shinogi – Study of Japanese Sword

June 25, 2019December 9, 2025 Yurie Endo 遠藤由利江 58｜Part 2 of ----- 22| Muromachi Period Sword (室町時代), Uncategorized

55 |Part 2 of —–21 Muromachi Period Sword (室町時代刀)

Chapter 55 is a detailed section of Chapter 21, Muromachi Period Sword. Please read Chapter 21 before reading this part.

57 Muromach-timeline size 22

The circle above indicates the time we discuss in this section

After the Muromachi period, swords shifted to katana(刀) from tachi (太刀), as described in Chapter 21, Muromachi Period Sword. Refer to Chapter 21, Muromachi Period Sword. By the end of the Nanboku-cho period, sword lengths had shortened to about 2 feet ± a few inches. The 3-to-5-foot-long swords seen during the Nanboku-cho period were no longer produced. This change occurred because, during the Nanboku-cho period, warriors mainly fought on horseback, but after the Muromachi period, infantry combat became more common.

Oei Bizen (応永備前) The pronunciation of Oei is “O” as in “Oh” and “ei” as in “A” from ABC. The Muromachi period was a declining time for sword-making. The swords made during the early Muromachi period in the Bizen area is known as Oei Bizen. Osafune Morimitsu (長船盛光), Osafune Yasumitsu (長船康光), and Osafune Moromitsu (長船師光) were the main Oei Bizen swordsmiths. Soshu Hiromasa (相州広正) and Yamashiro Nobukuni (山城信國) were also similar to the Oei Bizen style. Please refer to Chapter 21, Muromachi Period Sword, for details on the Muromachi sword shape, Hamon, Boshi, and Ji-hada.

Bishu Osafune Moromitsu (備州長船師光) from Sano Museum Catalogue ((permission granted)

The Osafune Moromitsu sword shown above measures 2 feet 5 inches in length and has a medium kissaki. Its hamon has a small wave-like pattern with continuous gunome (a lined half-circle pattern). The boshi area shows irregular waviness with a slightly pointed tip. Very faint bo-utsuri (a soft shadow shaped like a strip of wood) appears on ji-hada. Bo-utsuri is a distinctive feature among all the Oei Bizen.

Before the Muromachi period, many swordsmith groups operated in the Bizen region. However, by the Muromachi period, Osafune (長船) was the only remaining group.

Osafune (長船) is the name of a region, but it became the surname of swordsmiths during the Muromachi period. Two other well-known swordsmiths from Oei Bizen are Osafune Morimitsu (盛光) and Osafune Yasumitsu (康光). The hamon created by Morimitsu and Yasumitsu is more detailed than that of the sword in the photo above. Chapter 21, Muromachi period swords, shows the hamon of Morimitsu and Yasumitsu and describes the typical characteristics of swords from the Muromachi period.

Hirazukuri Ko-Wakizashi Tanto

58 Hirazukuri Ko-Wakizashi Tanto

Hirazukuri Ko-Wakizashi Tanto Shape

Hirazukuri ko-wakizashi tanto was a popular style during the early Muromachi period. Swordsmiths from various regions produced tantos similar to the one shown above. However, most of these types were made by Oei Bizen swordsmiths.

The characteristics of the Hirazukuri ko-wakizashi tanto ————-Typically about one foot and 1 or 2 inches long. No yokote line, no shinogi, and no sori (meaning no curvature, straight back). Average thickness. Narrow width. Gyo-no-mune (refer to Chapter 12, Middle Kamakura Period Tanto).

13 Mune drawing

Hirazukuri Ko-wakizashi tanto often shows many engravings. Hi with soe-hi (double lines, wide and narrow side by side), Tokko-tsuki-ken, Tsume-tsuki-ken, Bonji, and more.

9 Hi, Suken, Bonji 20 Tokko, tume Ken 58 tsumetukiken and Hi

*drawings from “Nihonto no Okite to Tokucho” by Honami Koson

February 20, 2019December 6, 2025 Yurie Endo 遠藤由利江 Uncategorized

45|Part 2 of –11 Ikubi Kissaki (continued from Chapter 44)

This chapter is a detailed section of Chapter 11, Ikubi-kissaki, and continues from Chapter 44|Part 2 of 11 Ikubi-kissaki Sword. Please read Chapter 11 and Chapter 44 before proceeding with this section.

0-timeline - size 24 Middle Kamakura

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

Bizen Saburo Kunimune (備前三郎国宗)

Another swordsmith worth mentioning in this section is Bizen Saburo Kunimune (備前三郎国宗). During the middle Kamakura period, the Hojo clan invited top swordsmiths to Kamakura. Awataguchi Kunitsuna (粟田口国綱) from Yamashiro in Kyoto, Fukuoka Ichimonji Sukezane (福岡一文字助真) from the Bizen area, and Bizen Kunimune (備前国宗) from the Bizen area moved to Kamakura with their circle of people. These three groups started the Soshu-den (相州伝). Refer to Chapter 14, Late Kamakura Period Swords.

Sugata (shape) ——————— Ikubi-kissaki style. Sometimes Chu-gissaki. Thick body. Koshi-zori. Narrow Shinogi width.
Horimono (Engravings) —————- Often narrow Bo-hi (single groove)
Hamon (Tempered line) ————- O-choji Midare (irregular large clove shape) with Ashi. Or Ko-choji Midare (irregular small clove shape) with Ashi. Nioi base with Ji-nie (Nie in the Hada area). Some Hamon appear squarish with less Kubire (less narrow at the bottom of the clove). Hajimi (刃染み rough surface) may show. The Kunimune swords often show a lower part with Choji and an upper part with less activity without Ashi.

Kunimune Compton 1 Kunimune Compton 2 Bizen Saburo Kunimune (備前三郎国宗) Photo from “Nippon-to Art Sword of Japan, ” The Walter A. Compton Collection. National Treasure

Boshi ———————— Small irregular. Yakizume or short turn back.
Ji-hada —————-Wood-grain pattern. Fine Ji-hada with some Ji-nie (Nie inside Ji-hada). Midare-utsuri (irregular shadow) is visible. A few Hajimi (rough surface).

12 (second part 2) 照国神社 The above photo is from the official website of the Terukuni Jinja Shrine in Kyushu. http://terukunijinja.pkit.com/page222400.html

This is the national treasure, Kunimune, preserved at the Terukuni Jinja Shrine in Kagoshima Prefecture. See the photos on the previous page. This Kunimune sword was lost after WWII. Dr. Compton, chairman of the board at Miles Laboratories in Elkhart, Indiana, found it in an antique shop in Atlanta. I mentioned Dr. Compton in Chapter 32, Japanese Swords, after World War II. When he saw this sword, he realized it was not just an ordinary sword. He bought it and inquired at the Nihon Bijutsu Token Hozon Kyokai (The Japanese Sword Museum) in Tokyo. It turned out to be the famous missing national treasure, Kunimune, from the Terukuni Jinja shrine. He returned the sword to the shrine without compensation in 1963.

My father became close friends with him around this time through Dr. Homma and Dr. Sato, both leading sword experts. Later, Dr. Compton asked Dr. Honma and my father to examine his collection of swords at his house, where he had many, as well as those at the Metropolitan Museum of Art in New York, the Philadelphia Museum of Art, and the Museum of Fine Arts in Boston. My father wrote about this trip and the swords he examined in those museums and published a book in 1965 titled “Katana Angya (刀行脚).”

For Dr. Compton and my father, those days must have been the best times of their lives. Their business was doing well, and they could spend a lot of time on their interests and enjoy themselves. It was also the best time for me. One time, when I visited Compton’s house, he spent hours showing me his swords in the basement for hours, nearly all day. His house was large, and the basement, which he had built as his study, had a fire prevention system. The lighting system was perfect for viewing swords and other art objects.

His wife, Phoebe, told him he shouldn’t keep a young girl (I was a college student at the time) in the basement all day. He agreed and took me to his cornfield to pick some corn for dinner. From a basement to a cornfield, not much of an improvement? So, Phoebe decided to take me shopping and have lunch in Chicago. Good idea, but it was too far. Compton’s house was in Elkhart, Indiana. The distance between Elkhart and Chicago was about 2.5 hours by car. It was too far just for shopping and lunch. To my surprise, the company’s employee flew us to the rooftop of a department store, we did some shopping, had lunch, and then flew back.

Miles Laboratories and a well-known Japanese large pharmaceutical company had a business partnership at that time. Dr. Compton frequently traveled to Japan for business purposes. However, whenever he visited Japan, he spent days with sword people, including my father, and I usually followed him. One of the female workers’ jobs at this pharmaceutical company was to translate the sword book into English.

My parents’ house was filled with Miles’ products. Miles Laboratories had a large research facility in Elkhart, Indiana. I visited there several times. One day, I sat with Dr. Compton in his office, looking into a sword book with our heads close together. That day, movie actor John Forsythe visited the research lab. He was the host of a TV program sponsored by Miles Laboratories. All the female employees were making a big fuss over him. Then he entered Dr. Compton’s room to greet him, expecting the chairman to be sitting in his big chair at his desk, looking like a chairman. But he saw Dr. Compton looking into the sword book seriously, with his head against mine. Dr. Compton’s appearance was just like that of any chairman of the board of a major company, as one might imagine, and I was a Japanese college student looking like a college student. John Forsythe showed a strange expression as if he did not know what to think.

September 4, 2018November 30, 2025 Yurie Endo 遠藤由利江 32 The process of making a sword, 32 The process of sword making

31|Sword Making Process

0-timeline - size 24 Kamakura Period

As part of the sword study, it is necessary to describe the process of making a sword. This chapter explains the basic procedure of sword-making. It is a brief overview of the sword-making process, as I lack expertise in the field.

When I was little, I watched the process of metal being heated in the furnace at my father’s factory. He owned a machine tool company and a forging plant. It was fascinating to see the metal heat up, be taken out of the furnace, pounded by two men, then put back in the furnace and pounded again and again. To this day, I can still remember the exact color of the metal when it should be removed from the fire. That was a strange thing for a little girl to learn. Also, it was dangerous for children to be near the furnace when the metal was being heated. But in those days, people’s idea of safety was different.

I think the factory workers enjoyed seeing my brother and me, who were so impressed, amazed, and looked up to them as heroes. We kept visiting the shop until my father moved the factory to a larger location. Today, I would never allow my grandchildren to be near a furnace.

Sword-making involves many detailed processes, and each swordsmith has his own secrets. For those interested in more detailed explanations, please refer to a book written by a famous swordsmith, Mr. Yoshihara Yoshindo, and a DVD produced by his son. Their information is listed below. Mr. Yoshihara’s book is available on Amazon. And the DVD is available on Amazon Japan. To purchase the DVD, you may need to use a proxy service, like Zen Market, since it is sold on Amazon Japan.

Book: The Art of the Japanese Sword: The Craft of Sword Making and Its Appreciation by Yoshihara Yoshindo, Leon, and Hiroko Capp. Published by Tuttle Publishing

DVD: Katana/On Ko So Shin (温故創新)——-Katana project by Yoshihara Yoshikazu (吉原義一). Use the proxy service Zen Market, as only Amazon Japan sells it.

Tamahagane (玉鋼)

In the early days of sword-making time, swordsmiths extracted iron from iron sand and refined it themselves for sword material. By the Kamakura period (see the timeline above), ironmaking was done by separate entities. Swordsmiths bought iron known as “Tamahagane” from ironmakers. Tamahagane is an essential part of sword-making. It is iron produced using the tatara process, a unique Japanese smelting method.

32 Tamahagane 2

Tama-Hagane from Mr. Yoshihara

Kawa-gane (側鉄) and Shin-gane (芯鉄 )　　　　　

The Japanese sword is made from steel with two different hardness levels: kawa-gane for the outer steel and shin-gane for the inner steel. Kawa-gane is the harder steel, with about 0.6% carbon content. Shin-gane is a softer steel, with about 0.25% carbon content. Japanese swords are constructed with softer steel inside, wrapped around by harder steel; this design makes them resistant to bending and breaking.

Kawa-gane (側鉄: outer steel) —— Shita-gitae (下鍛: Base forging)

Heat a block of tamahagane → Strike it with a hammer to create flat pieces → While the tamahagane is still hot, quickly quench it in water → Break it into small pieces.

Forge a rectangular plate separately with tamahagane → attach this plate to a handle or lever to make a teko → carefully and closely attach the previously broken metal pieces onto the teko.

32 Pile up drawing

→ Cover the stacked tamahagane with ashes and clay for protection → Heat it in the furnace → Remove it from the furnace and strike it with a hammer → Repeat this process multiple times to stretch the tamahagane to about twice its original length.

While the tamahagane is still hot, make a notch in the center and fold it in half. → Continue the same process of heating, hammering to stretch, and folding it in half (alternating widthwise and lengthwise, 6 or 7 times, depending on the original carbon level in tamahagane). This process reduces the carbon content to the desired level.

32 folding drawing

Kawagane (側鉄: Outer steel) —– Age-gitae (上鍛: Finish forging )

At the end of shita-gitae, chisel the block of tamahagane so that it can be separated into two or three sections → Quench in water → Cool down → Break it into pieces along the markings → Combine these pieces, and repeat the heating, hammering, and folding processes.

Usually, the folding process happens 6 to 7 times for shita-gitae (base forging) and 6 to 7 times for age-gitae (finish forging). The total is about 12 times, depending on the original carbon content in the tamahagane used. This process is for kawa-gane (側金).

Purpose of heating hammering and folding

Each time the heating and folding process is done, tamahagane loses some carbon content. For outer steel, the ideal carbon content should be about 0.6%. If the carbon content is too high, the steel is hard, so the sword may crack. If it is too low, the sword will be too soft and may bend. Swordsmiths rely on their eyes to judge the correct level of carbon content. This is the professionalism and the artistry of sword-making.
Removing slag and impurities from tamahagane.
Each heating and folding process creates multiple layers of thin steel that form the ji-hada pattern (surface designs such as wood grain, burl look, straight grain, or a combination of these).

Shin-gane (inner steel 芯鉄)　　　　　　　

Shin-gane is the inner metal, which is a softer steel with less carbon. Having a softer inside makes the sword more flexible. Having a hard outer steel with higher carbon and softer steel inside prevents the sword from cracking or breaking. To make the shin-gane, mix softer steel with tamahagane. Repeat the same process as you would with kawa-gane.

Tsukuri-komi (造り込み)　Sunobe (素延)

Wrap the shin-gane with the kawa-gane, then weld the two pieces together by heating, hammering, and stretching to form a steel bar. There are several ways to wrap the shin-gane, but the most common is called kobuse (甲伏). The illustration below shows a cross-section.

32 Kobuse drawing

The photo above (taken by my husband) shows a cross-section of a sword. Many years ago, a member of our sword club gave us a very rusty, damaged sword. My husband cut the blade and took a micro photo of the cross-section. This sword has a more complex construction than the usual kobuse method. It appears to have three or four different hardnesses of steel. It seems that this sword was once one of the finest made by a top sword-maker.

Hizukuri (火造)

Hizukuri is the process of shaping the final form of the sword from sunobe through heating and hammering. At this stage, the ha (cutting edge) becomes thinner, the shinogi side rises higher, and the sword’s shape begins to take form.

Arashiage (荒仕上げ)

This process is a rough finish.

Tsuchitori (土取)

Mix clay, pine tree ash, ground stone, and water. Coat the sword with this muddy mixture. Scrape off a thin layer of the mixture slightly around the hamon area, then let it dry. By doing the tsuchitori process, the hamon is created, and the cutting edge hardens at the same time.

Yaki-Ire (焼入れ)

After the muddy paste dries, heat the sword evenly in the furnace. Judging by the color of the heated sword, pull it out of the furnace and quickly quench it in water. Usually, this process is done after sunset so that the swordsmith can see the metal’s color and gauge the heated sword’s temperature more accurately. This is the most critical step, as all the work done up to this point can be ruined if he fails to judge the heated sword’s precise color, water temperature, and the timing of quenching.

The final step is to send the sword to a polisher. The polisher, called a togishi, polishes and sharpens the blade. He brings out the beauty of the surface and the sword’s sharpness. This completes the entire sword-making process. Every step is crucial, but the polisher’s final work is as important as all the other stages.

May 26, 2018November 26, 2025 Yurie Endo 遠藤由利江 25 Sengoku Period Tanto, Uncategorized

24| Sengoku Period Tanto (戦国時代短刀)

0-timeline - size 24 Sengoku Period The red circle above indicates the time we discuss in this section

25 Chukanzori Tanto

Chukan-zori (中間反り) ————– The chukan-zori tanto features a straight mune (back). Its back does not curve either inward or 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 (互の目丁子), chu-suguha (中直刃). See below.

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

Horimono (彫り物: Carving) —————Often Hi (grooves) is curved

Tanto Length ————————— The standard tanto length should not exceed one shaku*¹ (about 12 inches, 30.5cm). The standard size tanto is called a Jo-sun tanto, which is roughly 8.5 shaku (about 10 inches, 25.7cm). Longer than jo-sun is called sun-nobi tanto (寸延). Shorter than jo-sun is called sun-zumari tanto (寸詰).

Sun-nobi Tanto > Jo-sun Tanto (approx. 10 inches) > Sun-zumari Tanto

**¹ Shaku is a traditional Japanese unit of length measurement.

Takenoko-zori jo-sun tanto (筍反定寸短刀)————– The takenoko-zori jo-sun tanto was made during the Sengoku period. It resembles swords made by Rai Kunimitsu of Yamashiro–den. (illustration below)

Hamon (刃文: Tempered line) ————– Hoso-suguha (細直刃: Narrow straight hamon). Katai-ha (illustration below) appears somewhere on the blade. Masame–hada (straight grain pattern) may be visible on the mune side.

13 Middle Kamakura Period Tanto 24 Suguha katai-ha

Ji-hada (地肌: The area between the shinogi and the tempered line)————– Some shirake (白け: a whitish surface) may sometimes appear. Some utsuri (a light, whitish, cloud-like effect) appears on the ji-hada.

Sun-nobi Tanto (寸延短刀)–————–This type of tanto resembles the sakizori tanto from the late Soshu-den period. You may see a hitatsura-type hamon. (illustration below). Unlike the Soshu-den style, the hitatsura pattern is more visible in the lower part of the tanto and less in the upper part.

25 Sun-Nobi Tanto 25 Hitatsura

Hirazukuri Takenokozori Sunzumari Tanto (平造筍反寸詰短刀)

This is a unique tanto from the Sengoku period. Hirazukuri means a flat-surfaced sword without a shinogi, yokote line, or obvious kissaki. Takenoko-zori refers to a bamboo shoot shape (the back of the sword curves inward). Sun-zumari indicates a blade shorter than 10 inches (less than 8.5 shaku or 25.7 cm). The lower part of the blade is wide and thick, while the tip is narrow and thin. It has a piercing, sharp appearance.

Horimono (彫物: Engraving) ————- Deeply carved ken-maki ryu (a dragon wrapped around a spear).

Hamon (刃文: Tempered line)——— Wide tempered line, with a nioi base. Irregular hamon, with wide suguha (straight), and chu-suguha (medium straight). The hamon in the boshi area curves back deeply.

Ji-hada (地肌)———– fine ji-gane and wood burl pattern.

Moroha-tanto (諸刃短刀: Double-edged sword)

A double-edged sword with a hamon on both cutting edges. Often, Bonji (Sanskrit) is curved.

Hamon (刃文: Tempered line) ——— Wide tempered line. Nioi base. Irregular hamon, wide suguha (straight tempered line), and chu-suguha (medium straight tempered line). The hamon turns back deeply.
Ji-hada (地肌: The area between the shinogi and the tempered line)——- Fine ji-gane and wood burl pattern.

25-moroha-tanto1 Moroha Tanto

The Swordsmith for Tanto during the Sengoku Period

The Bizen swords from the Sengoku period are called sue-bizen. Sue is pronounced “su” and “e“ as in egg. Bizen Osafune Yoso-Zaemon Sukesada (与三左衛門祐定) is the most famous swordsmith of the Sengoku period. He also forged tantos. One thing to note is that many swordsmiths had the name Sukesada. Yoso-Zaemon Sukesada is the one who best represents the era.

March 17, 2018December 15, 2025 Yurie Endo 遠藤由利江 20 Nanboku-Cho Tanto, Uncategorized

19 | Nanboku-Cho Period Tanto（南北朝短刀）

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

March 10, 2018December 15, 2025 Yurie Endo 遠藤由利江 19| Nanboku-Cho (North and South dynasty) Period Sword, Uncategorized

18| Nanboku-Cho Period Sword (南北朝太刀）

The circle indicates the time we discuss in this section

During the Nanboku-cho period, samurai sought large, elaborate, impressive, yet practical swords. The Soshu-den style sword from Nanboku-cho time was just that. This was the most popular style at the time. The Nanboku-cho period marked the peak and height of the Soshu-den sword. Many swordsmiths moved from other provinces to the Kamakura area and forged Soshu-den style swords. Other schools and provinces outside the Kamakura area also produced Soshu-den-style swords in their own areas.

19 Nanboku-cho Sword style

Sugata (姿: Shape) —————–The original length of a sword ranged from three to five feet, but it was later shortened to about two and a half feet. A significantly shortened blade is called o-suriage.

The Nanboku-cho style sword features shallow kyo-zori (also called torii-zori). Refer to Chapter 5, Heian Period Sword. The highest curvature occurs around the middle of the body. It has a wide body, high shinogi, narrow shinogi-ji (Chapter 3, Names of parts), and thin kasane (blade thickness), which are distinctive features of the Nanboku-cho style. High gyo-no-mune or shin-no-mune, and sometimes a maru-mune (round back).

19 Nanboku-cho 3 kinds Mune

Hi (樋: groove) and Horimono (彫刻: engraving) ——– Often, a single hi (bo-hi), double hi, suken (dagger), Bonji (Sanskrit), and/or dragon are engraved on the shinogi-ji area. Refer to Chapter 3, Names of Parts.

9 Hi, Suken, Bonji

Hamon (刃: Tempered line) —- The lower part of the body exhibits a narrow-tempered line; gradually, this line becomes wider and showier. Course nie. O-midare (large, irregular, wavy hamon), Notare-midare (wavy, irregular hamon), and Gunome-midare (a combination of repeated half-circular and irregular hamon). Inazuma and kinsuji (see Chapter 14, Late Kamakura Period Sword) sometimes appear.

*From Sano Museum Catalogue ( Permission granted).

Ji-hada (地肌: the area between the shinogi and the tempered line) ———————-Wood-grain pattern (itame 板目). Sometimes tobiyaki (patchy tempered spots) appear on ji-hada. For ji-hada, refer to Chapter 3, Names of Parts.

Kissaki (切っ先) and Boshi (tempered line at the kissaki area) ———- O-kissaki (long and large kissaki). Fukura kareru (less arc kissaki). Midare-komi (the body and boshi have a similar tempered pattern), with kaeri-fukashi (hamon deeply turns back), and sometimes hitatsura (entirely tempered). See the illustration above.

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

From Soshu—————————————————Hiromitsu (広光) Akihiro (秋広) 　
From Yamashiro ———————————————Hasebe Kunishige (長谷部国重)
From Bizen (called So-den Bizen)——-Chogi (長儀 )group Kanemitsu (兼光 ) group
From Chikuzen ———————————————————-Samoji (左文字 ) group

Chogi (長義）from The Sano Museum catalog. Permission to use is granted

The distinctive characteristics of the Nanboku-Cho period sword in the photo above

The trace of an engraving of suken on the inside of the nakago indicates that this area was once a part of the main body.
Large and long kissaki

February 10, 2018December 15, 2025 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）

　　　　　　　　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

February 4, 2018December 15, 2025 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

January 14, 2018December 15, 2025 Yurie Endo 遠藤由利江 13 Tanto(dagger) Middle Kamakura Period

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 find a tanto (短刀 dagger) made during the Heian period. During the middle Kamakura period, many high-quality tanto were produced. They were called 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 length is approximately ten inches. The width is neither too wide nor too narrow, making it well-proportioned. 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 display a frayed pattern.

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

13 Hamon and Hi

Engravings (彫刻) ———- Often, various types of engravings are applied to 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)

来国光（Rai Kunimitsu）

This Photo by an unknown author is licensed under CC BY-SA Creative Commons Free Media Attribution-Share Alike 3.0 Unported (CC BY-SA 3.0)

January 13, 2018December 15, 2025 Yurie Endo 遠藤由利江 12| Ikubi Kissaki, Uncategorized

11| Ikubi Kissaki (猪首切先)

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)