（Token Bijutsu No.565）

Nihon Koto Shi

(History of Koto)

By Dr. Honma Junji

(18)

(P.15)

Speaking about the workmanship of the Ichimonji school of the middle of the Kamakura Period, their tachi has wide mi-haba and grand sugata with chu-kissaki like ikubi, hamon is o-choji-midare or juka-choji-midare in nioi-deki and irregular width and midare-utsuri appears. In particular, the hamon of tachi with just ‘Ichi’ is wide choji and some of yaki-gashira reach the shinogi line, also mune-yaki are seen and ichimai-boshi is occasionally seen. They temper the most gorgeous hamon amongst koto smiths as well as Masamune and his students. Yoshifusa, Sukezane and Norifusa are the representative smiths of the Ichimonji school in the middle of the Kamakura Period.

(Reference photos)

Kokuho : Tachi Mei “YOSHIFUSA”

(Owned by the Hayashibara Museum)

(P.16)

Yoshifusa left the largest number of extant works amongst Ichimonji smiths. He demonstrates various different types of workmanship and sings his mei in various styles. It is speculated that there are a few generations from the end of the early Kamakura to the beginning of the late Kamakura Periods. Yoshifusa who is the maker of Meibutsu ‘Okada-giri’ is the most skilful smith amongst them and left many extant works. This Yoshifusa makes a grand sugata and tempers a unique fukuro-choji-midare.

(Reference oshigata and photos)

“YOSHIFUSA”

“YOSHIFUSA”

“YOSHIFUSA” (Meibutsu ‘Okada-giri)

Kokuho : Tachi Mei “YOSHIFUSA” (Meibutsu ‘Okada-giri’)

(Owned by the Tokyo National Museum)

(P.17)

Norifusa left fewer extant works than Yoshifusa and it is speculated that there are like Yoshifusa, a few generations of smiths named Norifusa. His swords in the style of ‘Okada-giri’ with O-choji-midare are superior to the others, then his jigane is clearer and hamon is brighter than those of Yoshifusa and utsuri does not always appear clearly. There is a commonly accepted theory that Norifusa lived in Katayama of Bitchu Province and is called ‘Katayama-Ichimonji’ but I do not agree with this theory. Geography books say that there is a place called ‘Katayama’ near Fukuoka of Bizen Province. ‘Kokon Mei Zukushi’ says in the article of Aoe Norifusa “There is another Norifusa who lives in Fukuoka of Bizen Province.” Also ‘Kuchusai Hisho’ says, “Tsuguie and Ietsugu may be smiths called ‘Katayama-Ichimonji’, though, it is inappropriate to call them so. They are to be called ‘Katayama-mono’ or Katayama swords.” Consequently I refrain from calling him ‘Katayama-Ichimonji’ for the time being.

(Reference photos and oshigata)

Kokuho : Tachi Mei “YOSHIFUSA”

(Owned by the Tokyo National Museum)

“NORIKANE”

“NORIFUSA”

“NORIFUSA”

(P.18)

Sukezane has no successor and demonstrates a magnificent and gorgeous workmanship. His typical workmanship is seen in the tachi owned by the Toshogu Shrine of Nikko. The sugata has a close resemblance to that of ‘Okada-giri’ by Yoshifusa, the hamon is gorgeous choji-midare in irregular width and consists of thick nioi accompanied by ko-nie, the jigane is covered with thick ji-nie and the boshi is bright and looks powerful. Also there are extant works of Sukezane in which the jigane looks more powerful and the hamon consists of ko-nie so they show unusual workmanship for an Ichimonji smith. Suketsuna who was a successor of Sukezane forges powerful jigane but tempers a quiet hamon. Sukezane is widely known as ‘Kamakura-Ichimonji’ since he moved from Bizen Province to Kamakura of Sagami Province. Differing from the theory of ‘Katayama-Ichimonji’ for Norifusa, his removal from Bizen Province to Kamakura has been confirmed by old sword books including ‘Kanchi In Bon’ since the Muromachi Period. There is a commonly accepted theory that Shintogo Kunimitsu was a student of Kunimune but ‘Kanchi In Bo’ says that Kunimitsu was a student of Sukezane.

(Reference photos)

Kokuho : Tachi Mei “NORIFUSA”

(P.19)

The three Ichimonji smiths (Yoshifusa, Norifusa and Sukezane) demonstrate the most characteristic workmanship of the Ichimonji school in the middle of the Kamakura Period. Each smith of the Ichimonji smith shows some peculiarity but it is very difficult to explain them concretely. Especially, it is almost impossible to tell the characteristics of smiths who left only few extant works.

(Reference photos)

Kokuho : Tachi Mei “SUKEZANE”

(Owned by the Tokyo National Museum)