Yurie Endo 遠藤由利江 67|Part 2 of - - -31|Shin-Shin-To (Bakumatsu Period Sword) 1781-1867, Uncategorized

64| Part 2 of –30 Shin Shin-To : Bakumatsu sword (新々刀)

This Chapter is a detailed Chapter of the 30|Bakumatsu Period, Shin Shin-to.  Please read Chapter 30 before reading this chapter.

0-timeline - size 24 Bakumatsu

                  The circle Above indicates the time we discuss in this chapter.

Swords made between the Tennmei era (天明 1781) and the end of the Keio era (慶應) are called shin shin-to.  Please refer to the timeline above.  This period was when Japan was moving toward the Meiji Restoration, known as the Bakumatsu era.  During this time, sword-making became active again.  Below are the well-known swordsmiths from the main areas.

Musashi no Kuni  (武蔵の国: Tokyo today)                                                       

Suishinshi Masahide (水心子正秀) ——— When Suishinshi Masahide made Yamashiro-den style swords, their shapes resembled those of ko-to period swords; funbari, an elegant shape; chu-suguha (medium straight); komaru-boshi, with fine wood grain. When he forged in the Bizen style, he made a Koshi-zori shape, similar to a ko-to made by Bizen Osafune.  Nioi with ko-choji, and katai-ha (refer to  30| Bakumatsu Period Sword 新々刀).  In my old sword textbook, I noted that  I saw Suishinshi in November 1970 and October 1971.

Taikei Naotane (大慶直胤) ————————–Although Taikei Naotane was part of the Suishinshi group, he was one of the top swordsmiths.  He had an exceptional ability to forge a wide range of sword styles beautifully.  When he made a Bizen-den style, it resembled Nagamitsu from the Ko-to era, with nioi.  Also, he did sakasa-choji as Katayama Ichimonji had done.  Katai-ha appears.  The notes in my old textbook indicate I saw Naotane in August 1971.

Minamoto no Kiyomaro (源清麿) ————————– Kiyomaro wanted to join the Meiji Restoration movement as a samurai; however, his guardian recognized Kiyomaro’s talent as a master swordsmith and helped him become one.  It is said that because Kiyomaro had a drinking problem, he was not very eager to make swords.  At age 42, he committed seppuku.  Kiyomaro, who lived in Yotsuya (now part of Shinjuku, Tokyo), was called Yotsuya Masamune because he was as good as Masamune.  His swords featured wide-width, shallow sori, stretched kissaki, and fukura-kereru.  The boshi is komaru-boshi.  Fine wood grain ji-gane.

Settsu no Kuni   ( 摂津の国:  Osaka today)

Gassan Sadakazu (月山貞一) ———- Gassan excelled in the Soshu-den and Bizen-den styles, but he was capable of making in any style.  He was as much a genius as Taikei Naotane.  You must pay close attention to notice a sword made by Gassan from genuine ko-to.  He also had remarkable carving skills.  His hirazukuri-kowakizashi, forged in the Soshu-den style, looks just like a Masamune or a Yukimitsu.  He forged in the Yamashiro-den style, with Takenoko-zori, hoso-suguha, or chu-suguha in nie.  Additionally, he forged the Yamato-den style with masame-hada.

 

 

Yurie Endo 遠藤由利江 １０｜«Part 2»　Middle Kamakura Period ---Bizen-Den, Uncategorized

42|Part 2 of — 9 Middle Kamakura Period : Bizen Den (鎌倉中期備前伝)

This chapter is a detailed part of Chapter 9.  Please read 9 | Middle Kamakura Period (Bizen Den) 鎌倉中期備前伝  before reading this chapter.

0-timeline - size 24 Middle Kamakura

                         The red circle indicates the time we discuss in this section

The middle Kamakura period marked the height of the Bizen-den.  In many regions outside Bizen, sword styles often reflected local preferences and politics in specific areas.  However, the Bizen sword has its own style and has not been significantly influenced by these elements throughout time.  The clients of Bizen swords come from across the country.  Therefore, Bizen swordsmiths created swords that appealed to everyone. 

The general style of Bizen Den

  • In general, their style appeals to everyone.
  • The shape, the width of the blade, the thickness of the body, and the tempered line are of standard size or usual design, rarely out of the ordinary.
  • Nioi base
  • Soft feeling Ji-gane (steel)
  • Utsuri (cloud-like shadow) appears.
  • The tempered line tends to have a consistent width, neither too wide nor too narrow.

Fukuoka Ichimonji group

 Names of swordsmiths among the Fukuoka Ichimonji group

Fukuoka Ichimonji Norimune (福岡一文字則宗) and Fukuoka Ichimonji Sukemune (福岡一文字助宗) were the leading swordsmiths of the Fukuoka Ichimonji group (福岡一文字).   From this group, six swordsmiths, including Norimune and Sukemune, received the honor of “Gobankaji” from Emperor Gotoba (後鳥羽上皇).   I saw Fukuoka Ichimonji Muneyoshi (福岡一文字宗吉) in Mori Sensei’s class on June 25, 1972.  My notes pointed out a lot of utsuri (shadows) on the blade.

Sugata (shape) ——————- A graceful and elegant shape.  Generally, it has well-balanced proportions.  The difference between the top width and the bottom width is minimal.  Occasionally, a stout-looking kissaki called ikubi-kissaki (refer to Chapter 11, Ikubi Kissaki (猪首切先) appears.

Hi and Engraving ———–The tip of the hi may follow the ko-shinogi line.  See below.  The end of the hi goes under machi, ends with a square or kakinagashi (see Chapter 41)

44 hisaki agaru

Hamon  ———- Wide ichimonji-choji tempered line.  It indicates the consistent width of the tempered line from the bottom to the top.  The same hamon appears on both sides.  O-choji-midare  (large clove-like pattern), juka-choji (overwrapped-looking choji).  Nie base.  Inazuma and/or kinsuji may appear.

Boshi ————– Same Hamon continues into the Boshi area and ends with Yakizume or turns slightly.  Sometimes O-maru.

Jihada ———– A fine and soft appearance.  Itame (woodgrain pattern).   Lots of utsuri (cloud-like shadow or reflection)

                   44 Ichimonjio hamon

                 Ichimonji  Sano Museum Catalogue (佐野美術館)　Permission granted

*The sword above is o-suriage.  The end of the hi is lower than the mekugi-ana inside the nakago.