 to 1368.

20 Enbun Jyoji Kowakizashi Tanto

Shape (Sugata 姿) ——-Usually approximately 1 foot 1 or 1 foot 2 inches long.  Sakizori (curved at the top.  Look at the illustration above).  Wide width and thin body.  Fukura Kareru (No Fukura). Shin-no-Mune.

20 Fukura20 Shin-no-Mune

Hi, Horimono (Goove and engraving 樋, 彫刻) —– Groove on Mune side.  Bonji (sanscrit, refer 17 Bonji Suken), Koshi-bi (Short goove) and Tokko- tsuki Ken, or Tumetuki Ken (see below). Ken (spear) was curved wide and deep at the upper part, lower part was curved shallow and narrower.  This is called Soshu-bori.

20 Tokko, tume Ken

Hamon (Tempered line) —– Narrow tempered area at the lower part, it gradually grows wider as it goes up higher then it becomes Bodhi design.  Hamon in Kissaki area is Kaeri Fukashi (turn back deep) as the illustration below.  Coarse Nie. O-Midare (large irregular pattern).

20 Hitatsura

From Sano Museum Catalogue (permission granted)

 

Jitetsu or Jihada —– Loose wood grain pattern called Itame.  Yubashiri (refer 17 Yubashiri, Chikei.jpg), Tobiyaki (Irregular patches of tempered metal) appears.  Crowded Tobiyaki is called Hitatsura (illustration above).

Nakago (Tang) —- Short Tanago-bara.

20 Tanago Bara

Sword-smiths during Nanboku-Cho Period Soshu Den(school)

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 ) Arima Province ——————————————————Hojoji Kunimitsu (法城寺国光 )

20 Hiromitu (Sano Museum)

19|Nanboku-Cho (North and South dynasty) Period Sword

18 Nanbokucho time line

                           The circle indicate the time we are discussing in this section

During Nanboku-Cho period, Samurai demanded large, elaborate and practical swords. Soshu Den style — elaborate, large, and impressive  —became the most popular style. Nanboku-Cho period was the height of the Soshu Den.  Many sword smiths moved to Kamakura and forged Soshu Den style swords.  Other schools and provinces also made Soshu Den style swords in their own places.

19 Nanboku-cho Sword style

 

Shape (Sugata 姿)—-Originally the length of the swords were 3, 4, 5, feet long, but shortened to approximately two and a half feet in the later time. Shortening a sword greatly is called O-Suriage.  Nanboku-Cho sword has a shallow Kyo-zori (also called Torii-zori) shape (refer 6. Heian period)highest curvature comes around the center of the body.  Wide body, high Shinogi, and narrow Shinogi-Ji (refer 4 Names of parts) and thin body.  High Gyo-no-Mune or Shin-no-Mune, sometimes Maru-Mune (round back).

19 Nanboku-cho 3 kinds Mune

Hi, Horimono (groove and engraving 樋, 彫刻)—– On Shinogi-Ji (refer 4 Names of parts) area, often appears Bo-hi (one groove), double hi, Bonji (Sanscrit), spear, Dragon engraved

9 Hi, Suken, Bonji

Hamon (Tempered line) —– Lower area of the body shows narrow tempered line, higher area of the body shows wider showy tempered line.  Course Nie.  O- Midare (large irregular), Notare-Midare (wavy irregular), Gunome-Midare (repeating pattern of half circular and irregular mix).  Inazuma, Kinsuji (refer 15 Late Kamakura Period sword) action appears

 

19 Hamon Notare 319 Mamon choji gunome

*From Sano Museum Catalogue ( Permission granted).

 

Jitetu or Jihada (between tempered line and Shinogi) (4 Names of parts)——Wood grain pattern (Itame 板目). Tobiyaki (patchy tempered spot in jihada) appears.

Boshi, Kissaki —– O-Kissaki (Stretched long Kissaki). Fukura kareru (no Fukura). Midare-Komi (tempered line continues into Boshi), with kaeri fukashi (look at the illustration above),  sometimes Ichimai (tempered entire Boshi).  Look at the above illustration.

Sword-smiths during Nanboku-Cho Period Soshu Den (school)

From Soshu————————————————————Hiromitu (広光) Akihiro (秋広  ) From Yamashiro ————————————————–Hasebe Kunishige (長谷部国重)  From Bizen (called So-den Bizen)————-Chogi (長儀 )group, Kanemitu (兼光 ) group From Chikuzen —————————————————————Samoji (左文字 ) 19 Chogi photo from Sano book

16|The Revival of Yamato Den (大和伝復活)

15TimelineThe circle represents the time we are discussing in this section

Yamato province (Present Nara prefecture) is the area where sword making first started originally.  It is said that it was during the Nara period (710 to 704).  In early days, they forged swords with their primitive skills.  A large number of swordsmiths lived in the Yamato area at the beginning of the sword making but later time, they became less active.  Yamato Den style is somewhat similar to that of Yamashiro Den (School) which I described in the chapter of Late Heian to early Kamakura period.  At the end of the Kamakura period in the Yamato area, there were several powerful temples existed.  They had a strong political power and military power to control a large territory called Shoen (荘園) with their large number of worrier monks called Sohei (僧兵).  The most powerful group were called Nanto Sohei (南都僧兵)*.   Nanto Sohei and other Sohei (僧兵) of the other temples demanded more and more swords to arm themselves.  This high demand of the swords from Sohei revitalized the Yamato Den (School) and led to increase in the number of the swordsmith in Yamato.   As a result, Yamato School became active again.

*Nanto Sohei (南都僧兵)———Since around the 11th century, Buddhist temples became powerful under the protection of JoKo (former Emperor).  Those temples had a large number of Sohei  (low-level monks who also acted as soldiers) under them.  In the case when power struggles between the temples occurred, Sohei went to fight as a soldier in the battlefields.  Nanto Sohei were monk soldiers of Kofuku-Ji temple (興福寺).  Several large temples like Todai-Ji (東大寺) temple and other temples controlled the Yamato area.

Shape(Sugata姿) —————-1. Graceful Yamashiro style retained. 2. Shinogi is high.  3. Mune is thin.  4. Some group of Yamato school has shallow Sori (curvature).

16 Yamato sword cross section

Hamon (Tempered line)——-Narrow tempered line. Nie base (沸). Chu-suguha-hotsure (frayed medium straight 中直刃ほつれ), Ko-choji-midare (small clove-like pattern and irregular mixture 子丁子乱), Ko-midare ( fine irregular子乱), Ko-gunome-komidare (small irregular continuous half circle 小五の目小乱).  The main characteristic of Yamato school sword is Masame (straight grain), therefore, the tempered line often shows double straight line called Nijyu-ha, Hakikake (brushed sand) and Uchinoke (Crescent-shape line).

16 Hamon Yamato

Boshi (鋩子)———-Inside the Boshi area, straight grain pattern also appears. Yakizume, Kaen(refer 13 Tanto Middle Kamakura period), O-maru, Ko-maru, Nie-kuzure (refer 15 Late Kamakura Period)

13 Hamon and Hi15 O-maru Ko-maru Niekuzure

 

Jihada or Jitetsu (the area between shinogi and hamon )——Mostly Masame hada (straight grain pattern 柾目肌). Fine ji-nie, Chikei, and Yubashiri shows (refer 15 Late Kamakura Period).

16 Masame Hada

Nakago (Hilt)——————Often shows the finishing file design as shown below which is called Higaki yasuri (檜垣)

16 Higaki Yasuri

Names of the Yamato School Sword-smiths

Taima(当麻) Group————–Taima Kuniyuki(当麻国行) Taima 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 Sadamune (保昌貞宗)Hosho Sadayoshi ( 保昌貞吉)

16 Shaya Ensou