Yurie Endo 遠藤由利江 64|Part 2 pf - - - 28 Main 7 Area Among shin-To Sword (part A), Uncategorized

61|Part 2 of — 27 Shin-to Main 7 Regions (part A)

Chapter 61 is a detailed part of Chapter 27, Shinto Main 7 Regions (part A).  Please read Chapter 27 before reading this section. 

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

Chapter 27, Shin-to Main 7 Regions (Part A), and Chapter 28, Shin-to Main 7 Regions (Part B), describe an overview of the seven main regions.  This chapter and the next chapter show photos of representative swords from these regions.  They are Yamashiro (山城, in Kyoto), Settsu (摂津, today’s Osaka), Musashi (武蔵, Edo), and Satsuma (薩摩, Kyushu).  However, Echizen (越前), Kaga (加賀), and Hizen (肥前) are omitted.

29 Map with number 7

With ko-to swords, features such as the condition of the hamon, kissaki size, length, and  shape of the nakago, etc., indicate when the sword was made.  During the ko-to period, Bizen swordsmiths produced Bizen-den swords, Yamashiro swordsmiths made Yamashiro-den swords, and Mino swordsmiths made Mino-den swords.  However, during the shin-to period, that is not the case.  The den and the swordsmith’s location often do not match.  For shin-to swords, we study the swordsmiths and swords from the seven main regions along with their characteristics.

Regarding swords made during the ko-to period, if a sword has a wide hamon line with  nie, usually, its ji-hada shows a large wood grain or a large burl grain.  Also, when you see a narrow hamon line, it typically features a fine ji-hada.

However, with shin-to swords, if a sword shows a wide hamon with nie, it often has a small wood grain or small burl grain pattern on ji-hada.  If it has a narrow hamon line, it may have a large wood grain pattern on the ji-hada.  This is a shin-to characteristic.   

Here is an exception: some early Soshu-den swords from the late Kamakura period may show a wide hamon with nie, which has small burls on the ji-hada.  Because of that, whether it is ko-to or shin-to can be confusing.  Even so, other features such as ji-hada or other parts should indicate whether it is shin-to or ko-to.

Yamashiro (山城: Kyoto)

 Horikawa Kunihiro   (堀川国広)   From Sano Museum Catalogue (permission granted)

Horikawa Kunihiro (堀川国広)

Horikawa Kunihiro was regarded as a master swordsmith among shin-to swordsmiths.  He forged swords in many styles with various characteristics.  The hamon types are o-notare, o-gunome, togari-ba (pointed hamon), chu-suguha with hotsure (frayed look), hiro-suguha with a sunagashi effect, inazuma, and kinsuji.  Kunihiro preferred to shape his swords to resemble an o-suriage (shortened Nanboku-cho style long sword).  Kunihiro‘s blades give a powerful impression.  Kunihiro‘s swords often feature beautiful carvings; designs include dragons, Sanskrit letters, and more.  Because he created swords in many different styles, there is no general characteristic that defines his work other than the hamon mainly being nie.  His ji-hada is finely forged.                                                                                                                                                                                                                                                                                                                                                     

img067.jpg  img068.jpg      Iga-no-Kami Kinnmichi (伊賀守金道)           Dewa Daijyo Kunimichi (出羽大掾国路)        Both Juyo Token (重要刀剣), once my family owned, photos were taken by my father.

Iga-no-Kami Kinmichi ( 伊賀守金道)

The Kinmichi family is called the Mishina group.  Refer to 27 Shinto Main 7 Regions  Part A.   Iga-no-Kami Kinmichi was awarded the Japanese Imperial chrysanthemum crest. 

The characteristics of Kinmichi ——– Wide sword, shallow curvature, an extended kissaki, sakizori (curvature at 1/3 top),  a wide tempered line, kyo-yakidashi (see 27 Shinto Main 7 Regions  A ), hiro-suguha (wide straight hamon), o-notare (large wavy), yahazu-midare, hako-midare (refer to 24 Sengoku Period Tanto).  Mishina-boshi, refer to 27 Shin-to Main 7 Regions A.  Fine wood burl, masame appear in the shinogi-ji area.   

Dewa Daijo Kunimichi (出羽大掾国路)                                                                                 

Dewa Daijo Kunimichi was the top student of Horikawa Kunihiro.  The right photo above.  Like Kunihiro, the sword resembles a shortened Nanboku-cho sword.  Shallow curvature, a wide body, a somewhat elongated kissaki, and fukura-kareru (less arch in fukura).  Wide tempered lines, large gunome, nie with sunagashi, or inazuma shows.  Double gunome (two gunome side by side) appears.  Fine ji-hada.                                                                                                                                                                                                                

  1. Settu (摂津) Osaka (大阪 )

Settu (Osaka) is home to many famous swordsmiths.  They are Kawachi-no-Kami Kunisuke (河内守国助), Tsuda Echizen-no-Kami Sukehiro (津田越前守助広), Inoue Shinkai (井上真改), and Ikkanshi Tadatsuna (一竿子忠綱), among others.                          The main characteristic of the Settsu (Osaka) sword ——– The surface is beautiful and fine, almost like a solid surface with no pattern or design.  The two photos below are of the Settsu sword.

              Ikkanshi Tadatsuna from the Sano Museum Catalogue.  Permission granted to use.

Ikkanshi Tadatsuna (一竿子忠綱)

Ikkanshi Tadatsuna was famous for his carvings.  His father was also a well-known swordsmith, Omi-no-Kami Tadatsuna (近江守忠綱).  Consequently, he was known as Awataguchi Omi-no-Kami Fujiwara Tadatsuna (粟田口近江守藤原忠綱), as shown in the nakago photo above.     

The characteristics of Ikkanshi Tadatsuna ——-A longer kissaki and a wide-tempered line with nie.  The Osaka yakidashi (transition between the suguha above machi and midare is smooth.  Refer to 27 Shin-to Sword – Main 7 Regions (Part A) for details on Osaka yakidashi.  O-notare with gunome, komaru-boshi with a turn back, and very fine ji-hada with almost no pattern on the surface.

                        Inoue Shinkai (井上真改) from “Nippon-to Art Swords of Japan” The Walter A. Compton Collection

Inoue Shinkai (井上真改)

Inoue Shinkai was the second generation of Izumi-no-Kami Kunisada (和泉守国貞), who was a student of Kunihiro.                                                                                                  The characteristic of Inoue Shinkai’s swords —————- Osaka yakidashi, the tempered line gradually widens toward the top.  O-notare and deep nie.  Very fine ji-hada with almost no surface design.

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 56| Nanboku-Cho Tanto (南北朝短刀）, Uncategorized

53| Part 2 of — 19 Nanboku-cho Period Tanto (南北朝短刀)

This chapter is a detailed section of Chapter 19.  Please read Chapter 19, Nanboku-cho Period Tanto, before proceeding on to this part. 

0-timeline - size 24 Nanboku-cho

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

20 Enbun Jyoji Kowakizashi Tanto

The drawing above shows a typical shape of a Nanboku-cho-period tanto. This drawing was in Chapter 19.  I exaggerated the features of the Enbun Joji ko-wakizashi tanto to better show you.  At the end of Chapter 19, Nanboku-cho Tanto, there is a list of swordsmiths’ names from that period.  Hiromitsu (広光) and Akihiro (秋広) represent the Nanboku-cho style.

56 cropped Hiromitu photo 20 HitatsuraHiromitsu from the Sano Museum Catalogue (permission to use granted)

Enbun Joji Ko-wakizashi tanto is also called Sun-nobi tanto (>10 inches) because its length is longer than the standard size (about 10 inches) tanto.  The upper part of the tanto curves outward slightly.  This type is called sakizori.

Characteristics of Hiromitsu (広光) and Akihiro (秋広)

  • Shape———————— Usually, one foot and one to two inches long (Sun-nobi).   Wide width.  Thin blade.  Sakizori.
  • Hamon ———————- A mix of wide and narrow hamon.  The hamon around the yakidashi (just above the machi) area is narrow but gradually widens as it moves up.  The hamon around the fukura area shows most work.  Mainly nie.  Sunagashi, kinsuji, gunome, umanoha-midare (horse teeth-shaped hamon), or hitatsura appear (drawing above).                 
  • Boshi———-Irregular and unevenly tempered.  The hamon covers almost the entire boshi. Deep turn back. 
  • Jihada ———————————————————Wood-grained pattern
  • Nakago —————–Tanago-bara shape.  Refer to 19 Nanboku-cho Period Tanto.

Nobukuni (Below is my sword)

Shodai Nobukuni (the first-generation Nobukuni) was a student of Sadamune.  He was one of the Sadamune San Tetsu (貞宗三哲, Sadamune’s top three students).  Nobukuni’s characteristics resembled those of Hiromitsu and Akihiro, as described above.  Nobukuni also created sun-nobi tanto.  The sword below has a hoso-suguha, ko-mokume (small burl pattern), and ko-maru boshi (small round). 

56 Nobukuni 1 Nobukuni4

56 Nobukuni 2This is the certification of my sword.  Shodai Nobukuni (初代信國).   Juyo Token (重要刀剣)

Certification

Number: Juyo 3220, Certification Juyo-Token

Wakizashi:  Nobukuni (信国), 31.4cm long, 0.3cm curvature, hirazukuri, mitsumune (three-sided mune), sun-nobi.  The ji-hada shows a wood grain and ji-nie (surface nie, between shinogi and hamon). The hamon is a chu-suguha (medium straight). The front carving shows bonji (Sanskrit) and sanko-ken. The back engraving is bonji and hoko (pike).   Original nakago.  Examined by the Nihon Bijutsu Token Hozon Kyokai.  It is certified as a Juyo Token.  The Chairman, Moritatu Hosokawa.  Showa 45 June 1 (June 1, 1970)

Yurie Endo 遠藤由利江 52| Part 2 of ---17| Late Kamakura Period Tanto(Early Soshu Den), Uncategorized

50|Part 2 of –16 Late Kamakura Period: Tanto (Early Soshu-Den 鎌倉末短刀, 正宗墓)

Chapter 50 is a detailed part of  Chapter 16, Late Kamakura Period Tanto (Early Soshu-Den).  Please read Chapter 16 before this section.

0-timeline - size 24 Late Kamakura

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

In  Chapter 16, Late Kamakura Period Tanto (Early Soshu-Den), the general features of the late Kamakura period tanto style (early Soshu-den) are described.  The following two photos show the typical characteristics of early Soshu-den tanto.

Masamune

Goro Nyudo Masamune (五郎入道正宗) was born in Kamakura as the son of Tosaburo Yukimitu (藤三郎行光).  Today, Masamune is a well-known swordsmith, even among those unfamiliar with Japanese swords.  His father, Tosaburo Yukimitsu, was also among the top swordsmiths in early Soshu-den.  Masamune’s tomb is located at Honkaku-ji (本覚寺) Temple, about a 6-minute walk from Kamakura Station. 

Goro Nyudo Masamune (五郎入道正宗) Sano Museum Catalog （permission granted)

Masamune photo (above) —– Hira-zukuri (flat).  Sakizori is very slightly curved (the tip area curves slightly outward).  Bo-hi and tsure-hi (parallel thin grooves).  Komaru-boshi.  Itame-hada (wood grain pattern).  The Hamon is notare (wavy).  The illustration above shows sunagashi and niju-ba (double hamon).  This type of nakago is called tanago-bara.  The Masamune tanto is often mu-mei (unsigned). This particular tanto is called Komatsu Masamune (小松政宗).  The catalog from the Sano Museum’s description stated that connoisseurs in the past had difficulty determining this as a Masamune sword.  Because the wide mihaba with sori and hamon slightly differed from those of another Masamune.  Judging from the clear nie, chikei, and kinsuji, it was determined to be a Masamune tanto.

Enju Photo below

               Higo Province Enju Kunisuke from Sano Museum Catalog (permission granted)

The Enju (延寿) group lived in Higo (肥後) Province on Kyushu.  The characteristics of the Enju group closely resemble those of the Yamashiro-den because Enju Kunimura was related to Rai Kuniyuki, a member of the Yamashiro-den.

Enju (photo above) —-Hamon is hoso-suguha (straight temper line).  The boshi is komaru.  The front engraving is suken (above left photo, left side), and the engraving on the back is gomabashi (left photo, right side).  Tight itame ji-hada.  It can be confusing to kantei (determine who made the sword) a sword like this because, although it is from the late Kamakura period, it does not have the typical early Soshu-den appearance.

Masamune’s Tomb in Honkaku-ji Temple

Masamune’s (正宗) tomb is located inside Honkaku-ji Temple (本覚寺) in Kamakura.  Here is a map of Honkaku-ji Temple and the Masamune Kogei store in Kamakura.  The store is owned by Tsunahiro Yamamura, the 24th generation of Masamune.  Honkaku-ji Temple is circled on the map, and the Masamune Kogei store is a red circle with an X.  Both are about a 6 to 7-minute walk from Kamakura Station. 

To reach to Honkaku-Ji Temple from Tokyo                                                                           Take the Yokosuka Line train from Tokyo Station (approx. one hour) → Get off at Kamakura Station (one stop after Kita-Kamakura) → Exit through the East Exit (front exit) → Walk straight and cross the street → Turn right and walk to the post office → Turn left at the post office (Honkaku-ji Temple sign is at the corner of the post office)

From Kamakura Tourist map

52 Honnkakuji 2 54 large Masamune monument only

52 Honkakuji 54 Small Masamune tomb only

Honkakuji Temple (本覚寺) and Masamune Tomb (正宗墓 )

Yurie Endo 遠藤由利江 51| Part 2 of ----- 16 The Revival of Yamato-Den, Uncategorized

49| Part 2 of — 15 The Revival of Yamato Den (大和伝復活)

This chapter is a detailed part of Chapter 15, Revival of Yamato Den.  Please read Chapter 15 before reading this section.

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

At the end of the Kamakura period, powerful temples expanded their territories in the Yamato region.  Refer to the map below for the location of the Yamato region.  Several prominent temples, especially those with large territories, held political and military power to control the area at the end of the Kamakura period.  These large territories were called shoen (荘園).  They employed many monk soldiers known as so-hei.  The demand for swords increased because of the rising number of Sohei (僧兵).  This increased demand revived the Yamato–den.  

Some prominent temples had their own swordsmiths within their territories. Todaiji Temple (東大寺) supported the Tegai (手掻) sword group.  The Senjuin (千手院) sword group lived near Senju-do (千手堂), where Senju Kannon (千手観音) is enshrined.  The Taima sword group originated from the Taima-ji Temple (当麻寺).  The Shikkake group (尻懸) and the Hosho group (保昌) were also part of the Yamato-den sword groups.  These five groups are known as Yamato Goha (the Yamato five groups).

51 Japan map Yamato

General Characteristic of Yamato Den

The Yamato-den (大和伝) sword always shows masame (柾目: straight grain-like pattern) somewhere on the ji-hada, ji-gane, or hamon.  Refer to Chapter 15, Revival of Yamato Den.   Masame is sometimes mixed with mokume (burl-like pattern) or itame (wood-grain-like pattern).  Either way, Yamato-den always shows masame somewhere.  Some swords display masame across the entire blade, while others show less.  Because of the masame, the hamon often shows sunagashi (a brush stroke-like pattern) or a double line called niju-ha.

Taima (or Taema) group (当麻)

  • Shape ———————– Middle Kamakura period style and Ikubi-kissaki style    
  • Hamon ———–Mainly medium Suguha.  Double Hamon.  Suguha mixed with Choji.  Often shows Inazuma and Kinsuji, especially Inazuma appear under the Yokote line.
  • Boshi ————————- Often Yakizume.  Refer Yakizume on 15| The Revival of Yamato Den（大和伝復活）
  • Ji-hada ——————– Small wood grain pattern and well-kneaded surface.  At the top part of the sword, the wood grain pattern becomes Masame.

Shikkake Group (尻懸)  

  • Shape —————- Late Kamakura period shape. Refer 14| Late Kamakura Period: Sword (鎌倉末太刀) 
  • Hamon ————————- Mainly Nie (we say Nie-hon’i).  Medium frayed Suguha, mixed with small irregular and Gunome (half-circle pattern).  A double-lined, brush-stroke-like Pattern may appear.  Small Inazuma and Kinsuji may also be shown.      
  • Boshi ———————— Yakizume, Hakikake (bloom trace like pattern) and Ko-maru (small round)     
  • Ji-hada ———- Small burl mixed with Masame.  The Shikkake group sometimes shows Shikkake-hada (the Ha side shows Masame, and the mune side shows burl.)

Tegai Group ( 手掻 )

  • Shape —— Early Kamakura style with thick Kasane (body).  High Shinogi.  Koshizori.
  • Hamon ————- Narrow tempered line with medium Suguha hotsure (frayed Suguha).   Mainly Nie.   Double tempered line.  Inazuma and Kinsuji may show.                                                                 
  • Boshi ————————————— Yakizume (no turn back), Kaen (flame-like).   
  • Ji-Hada ————————————————— Fine burl mixed with Masame. 

51 Kanenaga photo Yamato51 Kanenaga ilustration Yamato

Tegai Kanenaga of Yamato.  From the Sano Museum Catalogue (permission granted).   The illustration (called Oshigata) shows notare (wave-like hamon) and suguha-hotsure (frayed suguha pattern) with kinsuji.

My Yamato sword： Acquired at the Annual San Francisco Swords Show.

Characteristics: Munei (shortened and without signature).  Yamato-den, Tegai-ha (Yamato school Tegai group).  Length is two shaku, two sun, eight &1/2 bu (27 1/4 inches), small kissaki and funbari. Hamon： Niju-ba, Sunagashi.  Boshi: Yakizume.  Ji-hada: Itame with masame, Nie-hon’i .                                                                                                                                     

My Yamato sword

The full view of the sword and Kantei-sho (NBTHK Certification). “Tokubetsu Hozon Token”.

My Yamato sword 5

My Yamato sword 4

My Yamato sword.jpg 2

My sword: acquired at Dai Token Ichi (大刀剣市)Bizen Osafune Tomomitsu (備前長船倫光) Length: 2 feet 4 inches,  Shape: Shinogi zukuri,  Hada:itame midare-utsuri, Hamon: konotare gunome choji