1      Katana　Unsigned　Gojō KUNINAGA

The Gojō school in Yamashiro included Kanenaga, who is said to be the student of Sanjō Munechika, and Kuninaga, who is said to be his son. Although there are only a few existing works with their signature, both have a stable reputation for an antique and rustic style.

This is a slightly slender sword with a ko-kissaki (tip of the blade made small) showing a graceful and dignified appearance. The jigane has a mild itame hada. The suguha hamon shows ko-chōji and ko-midare with ashi, yō, fine kinsuji and sunagashi. In addition, straight yubashiri is making the hamon look double lined. With all these characteristics, it is a considered as a Kuninaga work among the Kokyō-mono and is a sword full of antique elegance.

 

2      Tachi　Unsigned　Kokyō-mono

In Kyōto, from the end of the Heian period to the beginning of the Kamakura period, there were the schools of Sanjō, Gojō, and early Awataguchi, and they are collectively called "Kokyō-mono".

This tachi is a slender sword with ko-kissaki and the tang is kept in its original form. Since the lower part of the blade is wide and curved compared to the top of the blade, it retains a delicate and graceful appearance. The jigane is showing the exquisite ko-itame hada, and the suguha hamon is finely forged with ko-ashi and ko-nie evenly spread and the habuchi is showing a crescent shape. It is an antique sword that should be savored in its deep and profound style. It is worthy to be praised as a style connected to Sanjō Chikamura.

 

3      Naginatanaoshi-wakizashi　Unsigned　Rai KUNITSUGU

Kunitsugu Rai is a disciple of Kunitoshi Rai, and according to one theory, he is the cousin of Kunimitsu Rai. There are only a few tachi swords, most of the existing swords are tantō and ko-wakizashi, and very rarely, there are some ken and yari (spears). Since he made swords that reflect the influence of Sōshūden, he has been considered as one of the Masamune Jittestu, and has the title of "Kamakura Rai".

This work is an excellent sword that shows the characteristics of Kunitsugu, such as the exquisite kitae (jigane) with fine chikei (black lines of nie), ko-notare hamon with gunome, ko-gunome and togariba on some parts, and a bright nioiguchi with prominent nie, long kinsuji and niesuji as well.

 

4      Tachi　Signed　MITSUMASA(Attributed to SENJUIN)

Yamato Senjuin school refers to a group of swordsmiths who lived around Senjudō, which enshrines Senju Kannon, located at the foot of Nishiyama of Mt. Wakakusa in Nara. Although the swordsmith, Mitsumasa, who made this sword did not sign it, it is considered from the style of the jigane and hamon, that he is from the same school.

This sword retains the original form of the tang with one original hole, and in addition to that, it is long and heavy sword showing the powerful appearance of a tachi. The shinogi is wide and high, and the lower part of the blade is thick, which are showing the characteristics of Yamato. Overall, the well-forged itame hada has a thin and suguha hamon with kinsuji and sunagashi, and the habuchi is frayed. It is a sword expressing the characteristics of the school, and it is not newer than the mid Kamakura period.

 

5      Katana　Unsigned　HŌSHŌ

The Yamato Hōshō school flourished from the end of the Kamakura period to the Nanbokuchō period and every swordsmith of the school used the same kanji character “貞” for their names, such as 貞吉 (Sadayoshi) and 貞興 (Sadaoki). The style of this school is the most distinctive of the Yamato Go-ha (five Yamato schools), with the jigane showing total masame hada and the tang with higaki-yasuri (file marks) applied.

As mentioned above, in this sword, the jigane also shows the methodically flowing masame hada, and the bōshi is also clear, which are making it obvious that this is the same school. In addition, the wide blade and the long kissaki is making the appearance powerful, and the shinogi is also wide, which is the characteristic of the Yamato-mono showing an excellent finishing.

 

6      Katana　Unsigned　NORINAGA Shikkake

The Shikkake school of the Yamato Go-ha (The five schools of Yamato) flourished with Norinaga as the vitual founder. There is a tantō with the production year existing, and it is known that he was born in the 9th year of Bunei. The characteristics of this tantō are the suguha hamon mixed with ko-gunome lined in a row like beads.

This sword shows the characteristics of Yamato, such as, the jigane having a well-forged itame hada with nagare hada, and the hamon having yubashiri, which is making the hamon line doubled, and crescent shapes. Also, in the middle part of the blade, gunome-ashi lined in a row can be seen, which proves that it is Shikkake out of the Yamato Go-ha. It is true that nie is more prominent compared to the other Shikkake swords, but the same style can also be seen in the Shikkake sword of Important Cultural Property in the collection of Kurokawa Institute of Ancient Cultures. It is a fine sword with the clear jigane and hamon.

 

7      Tantō　Signed　"KUNIMITSU Shintōgo

Genkyō 2 nen 6 gatsujitsu"

Shintōgo Kunimitsu was the virtual founder of Sōshū-den, and he produced three master swordsmiths as his students: Yukimitsu, Masamune, and Norishige. At first glance, his style is reminiscent of Kyō Awataguchi school, with prominent nie on both the jigane and hamon, and activities like chikei and kinsuji. He is considered a master of the tantō along with Tōshirō Yoshimitsu and has a great reputation.

As mentioned above, this tantō has strong nie on both the jigane and hamon, which is producing a utsuri, and although it is a small sword, it shows a bold figure overall. It is an outstanding tanto which is not over-polished and the hamon is kept in its original width as when it was made. In addition, since it has the engraving of the production year, it has a high value as a material, and is precious as well as the work itself.

 

8　Katana　Unsigned　YUKIMITSU

Yukimitsu, together with Masamune and Norishige, further developed and completed the Sōshū-den, which was founded by his teacher, Shintōgo Kunimitsu. He is considered to be slightly more senior than Masamune, and his existing swords are limited to tantō. According to kokensho (old books on swords), there were a variety of styles, but many of the ones without a signature have a suguha hamon or gentle midare hamon.

This sword has a tight jigane with thick jinie and chikei, showing the high level of forging skills. In addition, the suguha hamon with ko-gunome has prominent ashi, the nie is thick and kinsuji and sunagashi also can be seen, and the nioiguchi is bright and clear. It is a sword fully showing the beauty and the charm of nie-deki.

 

9　Tantō　(Signed with red lacquer)　[SADA]MUNE

Sadamune is said to be a student of Masamune and adopted by him later, and the period of his sword making spans from the end of the Kamakura period to the early Nanbokuchō period. Although he is the best inheritor of his teacher’s style, there are differences in his gentle apearance and the overall larger swords when compared to Masamune.

This tantō for him is smaller in size than the "Meibutsu Taikogane Sadamune", but it exhibits the interesting differences of nie, such as chikei, kinsuji and sunagashi. The hamon is ko-notare with thick and bright nie, and the jigane shows random yubashiri, which gives it a deep impression, and shows a gentle appearance compared to Masamune. It is in the collection of "Umetada Meikan (A record of sword production)".

 

10　Katana　Unsigned　(Attributed to)SHIZU

Shizu was originally a place name in Mino, but Kaneuji came to this area from Yamato and started making swords, he named himself Shizu Saburō Kaneuji after the place name. From ancient times, he has been counted as one of the Masamune Jittetsu, and among them, he is the swordsmith whose style is the closest to Masamune.

The jigane of this sword has a delicate and well-forged itame hada, and the notare hamon with gunome which has prominent thick nie mixed with fine kinsuji and sunagashi. In addition, the nioiguchi is bright and clear. The clear yakitsume bōshi, combined with the quality of the jigane and hamon, it is worth noticing and is expressing the overall beauty of the nie.

 

11　Katana　Signed　Ikoma Utanokami-kō gyoi ni yori KANEAKI kore wo tsukuru

Bunroku 1 toshi 2 gatsu kitsijitsu Tani dewanokami hutatsudō kiru

The famous Kaneaki is the one from Enshū Takatenjin, but this work is considered to be made by one of the many Mino Seki swordsmiths, and there are not many swords with signatures. This sword is showing the so-called sui-seki hamon style based on gunome with togariba conspicuous by both the depth and shallowness. It has a wide blade and long kissaki showing a powerful appearance of that of a shinkozakai (The sword style between kotō and shintō) as it is indicated by the production year. It is fortunate and desirable that it has been well-preserved.

According to the signature, this sword was made by Kaneaki at the request of Ikoma Chikamasa, who served Nobunaga and Hideyoshi, and in the 1st year of Bunroku, Moritomo Tani, who also served Hideyoshi, had a trial cutting and it has an engraving to prove that it is a sharp and well-cutting sword. It is a valuable historical material that gives a glimpse of the connections between the samurai warriors of the time.

 

12　Tantō　Signed　NOBUNAGA(Asako Taima)

Nobunaga was a swordsmith of the Yamato Taima school and moved to Asago in Echizen at the beginning of the Muromachi period. It seems that the same inscription was used for several generations, and all of these works are called Asago Taima. The style of his swords is similar to that of the Fujishima school, most of them show gunome-midare and there are some with straight and notare hamon.

This tantō shows an itame hada mixed with a little bit of moku on a slightly rough surface with prominent jinie. The hamon with a wide gunome, and prominent ko-nie in the sunagashi are making the height difference of the hamon wave more prominent than his usual works which is giving it a vigorous appearance. Combined with the construction of the blade with a kiriha on the front and a katakiriba made in hirazukuri on the back, it is a sword highly valuable as a material.

 

13　Katana　(Unclear signature with red lacquer)　(Attributed to)GŌ

Gō (江) is an abbreviation for Ōe Yoshihiro (大江義弘), who lived in Ecchū Matsukuragō, and is famous as one of Masamune’s Jittetsu, and in the Edo period, he was considered one of the best swordsmiths in Japan and along with Yoshimitsu Awataguchi and Sōshū Masamune, they were known as Tenga Sansaku (The Three Masters in Japan). As with Sadamune, there are no swords with his inscription, and the style of his authenticated works is characterized by gentler chikei and kinsuji compared to Masamune and Norishige, prominent nie-ashi on the cutting edge, a bright and a clear jigane and hamon, and the hamon in the kissaki is made in ichimai-bōshi. These characteristics are well expressed in this sword, and it is also in good preservation showing the well-forged jigane with chikei. It is a significant and excellent sword by him.

 

14　Tachi　Unsigned　Ko-Houki SANEKAGE

From the latter half of the Heian period to the early Kamakura period, a group of swordmiths, including Yasutsuna, flourished in Hōki, and they are collectively called Ko-Hōki kaji. The jigane shows a large and rough itame hada with a mixture of chikei and jifu making the blade look blakish, and the hamon shows mainly ko-midare which is similar to that of Ko-Bizen swords, but ko-gunome and ko-notare are also noticeable, the nioiguchi is vague, and the habuchi has prominent kinsuji and sunagashi blended in the forged surface, which are making it even more extravagant than that of the Ko-Bizen style. Among them, Sanekage especially, made swords even more rustic, and this sword also has a simple and subdued appearance, displaying jifu-utsuri and yakiotoshi on the slender blade with a ko-kissaki and it is surely expressing the tradition correctly.

 

15　Katana　(Folded inscription)　Bizen-no-kuni SUKEMURA(Ko-Bizen)

Swordsmiths who refer to Sukemura in Bizen include Ko-Bizen, Fukuoka Ichimonji, Yoshioka Ichimonji, and Osafune schools, and this sword is considered as Ko-Bizen(Old Bizen) due to its work. Its itame hada shows clear jifu-utsuri, and the hamon is suguha with a mixture of ko-midare, ko-gunome, and ko-chōji, and it also has prominent ashi, a soft nioiguchi with nie, kinsuji and sunagashi, which all indeed are expressing the characteristics of Ko-Bizen. In addition, on the upper part of the blade, tobiyaki is making the hamon look like double lines as if it is “Mikazuki Munechika", and this can be seen in the swords of Yukihide and Naritaka of Ko-Bizen, too. By turning it back to preserve the inscription, the style of this swordsmith can be correctly confirmed, and that we should be grateful for the wisdom of the past people.

 

16　Tachi　Signed　NORINARI(Ko-Ichimonji)

This sword is considered to be made by Norinari of Ko-Ichimonji. Ko-Ichimonji is the name of the school and was given to a group of swordsmiths from the early Kamakura period including Norimune, and was separate from the Fukuoka Ichimonji school. Unlike the style of the mid-Kamakura period, which was mainly composed of brilliant chōji-midare, the appearance, the jigane and hamon are rustic, and many of them have a strong influence of Ko-Bizen.

This elegant tachi also shows clear utsuri, ko-midare mixed with restrained chōji and gunome, and the soft nioiguchi with nie has a mellow and deep glow.

 

17　Tachi　Signed　SUKEKANE(Ichimonji)

In the list of inscriptions, the name of Sukekane can be seen multiple times in Ko-Bizen and Fukuoka, and there are several types of inscriptions, such as large, smal, rounded, and angular. Many of them are considered to be Ko-Bizen, but this sword is know as the one from the heyday of Fukuoka Ichimonji in the mid Kamakura period from the style. It is a precious tachi as it is keeping the original figure and is showing a typical work of Fukuoka Ichimonji, with a vivid midare-utsuri on ko-itame hada, and the wide hamon showing chōji-midare with prominent ashi and yō, which are very gorgeous. The engravings were added later, but they are applied well-balanced and the delicate work is not making it lose the slightest dignity.

 

18　Tachi　Signed　NORIFUSA

Norifusa, along with Sukezane and Yoshifusa, was a swordsmith who represented the Ichimonji school in the mid Kamakura period, and is also called Katayama Ichimonji from the place of a later settlement. It has been a common belief that the place of Katayama is Bicchū, but in the recent theory, it is said that it may be Katayama near Bizen Fukuoka, prompting future consideration. The highlight of Norifusa is that the jigane is strong and clear, midare-utsuri is prominent, the chōji-midare is somewhat smaller than that of Sukezane and Yoshifusa which is up-side-down in some parts, the cutting edge has fine ashi, and the nioiguchi is bright and clear. This sword also has these characteristics, even though it is based on a medium suguha hamon, and it is a valuable piece with the inscription to learn about one of the styles of his work.

 

19　Tachi　Signed　[　　　　][NAGA]□(NAGAMITSU)

Nagamitsu was the 2nd generation of the Osafune family, and although his swords with inscriptions are the most numerous among the swordsmiths of the Kamakura period, he is famous for his high quality and skills. His styles can be roughly divided into two types: a bold appearance that seems to have been inherited from his father, Mitsutada, with a gorgeous chōji-based midare, and a relatively gentle finish showing suguha hamon with chōji-ashi on an average or slender blade. In this sword, although it is partial, the inscription can be confirmed slightly, and from the position, it can be said that it was a long inscription. It is valuable that this tachi is kept almost in its original appearance. With the clear midare-utsuri and the medium suguha hamon with ko-chōji and ko-gunome, it is a typical work of his later years.

 

20　Tachi　Signed　Bishū Osafune jū KAGEMITSU

Gentoku 3 nen 3 gatsujitsu

Kagemitsu is the 3rd generation of the Osafune school following Mitsutada and Nagamitsu, and the year engraved on the existing swords are from Kagen era at the end of the Kamakura period to Kenmu in the early Nanbokuchō period. Compared to his father, Nagamitsu, he made more swords with gentler hamon, but on the other hand, his jigane is well forged and fine, and his skills even surpassed that of his father.

This is a tachi sword of the year 1331. The blade is average in width and thickness, the fine jigane shows ko-itame hada with fine ji-nie and the midare-utsuri is bright and clear. In addition, hamon shows gunome mixed with ko-gunome and ko-chōji. The part of the blade near the tang has kinsuji, and nioiguchi is clear and bright. It is a sword that expresses the characteristics of Kagemitsu in both jigane and hamon.

 

21　Katana　Unsigned　KANEMITSU

Kanemitsu is the 4th generation of the Osafune school following Kagemitsu. The existing sword with the production years are from Genkō at the end of the Kamakura period to Jōji in the Nanbokuchō period for the period of about 45 years, and until the early Nanbokuchō period, his style was following his father, Kagemitsu, with an average sized shape, a suguha hamon with gunome and kataochi-gunome. From around Jōwa and Kannō, the size became larger and the hamon mainly showed notare, which he was skilled at. This work has a long ō-kissaki which was popular in the heyday of the Nanbokucho, with midare-utsuri and notare hamon, along with dragon engraving. It is a typical work of the later years of Kanemitsu, and it is an excellent sword of him, in which the dynamic figure and the relaxing hamon are expressed.

 

22　Tachi　Signed　Bishū Osafune SHIGE[YOSHI]

Meitoku 3 nen 10 [gatsu]jitsu

(Attached)Kin-nashi-ji Aoyamagiku-mon Chirashi Kanagai-zaya itomaki-tachi-koshirae

 

 

During the Nanbokuchō period, there were many swordsmiths appearing whose lineage was not clear: they were not Kanemitsu students although they belonged to Osafune school, and they were also not the Motoshige, Nagayoshi or Ōmiya lineage, and they were collectively called kozori-mono. There are various theories about the origin of this name, such as that the blade was smaller and more curved than the figure at the heyday of the Nanbokuchō period, that swordsmiths appeared, or that the name of Shigeyoshi's ancestor was Kozori, but all of the theories are not clear. This is an excellent sword with a clear midare-utsuri and notare hamon with tight midare which is a typical style of kozori, and a bright nioiguchi. It can be confirmed as a tachi from the position and appearance of original hole(lower part) and the inscription, but it is also attracting attention as a rare example of a sword represented the name of the sword. The accompanying mounting is considered to be a work of the late Edo period.

 

23　Tachi　Signed　Bishū Osafune jū SHIGEZANE

The production years of Osafune Shigezane are from Shōchū in the end of the Kamakura period to the mid Nanbokuchō period, and there is a theory with the existence of the 1st and 2nd generations during this period. The style of the swords has itame with nagare-hada and jifu, a suguha hamon with prominent angular gunome and pointed bōshi, which are showing the characteristics of Aoe similar to Motoshige in general. This sword also follows the style of Aoe, such as a jigane mixed with moku showing midare-utsuri and jifu, a medium suguha hamon with a tight nioiguchi showing slight notare, mixed with ko-gunome and ko-ashi which has a clean and sophisticated finishing. In addition, the dynamic wide and thick figure with ō-kissaki is also praised.

 

24　Katana　Unsigned　NAGASHIGE

Nagashige is said to be the younger brother or elder brother of the representative sword smith of Bizen Osafune school, Nagayoshi, in the Nanbokuchō period. He was of a different lineage from Kanemitsu and the others, who were considered to be the main stream of  Osafune school of the same period, and is known for his style that shows the characteristics of Sōden Bizen.

This dynamic sword has a wide blade with a shallow curve with ō-kissaki (long tip of the sword), and the jigane overall shows big wavy itame hada mixed with mokume and prominent chikei. The hamon is based on ko-notare with gunome and some angular gunome, along with other various kinds of midare. The nioiguchi has prominent ko-nie and the cutting edge also shows kinsuji and sunagashi. It is a vigorous sword in which the characteristics of Sōshū-den are well expressed throughout the jigane and hamon.

 

25　Katana　Unsigned　(Attributed to)MORIKAGE

(Attached)Kin-nashi-ji Sanjō-hanakaku-mon Chirashi itomaki tachi-koshirae

Morikage Ōmiya is considered to be a swordsmith belonging to the lineage of Chikakage and Yoshikage, who are considered a branch of the swordsmiths of Bizen Osafune school, and is a representative swordsmith of Ōmiya school who was active during the Nanbokuchō period. His styles are varied, from those with prominent nie on the ji and a hamon influenced by Sōshū-den to those with a straight hamon of the Aoe style.

The figure of this sword is the Enbun and Jōji era style, with a wide and thin blade, and a long kissaki. The Jigane has significant nie on hadori, and is also showing kinsuji, sunagashi, yubashiri and tobiyaki which are giving the sword a striking appearance. It is an effortful work that expresses the energy of Sōden Bizen that blossomed with the influence of Sōshū-den.

 

26　Wakizashi　Signed　Bishū Osafune YASUMITSU

Eikyō 11 nen 8 gatsujitsu

The group of swordsmiths who were active in Bizen from the Ōei era in the early Muromachi period is called Ōei Bizen, and it is said that one of the two best of them was Uemonnojō Yasumitsu. This wakizashi sword is thought to be made by the 2nd generation Sakyōnosuke Yasumitsu, who was active in the Eikyō and Bunan, based on the year of production and the inscription.

This sword has a typical figure of the early Muromachi period, which has a very thick and long blade compared to the width and the curve made toward the tip. Its jigane shows nagare hada on itame with a rough surface which has bō-utsuri. The elegant hamon is a gentle sugu-ha, and the notch on machi-ue (the area dividing the blade and the tang) is rounded (maru-dome). Overall, it is a masterpiece in original condition which is fully expressing the characteristics of Yasumitsu as a Bizen-mono of the early Muromachi period.

 

27　Katana　Unsigned　AOE

Aoe is a school in Bicchū, which was known as an iron-producing area, and is said to have been active in the lower reaches of the Takahashi River in the country. Those swords made until the middle of the Kamakura period are called Ko-Aoe, and those from that time to the Nanbokuchō period are called Aoe.

In this work, looking at the jigane closely, finely wrinkled chirimen hada can be seen on itame. A suguha based hamon with ko-gunome and ko-choōji, and up-side-down midare and ashi can be seen, and the nioiguchi is tight. This sword is showing these characteristics of Aoe from the end of the Kamakura period to the Nanbokuchō period everywhere. It is one of the most excellent swords with brilliant jigane and hamon.

 

28　Katana　Unsigned　SAIREN

Sairen is an inscription as a monk, and his name, after he returned to secular life was Kuniyoshi. He was a swordsmith in Chikuzen, Kyūshū, who is said to be the father of Jitsua. According to the inscription, it is believed that he served the Chinzei Dangisho, a local office of the Kamakura shogunate. The style of his swords follows the tradition of the Kyūshū classical school, with itame hada and straight hamon showing hotsure (lines of nie resembling frayed threads).

This sword has a dynamic figure with a wide blade and extended kissaki. The Jigane shows remarkable itame hada, and the suguha hamon shows a hazy nioiguchi with a moderate amount of nie, the habuchi line is frayed in places with fine sunagashi. It is finished as a calm and gentle suguha hamon that can be seen in Kyūshū swords, and is an interesting sword to appreciate.

 

29　Katana　(Gold inlayed inscription)　KUNITOKI(Enju)

KŌSON(monogram)

Enju school is a school in which Kunimura, who is said to be the grandson of Kuniyuki Rai, led to Kyūshū and was active under Higo Kikuchi, and they were good at making Suguha hamon that followed the style of the Rai school. Kunitoki is considered to be a child or disciple of the school’s establisher Kunimura, and he made many swords in Enju, and has left excellent works.

This sword has a wide blade showing a fine ko-itame hada with nagare hada in some parts which is making the surface slightly white. The sophisticated suguha hamon shows prominent nie and the nioiguchi line is vague which is giving it a gentle appearance, and the bōshi (the part of hamon on tip of the blade) is also rounded at the tip. It is a dignified sword expressing the characteristics of Enju beautifully in both ji and hamon.

 

30　Katana　Signed　KUNIYASU(Horikawa)

According to “Tanaka Kakeizu(The Tanaka Family Tree)”, he is commonly known as Saburō Tayū and is the youngest brother of Kunihiro. The reason for the relatively small number of his works is that his style, tang finishing, and inscription are very similar to Kunihiro's, and it is probably because he was appointed as a substitute for Kunihiro. His inscription is always a two-letter inscription, and there is no government-given name engraved. The fact that he is the only person who makes the file lines marked on tangs in gyaku-sujikai, which means they are marked in reversed angles (or in gyaku-ōsujikai, even more angular) is the important point to notice.

This is an outstanding sword of him with zanguri hada (a rough but well-forged jigane) showing a fine itame hada which can be seen in Horikawa swords, and hamon is notare with a mixture of gunome and irregular angled gunome, and the border between ji and hamon is clear and broad with distinct nie in some parts.

 

31　Katana　Signed　Inoue Izuminokami KUNISADA

(Crest)Kanbun 10 nen 8 gatsujitsu

Shinkai Inoue was the second son of the 1st generation Izumi no Kami Kunisada, commonly known as Hachirōbei, and inherited the patrimony after his father's death. At first, like his father, he named himself Izumi no Kami Kunisada, and around the 4th year of Manji, he was allowed to engrave the chrysanthemum crest on the tangs by the Imperial court, and after August of the 12th year of Kanbun, he changed his name to Shinkai.

In this work, the characteristics of Shinkai are clearly expressed, such as the well-tempered ko-itame hada with thick jinie, the hamon has gunome with prominent hanie mixed on a mild notare base, and both ji and hamon are bright and sharp. Combined with its elongated shape, it is showing a powerful appearance.

 

32　Katana　Signed　Bushū Edo ni oite Ethizen YASUTSUGU(2nd generation)

Morokoshi Shoji

The 2nd generation Yasutsugu, commonly known as Ichinojō, was the son and heir of the 1st generation Yasutsugu, and as a house swordsmith of the Shōgun family and the Echizen Matsudaira family. He made swords every other year in Edo and Echizen.

This is a sword of the 2nd generation Yasutsugu, and it has a dynamic figure with a wide, long and thick blade. The jigane is full of characteristics typical of Echizen swords, such as the flowing itame hada with thick and prominent ji-nie, and chikei making its color blackish. In addition, the hamon is notare, mixed with gunome and ko-gunome, and nioiguchi is bright with kinsuji and sunagashi. It is an excellent sword that demonstrates his skills as high as the 1st generation Yasutsugu.

 

33　Katana　Signed　Kazusanosuke Hujiwara KANESHIGE

Kazusanosuke Kaneshige is known to have started making swords around the Meireki (1655-1658) and was active as a representative master swordsmith during the Kanbun and Enpō periods (1661 ~ 1681).

This work has a slightly curved blade with a long kissaki and it is the style of the Kanbun shintōki period. The jigane has a fine ko-itame hada with promonent ji-nie and chikei. The Hamon has many gunome lined in a row like beads, called juzuba, which is a similar style to that of Nagasone Kotetsu (乕徹) who was active at the same time. In addition, the nioiguchi is bright and clear which shows a superb finishing.

 

34　Katana　Signed　Shōji Chikuzen Daijō Taikei NAOTANE(monogram)

Tenpō 2 nen chūshun

It is said that Naotane was born in Dewa-no-kuni Yamagata, around the 7th year of Anei (1778), and was later called Taikei. When he was young, he moved to Edo and became a student of Suishinshi Masahide, and together with Hosokawa Masayoshi of the same school, he became a famous master swordsmith of school.

In this sword, the characteristics of Bizen-den, such as a jigane with rough itame hada and an irregular hamon with gunome, mixed with chōji, kataochi-gunome and togariba which Naotane tried to reproduce are well-expressed. The activities on the cutting edge are prominent, and clear kinsuji lines are adding even more brilliance to this work, making it have a powerful appearance.

 

35　Katana　Signed　Hizen-no-kuni Kwachidaijō Hujiwara MASAHIRO

Kawachi Daijō Masahiro was the son of Yoshinobu and his first inscription was Masanaga, and he changed it to Masahiro in the 2nd year of Kanei. One theory is that he received the Kawachi Daijō in the 5th year of Kanei. But since his swords were inscribed as "Hizen no Kuni Saga Jū Masahiro" and others until up to the 16th year of Kanei, and the inscription "Kawachi Daijō" are seen from the swords made in the August of the 18th year of Kanei, it is according to the recent theory, most likely that he received the name around the 18th year of Kanei.

This sword is an outstanding piece that shows his high skills and mastery of midareba (wavy hamon) gunome and gunome-chōji on notare hamon, a fine koitame hada and a clear and bright border between ji and hamon.

 

1　Kurourushi nuri saya shu nuri tsuka naginata-koshirae      Unsinged

This is a naginata mounting from the early Muromachi period. The whole style is quaint with the handle painted with vermilion lacquer, the scabbard painted with black lacquer and some parts wound with shino(bamboo grass), and the scabbard in an slender shape. Of the metal parts used, the handguard is made of red copper, and sakawa and ishizuki are made of iron, both of which are simple without decoration, and showing the style that emphasizes practicality.

 

2　Kurourushi nuri monchirashi makie saya itomaki-tachi-koshirae      Unsinged

Itomaki tachi koshirae is one of the samurai warriors' heijō (battle use) and gijō (ceremony use) tachi mountings in the modern days, and is a form of mountings that was often used by upper-class samurai families as a tachi mounting for shrine and temple dedications and gifts. It is called itomaki tachi koshirae (thread wrapped tachi mounting) since the handle and the mouth of the scabbard are wrapped with gold cloth and wound with threads.

In this work, ryū-no-maru・kaku-ni-maru crest (round dragon in square crest) is applied in kin-makie (gold lacquer work) and ryū-no-mon (dragon crest) is applied in hira-makie with additional drawing. All of the metal parts are made of pure polished copper which are making a sense of unity, and it is a mounting with a refined taste.

 

 

3　Kin-nashiji kiri chigaitakanoha hiōgi monchirashi itomaki-tachi-koshirae      Unsinged

Itomaki tachi koshirae was one of the samurai warriors' heijō (battle use) and gijō (ceremony use) tachi mountings of recent eras, and was a form of mountings that was often used by upper-class samurai families as a tachi mounting for shrine and temple dedications and gifts. It is called itomaki tachi koshirae (thread wound tachi mounting) since the handle and the mouth of the scabbard are wrapped with gold cloth and wound with threads.

All of the metal parts of this work are made of shakudō-nanakoji with scattered chigaitaka-no-ha hiōgi crests (2 hawk feathers arranged in a cross and a cypress fan) and paulownia crests, and on the scabbard, the same cypress fan crests depicted in gold makie are scattered on kin-nashiji base (gold and silver lacquering). The design of the crests is dynamic, and the metal parts are exquisite. It is a mounting expressing the grace of the mid Edo period.

 

4　Shu nuri Inyō tōkamon saya aikuchi-tantō koshirae           Unsinged

本作は江戸時代後期の作と鑑せられる合口短刀拵である。赤銅魚子地の金具に白餅紋・藤巴紋・永楽銭紋など黒田家の家紋を散らし、鞘は朱漆塗に窪みを彫り、長く垂らした藤花を陰陽で絵描くなど豪華な造込みとなっている。金具の黒と金、鮫の白、深みのある朱が良く調和しており、ややもすると仰々しく感じさせかねない鞘の藤花も陰陽とすることで軽みを与えるなど、制作者のセンスと技倆が存分に発揮されている。藩政時代は福岡藩主黒田家に伝来した優品である

This work is a koshirae for a wakizashi in the late Edo period. Adorned with fittings of copper fish roe ground, scattered with the family crests of the Kuroda clan such as the white rice cake, wisteria leaf, and the Eiraku coin motif, it features a luxurious construction. The scabbard is coated with vermilion lacquer with carved recesses, and the depiction of hanging wisteria flowers in yin and yang style adds to its splendor. The harmonious combination of black and gold fittings, the white of the shark skin at the handle, and the deep vermilion color blends well, and even the somewhat elaborate wisteria flowers on the scabbard are balanced with lightness through the use of yin and yang elements, showcasing the full extent of the creator's sense of aesthetics and technical prowess. This piece has been passed down to the Kuroda family, former lords of the Fukuoka domain, during the feudal era.

 

5　Kuro-ishime magaritake danmon chirashi koshi kizami saya aikuchi-tantō koshirae (metal works by Nakamura Haruhiro)        

Fuchi signed Nakamura Haruhiro(monogram)

Kozuka singed Haruhiro (monogram)

Kōgai singed NAKAMURA

This is a tantō mounting with all the metal parts made by Haruhiro Nakamura. He was a student of Harunari Hirata who was active in the late Edo period as a house metalworker of the Maeda family of Daishōji. The metal parts have a wisteria and arabesque pattern applied in gold inlay (kin hira-zogan) on a shakudō-nanakoji (fish roe pattern on red copper) base metal. The scabbard is kuroishime (mat black surface) with scattered magaritake-danmon marks. There are thinner lines engraved toward the handle, and the handle is covered with shirozamegi and applied kujirahige-kumiagemaki (covered with white shark skin and wrapped with whale baleen). Over all, it is a mounting with elaborate and impassioned work.

 

6　Kuro-roiro ōka chirashi makie saya aikuchi-tantō-koshirae 

Menuki signed TOKU・OKI

Kozuka signed TOKUOKI

Kōgai signed IKKOSAI

Sayanuri signed Heian Tokuoki e KAJIKAWA(monogram)

Aikuchi koshirae is a mounting style in which fuchikanagu (the edge bracket) of the handle and the metal part around the mouth of scabbard are directly combined, and it is does not have a handguard.

This mounting has cherry blossoms depicted in kin-makie scattered on the kuroroiro (black roiro lacquered) scabbard, expressing a scene of cherry blossoms at night. All of the metal parts are made by SasayamaTokuoki, and the chisel work is giving a taste to menuki which shows the high skill of Tokuoki. It is also interesting to note that Kajikawa worked on the makie based on Tokuoki's drawing, which shows the interaction between the metalworker and the makie master in the production of mountings. The makie, metal parts, and designs are all first-class work, and it is a dignified aikuchi-tantō maunting that brought together the best of their techniques.

 

1　Bamboo and Plum menuki       Unsigned          KOKINKŌ

Ko-kinkō was a group of metalworks that continued with the style of ancient times until the Momoyama period.

This work is considered to be from the Nanbokuchō period, and is full of skills and quaint techniques. Bamboo and plum trees that withstood the cold of winter are powerfully engraved, and the aging of the worn gold gives it an elegant taste, and it is full of character and charm of ko-kinkō. It is a work to be praised in which the fact that a notch can be seen on inside and the edge is also one of the evidence that it is an old menuki.

 

2　Puller bracket kozuka  Signed  YUJŌ saku KENJŌ(monogram)

Mitsumasa(monogram)

The 1st generation of the Gotō family, Yūjō, is regarded as the patriarch of Japanese engraving and is praised as a chisel master who has no equal in any age. He served the shōgun Ashikaga Yoshimasa and played an important part in Higashiyama culture, and many of his works have been featured as Higashiyama Gyomotsu. As for the year of his birth and death, the most plausible theory is that he was born in the 12th year of Eikyō (1440) and died at the age of 73 in the 9th year of Eishō (1512).

This work is slightly slender and on one plate structure, a puller fitting is engraved in takabori method and colored in kin-iroe on shakudō-nanakoji base metal. What is particularly noteworthy in this work is that it is the kiwamemono (a certified original work) between the father, Kenjō and the son Mitsumasa (Teijō). The Kaga Maeda family has a kiwamemono made by 3 people, Kenjō, Teijō and Kakujō (sanninn kiwame), and this may be a work in accordance with that.

 

 

3　Ruler kōgai   Signed  Sōjō saku TEIJŌ(monogram)

The 2nd generation of the Gotō family, Sōjō, followed in the footsteps of his father Yūjō and served the Ashikaga Shōgun family. At the age of 40, he shaved his head to became a monk and took the name Sōjō, and was later ordained as a Hōgen. According to the family tree, he was born in the 1st year of Chōkyō (1487) and died on August 6 in the 7th year of Eiroku (1564) at the age of 78.

This work is Sōjō-kiwame kōgai made by the 9th generation of the Gotō family, Teijō. The hijōgi (a ruler with a thin gutter) engraved in the center is imposing, and although it is a simple subject, it is full of the dignity and presence of the Gotō style, which affirms it is Sōjō-kiwame. It is an interesting kōgai showing worn (with age) nanako (fish roe design) around hijōgi and the gold of warabite

 

4　Cow and horse menuki Unsigned KŌJŌ

(attached) Kōri Origami

(attached) Gotō Saburōzaemon letter

The 4th generation of the Gotō family, a famous family in the world of sword metalwork, Mitsujō, was born in the 2nd year of Kyōroku, first served the Ashikaga shōgun family. Later, he served Nobunaga Oda, and in the 9th year of the Tenshō, by order of Nobunaga, together with his heir son Mitsumoto (Tokujō), he made the world's largest gold coin, Mujirushi-no-Ōban (ten ryō).

In this work, two horses are carved in katabori method on the amalgamated gold and red copper base metal. It is expressing the strength of the horses with an undulating chisel work and also manifests the dignity of the Gotō family. It should also be noted that the back has inyōkon (a post meant to secure the menuki to the handle), and that it is accompanied by a Kōri origami paper from Genbun, and a letter from Saburōzaemon Gotō.

 

5　Peoney mitokoromono

Kōgai/Kozuka signed Gotō TSŪJŌ(monogram)

Menuki unsigned TSŪJŌ

The 11th generation of Gotō, Mitsutoshi Tsūjō, was the third son of Senjō of the Tarōemon Gotō family, but Mitsuyoshi, the heir son of the 10th generation of the Sōke family, fell ill at a young age, so he was married to Renjō's daughter and adopted and inherited the Sōke family. The period of activity is around Genroku, and he added a new carving style of machibori to the tradition of iebori.

This work shows chrysanthemums on branches in gold and silver iroe on shakudō-nanakoji (fish roe-like surface on red copper) base. It depicts various chrysanthemums such as buds and open flowers, and the chisel works applied to the chrysanthemum flowers and leaves are elegant and matching the gold color of the buds. It is a work that shows the dignified style of the Gotō family.

 

6 Bamboo and sparow mitokoromono

Kōgai/Kozuka signed Gotō Shirobei Fujiwara Mitsuaki(monogram)

Menuki signed Mitsu・Aki

Born in the 13th year of Bunka (1816), the 16th generation of the Gotō Sōke family, Hōjō Mitsuaki Gotō inherited the patrimony in July of the 6th year of Tenpō when his father Mitsuyoshi retired at the age of 56, called himself Shirōbei Mitsuaki. He died in June of the 3rd year of Ansei (1856) at the age of 41. He is said to be the most skilled one and among subsequent generations after the 12th generation Mitsumasa.

The kozuka and kōgai are made of shakudō-nanakoji (fish roe-like surface on red copper), and menuki is made of pure copper and with iroe of gold, silver and copper which is depicting sparrows gathering on snow-capped bamboo grass. While skillfully using various irogane (color metals), the appearance of sparrows chirping and flying around is expertly expressed, and it is an excellent work that shows the high level of Mitsuaki's engraving skills.

 

7 Yatsuhashi bridge tsuba Singed  Hayashi

SHIGEMITSU

Shigemitsu, commonly known as Tōhei, is the son of Hayashi Matashichi and the 2nd generation of the prestigious Hayashi family of Higo metalwork. Like his father, Matashichi, he lived in Kasuga-mura Hisasue, and was active as a house metalwoker for the Hosokawa family of Kumamoto domain, specializing in well-forged and exquisite iron handguards.

The iron base of this handguard looks smooth and soft which is emphasizing the good parts of the iron peculiar to Higo handguards, and the rusty color shows a good balance. The openwork and kebori of Higo are also rustic and elegant overall. Since many of his works have no inscriptions, it is a valuable work of Shigemitsu with his name on which has a high material value.

 

8 Musashi plain tsuba　Signed　YASUCHIKA

Yasuchika, named Yagohachi, was born in the 10th year of Kanbun (1670) as the son of Chūzaemon Tsuchiya who was a retainer of Shōnai. In the 16th year of Genroku (1703), at the age of 34, he went to Edo, where his natural talent blossomed. He is a master metalworker who is praised as the "Nara Sansaku" along with Nara Toshinaga and Sugiura Jōi.

This work is a handguard showing Musashino strongly in openwork on brass. The Musashino-zu depicts the atmospheric wilderness of Musashino, and Yasuchika expressed this with a single handguard. The roughness of the engraving, the composition, nikutori carving, and the hammer marks expertly applied in various places is making the viewer feel the blowing wind and the atmosphere in Musashino. It is something that can only be done by Yasuchika.

 

9 Hackle kozuka　Signed　YASUCHIKA

Yasuchika studied under the school of Shōami Yoshihisa, and subsequently trained under Nara Tatsumasa. His skills are praised as the "Nara Sansaku" along with Nara Toshinaga and Sugiura Jōi. The subject of this sword handle, Tokusakari-zu, is one of Yasuchika’s favorite subjects, and he has left behind many masterpieces on this theme with different shapes and materials by making full use of his unique techniques.

The source of the title of this picture is said to be the song " Tokusa", in which an old man is eagerly waiting for the reunion of his child who was taken away by someone. He is distracting his lonely heart by cutting horsetails(tokusa). In this interesting work, the face of the old man looking up at the moon which is peeking through the clouds, is expressing his deep emotions.

 

10 Monkey ear scoop and brush kozuka　Signed　YASUCHIKA

Yasuchika, called himself Yagohachi, was born in the 10th year of Kanbun as the son of Chūzaemon Tsuchiya who was a retainer of Shōnai. For a long time, he studied under the school of Shōami Yoshihisa, married the daughter of his teacher, and at the age of 34 in the 16th year of Genroku, he further trained under Tatsumasa Nara in Edo, where his natural talent blossomed. By the time of Shōtoku, he served for Matsudaira Daigaku no Kami, and in the sixteenth year of Kyōho, at the age of 61, he shaved his head and called himself Tōu. Later, he was praised as the "Nara Sansaku" along with Nara Toshinaga and Sugiura Jōi.

In this work, how he made the tip of one hand of a gibbon into the shape of an earpick is expressing Yasuchika's unique sensibility. It is an excellent sword handle that shows the high level of Yasuchika's skill in capturing this difficult composition without collapse.

 

11 Snow and playing child tsuba　Singed　Issandō JŌI(gold mark Nagaharu)

Jōi was born in the 14th year of Genroku (1701), named himself Issandō, and went to Edo to study under Toshinaga Nara. Along with Toshinaga and Yasuchika, he was a great metalworker who was called Nara Sansaku. He died in the 11th year of Hōreki (1761) at the age of 61.

This work depicts karako (child in Chinese style fashion) playing in the snow in shishiaibori engraving applied on polished iron base, which is his specialty, and gold inlay is used for karako's clothes. It is a gem that richly shows the facial expression of karako and snow with a slight difference in the engraving, and the high skill of him engraving the design only with a chisel can be seen. The inscription is also valuable.

 

12 Shishi family fuchigashira　Singed　Iwamoto KONKAN(monogram)

Konkan Iwamoto was born in Edo in the 1st year of Enkyō (1744), and his real last name was Asai, and he was first called Ryōun, and later changed his name to Konkan. Due to the early death of Ryōkan the 5th generation, his fellow student Konkan succeeded the 6th generation of the Iwamoto family. The Iwamoto family was originally belonged to the Yokoya school, but Konkan studied the engraving methods of the Nara school, which was headed by Yasuchika, and incorporated the strengths of the Yokoya and Nara schools to complete the art of Konkan, which shows a stylish Edo-mae design.

This work depicts a lion applied in gold iroe on a silver and copper alloy/pure copper inlay work (suemon-zōgan) on a shakudō-nanakoji base metal. As the dynamic lion is made as big as the size of the base metal, it is an outstanding work that shows a vibrant style of Konkan.

 

13 Birds daishō fuchigashira　Singed　Gyōnen 77 Juōsai Masayoshi saku

Masayoshi Ishiguro was born in the 3rd year of Anei (1774), studied under Naoyoshi Sano and Masatsune Ishiguro, and was active as a main member of Ishiguro school, and trained many students. His style, like the rest of metalworkers of Ishiguro, specializes in brilliant takabori-iroe based on flowers and birds.

These are a large and small fuchigashira made of bright colored hiiro(red)-dō (copper)-nanakoji. On kashira, a valiant hawk soaring in the sky is applied, and on fuchi, a pheasant, quail, and sparrow are arranged along with flowers, respectively representing the heavens (kashira) and the earth (fuchi). It is one of Masayoshi’s works at the age of 77, in which the sharp expression and appearance of the hawk aiming at its prey is full of dynamism, and his skill in flowers and birds is fully expressed.

 

14 Mount Fuji Kozuka　Unsigned  Hirata DŌNIN

Hirata Dōnin was a metalworker who increased his fame by using cloisonne techniques for sword mountings. The technique was sophisticated with a strong transparency, which was different from the mud cloisonne of the past, and he was summoned by Tokugawa Ieyasu, who appreciated his skill high, and became a shogunate metalworker.

This is a kozuka that depicts a crescent moon peeking through the clouds and Fuji crowned with snow, expressed by cloisonne and inlay in various colors. There are many highlights, such as the foot of the mountain in gold inlay and the crescent moon inlaid in silver inlay (gin suemon-zogan), but it is the vivid cloisonne of Fuji that attracts the eye the most. The blackish red copper base accentuates the blue and white colors, and it is an excellent kozuka that allows the viewers to fully enjoy the beauty of cloisonne.

 

15 Mountain and river tsuba　Singed　Someya TOMONOBU(gold mark)

Someya Tomonobu is the son of Someya Masachika of Ise Kinkō, and is a metalworker with a unique style who established sansui-bori with his own ingenuity and gained a strong reputation. He is said to have studied drawing under a bunjinga artist of Edo, Tani Bunchō, and made ink painting style works.

This work depicts a rural landscape rich in nature with sukidashi-bori method on a polished brass base. The compositions of mountains and waterfalls in the distance, rivers flowing to the foreground, and scattered country houses are like looking at a piece of ink painting. Combined with the calm color of the brass, it is one of his most effortful works showing a unique atmosphere.

 

16 Sea creature menuki　Singed　NAGATSUNE(monogram)・Nagatsune

As it is said, "Sōmin in the east, Nagatsune in the west," Nagatsune Ichinomiya was famous as a master of Kyōto metalwork in the same time as Sōmin Yokoya. Born in Echizen Tsuruga, he was at first a specialized in metal plating, but later aspired to become a metal engraver and went to Kyōto, where he studied under Takanaga Yasui(Takayama) of the Gotō lineage. As for drawing, he studied under Yūtei Ishida, the teacher of Ōkyo Maruyama.

In this work, the front of menuki has a sea bream engraved on pure copper, and the back has clams in the day and night engraved on silver and copper alloy. The depiction of the scales and flesh of the sea bream and the unique shape of the clams show the high skill of Nagatsune's designing, and it is a careful work in which different iroe are applied to the details of bamboo and small shells.

 

17 Wind and thunder god fuchigashira　Singed　Minayama ŌKI

Minayama Ōki, commonly known as Naoichi, was one of the disciples of Ōtsuki Mitsuoki, who produced many students as a member of Kyōto Ōtsuki school, and is said to have lived in Nijō, Kyoto. Using Ōtsuki style chisel engraving methods, mainly on the fuchigashira and menuki, he is counted as one of the masters of Kyōto metalwork.

Carefully finished in shakudō-tsuchimeji (red copper base metal with hammer marks) is used for this fuchigashira, and on the fuchi, Fūjin (the God of wind) is expressed in a form that harmonizes with base metal by takabori and kin-iroe. On the kashira, Raijin (the God of thunder) depicted with a pure copper inlay is expressed lively in three-dimensional by more dynamic engravings as if it jumps out of the sea of clouds. It is a masterpiece that shows full use of Ōki's engraving skills.

 

18 Thunder god tsuba　Singed　Tenkōdō HIDEKUNI

Hidekuni was born in the 8th year of Bunsei (1825) in Hōkinokuni Yonago, and at the age of 18, he went to Kyōto and became a student of Kawarabayashi Hideoki, a senior disciple of Mitsuoki Ōtsuki. He named himself as a metalworker Tenkōdo or Kinryūsai, and he was specialized in takabori engraving method using various colors of irogane (color metals), and he was also good at kebori and katabori.

This work uses polished iron and raijin (the god of thunder) on the front and big waves on the back. The carvings are boldly expressed using sukidashi-takabori and gold inlay (kin suemon-zogan) methods. Raijin is depicted by powerful chisel work, and the arrangement of the lightning is also unique, showing the energetic style of Hidekuni.

 

19 Millet mitokoromono  

Kozuka/Kōgai signed Ginshōtei TŌMEI(monogram)

Menuki signed  Ginshōtei・TŌMEI

Araki Tōmei was born in Kyōto in the 14th year of Bunka (1817), and at the age of 13, he studied under Gotō Tōjō (後藤東乗) and was allowed to use the kanji character from his teacher’s name "東" and took the name Tōmei（東明）. Later, he studied under Gotō Ichijō（後藤一乗) and was allowed to use the metalworker name "一斎" and engraved his name as Issai Tōmei（一斎東明） ever since. It is said that he studied sketching under Hayashi Ranga and devised the engraving of millet stalks, which he specialized at, and was famous for this subject at that time.

These are mitokoromono (menuki, kozuka, kōgai) with millet stalks and sparrows, and these were Tōmei's best subject. The chisel work is effective even in the small parts such as the grains of the millet and the spots on the leaves. As he was called “Tōmei of Millet Stalks”, his engraving skills are fully demonstrated.

 

20 Fukurokuju god soroikanagu    

Tsuba signed Ansei bogo Mō Imai NAGATAKE (monogram)

Kozuka signed Ansei Teimi Mōshū Imai NAGATAKE

Kogai singed Ansei Teimi Mōshū Imai TEISAI

Menuki unsigned NAGATAKE

Nagatake Imai was born in Kyōto and was adopted at a young age by Kosaburō Imai, a retainer of the Ichijō family, but after the death of his adoptive father, he left the Ichijō family and trained under a master of engraving of the Gotō lineage, Kyūbei Fujiki. He is from the same school as Kazuma Wada, who was a student of Ichijō, during his student days. After becoming independent, he studied closely with Ikkin Funada of Ichijō school, and is said to have instructed the students.

This work depicts one of the seven gods of fortune, Fukurokuju. Fukurokuju is a symbol of happiness, wealth, and longevity, and is sometimes depicted with cranes or reishi mushrooms. The handguard is made of polished iron, kozuka and kōgai have takabori and color inlay (zōgan-iroe) work on shakudō-nanakoji, and menuki is represented by solid gold. The back plate of kozuka and kōgai are inlaid with gold work on polished silver and copper alloy which look sophisticated.

 

21 Driving out evil spirit tsuba  Singed Tōryusai Teiminensei KIYOTOSHI Hōgen(monogram)

Kiyotoshi’s real name was Tanaka Bunjirō, and he was a representative of Edo metalwork at the end of the Edo period with the name Tōryūsai. He made colorful works using alloys and other metals such as shibuichi, iron, red copper, pure copper, gold, silver and others, and freely incorporated various style of engraving methods, creating stylish works, and established Tōryūsai school.

In this work, the pure copper base is finished in precise ishime-ji, and oni (demon) and the sardines hanging on the eaves are expressed lively with shibuichi and red copper inlays, and gold and silver iroe. On the back, the beans for exorcising fortune are casually sprinkled, and the scenary of Setsubun event is well arranged in a small space. It is a masterpiece of Tōryūsai school.

 

 

22 Becoming a clam from sparrows in the sea kozuka Singed  NATSUO(mark Koi)

Natsuo Kanō was born in Kyōto in the 11th year of the Bunsei era, and at the age of 12, he became a student of the metalworker Okumura Shōhachi. At the age of 14, he learned metalwork from Ikeda Takatoshi of the Ōtsuki school, and named himself Jurō, which he later changed to Natsuo. In the Meiji era, he was entrusted by the government with the production of the prototype of the new coinage, and in the 23rd year of the Meiji era, he became a professor at the Tokyō School of Fine Arts, and in the same year he was selected as the first Imperial Household Artist.

This work is designed based on an anecdote that "a sparrow enters the sea and becomes a clam" handed down from China, and a clam is depicted on the front of the handle and a sparrow on the back. It is a masterpiece that clearly expresses his skill in the depiction of plump clams and lively sparrows, as well as the dynamic waves.

 

 

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