Yurie Endo 遠藤由利江 65 | Part 2 of --- 29 | Main 7 Area Among Shin-To Sword (part B), Uncategorized

62|Part 2 of — 28 Shin-To Main 7 Region (part B)

This chapter is a detailed part of Chapter 28, Shin-t Main 7 Regions (part B).  Please read Chapter 28 before reading this chapter.  Below are regions 3 and 7.

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

29 Map with number 7

3.Musashi (Edo)

We also find many famous swordsmiths in Edo.  They were Yasutsugu (康継), Kotetsu (虎徹), Noda Hankei (野田繁慶), Hojoji Masahiro (法成寺正弘), and their followers.

Two photos below are swordsmiths from Musashi (武蔵: Tokyo).  

                       Yasutsugu  From the Sano Museum Catalogue.  (Permission to use granted)

Characteristics of Yasutusgu (康継) ——Shallow curvature; chu-gissaki (medium kissaki); a wide notare hamon, midare, or o-gunome (occasionally double gunome); traces of Soshu-den and Mino-den; a wood-grain pattern mixed with masame on the shinogi-ji.

 

              Kotetsu (虎徹) from Sano Museum Catalogue, (permission to use granted)

Here is the famous Kotetsu.  His formal name was Nagasone Okisato Nyudo Kotetsu (長曽祢興里入道虎徹).   Kotetsu started making swords after turning 50.  Before that, he was an armor maker.  

The characteristics of Kotetsu ———————— A shallow curvature and wide width, a wide tempered line with nie.  A small irregular hamon surrounds the machi area, transitioning into a wide suguha-like notare in the upper area.  Fine nie, komaru–boshi with a short turn back.  The ji-hada is a fine-grained wood with burl.  Occasionally, o-hada (black core iron shows through) appears in the lower part above the machi area.  The illustration above shows a thick-tempered line with nie, a typical feature of Kotetsu. Once you see it, you will remember it.   The next region is 7 (skip 4, 5, and 6)

 

  1. Satsuma (Kyushu) 

  Miyahara Mondonosho Masakiyo (宮原主水正正清) from Sano Museum Catalogue (permission to use granted).

Miyahara Mondonosho Masakiyo was highly respected by the Shimazu family of Satsuma- han (the Satsuma domain in Kyushu).  Later, he was chosen to travel to Edo to forge swords for Shogun Yoshimune. 

Mondonosho Masakiyo’s characteristics————- Well-balanced sword shape, shallow curvature, and wide and narrow hamon mixed with squarish hamon and pointed hamon as shown in the photo above.  He engraved the Tokugawa family’s Aoi crest (the hollyhock crest) on the nakago.

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

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 2Bizen 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.

 

 

 

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.

 

           

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）

0-timeline - size 24 Late Kamakura

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

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

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

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

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

16 Yamato sword cross section

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

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

 

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

                                 

15 Omaru Komaru Niekuzure

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

16 Masame Hada

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

16 Higaki Yasuri

Names of the Yamato School Sword-smiths

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

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

Yurie Endo 遠藤由利江 15|Late Kamakura period

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

0-timeline - size 24 Late Kamakura

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

The beginning of the Soshu style

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

15 Soshu sword with explanation

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

15 Kissak shape of 4

14 Hi end lower

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

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

10 Nie & Nioi

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

15 Late Kamakura Soshu Hamon

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

15 three boshi name

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

15 Yubashiri, Chikei, Inazuma

Late Kamakura Period Soshu School Sword Smiths

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

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

More  Soshu Den swordsmiths other than above

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

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

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

Once owned by my family

 
 
 
 
 
 
 
 

Yurie Endo 遠藤由利江 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)

 

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

11| Ikubi Kissaki (猪首切先)

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

Through the experience of the Jokyu-no-ran war (Chapter 10), the design of the swords shifted to a wider, sturdier, and more impressive style.  The swords made around this time are called “ikubi-kissaki. “  Ikubi means a wild boar’s neck.  The kissaki area of ikubi-kissaki-style swords resembles a boar’s neck, with a somewhat stout appearance.

The middle Kamakura period was the golden age of Japanese sword-making.  Many top swordsmiths created exceptional swords during this time.  Experts agree that there are no mediocre swords among Ikubi-kissaki swords.

IkubiKissakiSword  12 Ikubi Kissaki sword style

SUGATA (shape) —————— Originally 3 feet or longer, these blades were often shortened in later years.  Wide width.  Thick kasane (thick body) with hamaguri-ha, meaning the sword’s cross-section is shaped like a clam.  The difference in width between the near yokote line and the machi is minimal.  The shinogi is high and narrow.  The cross-section of an Ikubi-kissaki sword is shown below. 

12　蛤刃と鎬

KISSAKI  ————- Ikubi-kissaki.  Ikubi means the neck of a wild boar.  It is thick, short, and stout in appearance.  Kissaki is short and wide at the yokote line.  The illustration below shows an exaggerated image of an Ikubi-kissaki.

12 Ikubi Kissak drawing

Hamon (刃文) —— Kawazuko-choji (tadpole-head shape pattern). O-choji (large clove-shape pattern), ko-choji (small clove-shape), a mixture of o-choji and ko-choji, or suguha-choji.  Suguha-choji features a straight line combined with a choji (clove-shape) pattern.  

12 Hamon Kawazuko-choji                     O-choji                          Ko-choji                  Suguha-choji     (tadpole head)                   (large clove)                (small clove)      (straight and clove)

Boshi (鋩子) ——Yakizume: the hamon ends almost at the tip of the kissaki, with no return. Sansaku Boshi: the hamon narrows at the yokote line, created by Nagamitsu (長光), Kagemitsu (景光), and Sanenaga (真長).  See below for Yakizume and Sansaku Boshi.                           

                                                                 

12 Yakizume

   Yakizume       11 Sansaku Boshi（三作Sansaku-boshi

Ikubi Kissaki Sword Smiths

Fukuoka Ichimonji Group (福岡一文字) —————Fukuoka Ichimonji Norimune (則宗) Kamakura Ichimonji Group(鎌倉一文字) ———— Kamakura Ichimonji Sukezane (助真) Soshu Bizen Kunimune Group(相州備前国宗)——– Soshu Bizen Kunimune (国宗)Bizen Osafune Group(長船)——————Bizen Osafune Mitutada(長船光忠) Nagamitsu(長光)   Ugai Group————————————————————————- Ugai Unji (鵜飼雲次)

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

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

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

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

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

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

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

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

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

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

10 Nie & Nioi

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

 10 Middle Kamakura ---備前刀姿

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

8 Hi

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

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

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

10 Boshi --- Bizen

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

Bizen School Sword Smiths during Middle Kamakura Period

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

              9 Middle Kamakura Bizen Fukuoka ichimonji 

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