No. 1 KUNIYUKI (Rai)
Rai Kuniyuki is considered, in effect, to be the founder of the Rai school, which flourished in Yamashiro Province from the mid-Kamakura period through the Nanbokuchō period.
This tachi, although shortened from its original length, retains a grand and robust appearance with broad width. Its thick blade gives the sword a substantial weight in the hand, reflecting its solid construction. The irregular hamon is primarily composed of small chōji-style patterns arranged in a complex manner. Ashi and yō are well developed, and in some areas show saka-ashi (oblique ashi), enhancing its antique appearance. Thanks to its well-preserved state, the blade conveys a sense of freshness, fully showcasing Kuniyuki’s distinctive craftsmanship and characteristic style. Among his works, this piece stands out as one of exceptional quality and distinction.
No. 2 MITSUTADA
Osafune Mitsutada is considered to be the founder of the Osafune school, the largest and most influential school in Japanese sword history. Renowned for his exceptional skill, he produced many master swordsmiths within his lineage, including Nagamitsu and other distinguished craftsmen.
This piece is the only known sword by Mitsutada and is extremely rare as a surviving example of a Kamakura-period swords. Slightly large and substantial in presence, the sword retains its well-preserved state, which is particularly noteworthy. Its graceful, symmetrical shallow curve conveys a sense of refinement, and the itame pattern on jigane is tight throughout, reflecting meticulous forging. The hamon differs on each side of the blade, with variations in the intensity of the nioi and the clearness of the nioiguchi, and its carefully balanced effect is especially worth observing
No. 3 KUNINAGA
Kuninaga is one of the representative swordsmiths of the kokyō-mono swords and is commonly known as Gojō Kuninaga, as he resided in Gojō. Only six signed works of his are known, yet he gained renown for his sword “Tsurumaru.”
Although this tachi has been shortened, its slightly slender form and small kissaki suggest its original graceful shape. The jigane displays well-forged itame-hada, clearly showing the true quality of kyō-mono craftsmanship. The hamon is composed of small irregular patterns, closely resembling another of his works preserved at the Ise Jingū Shrine, and conveys a distinctly antique character. As a rare signed example of Kuninaga’s work, it is of exceptionally high scholarly value. Notably, this piece is also recorded in “Kōzan Oshigata” (a collection of sword rubbings compiled by Honami Mitsusada).
No. 4 MASATSUNE
Masatsune, together with Tomonari, is particularly renowned as one of the two great masters of the Ko-Bizen swords.
This tachi presents a classical and elegant form characteristic of its period. The jigane displays the well-forged texture typical of Masatsune, showing fine and delicate forging that fully brings out the essence of his style. The hamon, composed mainly of small irregular patterns, conveys a natural, uncontrived beauty. Combined with the graceful form, it reflects the aesthetic of the late Fujiwara to early Kamakura periods. Among Masatsune’s works, this piece stands out for its distinguished quality and dignified character, clearly demonstrating the full extent of his skills.
No. 5 SUKEHIRO
Sukehiro, together with Inoue Shinkai, is regarded as one of the two foremost masters who established the golden age of Osaka Shintō, and his reputation in the field is exceedingly high. He pioneered the tōran-midare hamon around 1676 (Enpō 4), which became immensely popular, and his suguha (straight hamon) works are also of outstanding quality and highly esteemed. This sword with suguha displays the dignified form characteristic of Kanbun Shintō. The ko-itame-hada is tightly forged, with a dense sprinkling of fine ji-nie, giving both the jigane and hamon a bright, clear appearance that reveals Sukehiro’s exceptional skill. The well-forged jigane has a delicate texture reminiscent of fine silk, and the hamon responds with a wide and clear nioi. This piece, made when Sukehiro was forty-three years old, fully manifests the true excellence of his artistry.
No. 6 YOSHIMITSU (Nabeshima TŌSHIRŌ)
Tōshirō Yoshimitsu is renowned as the last great swordsmith of the Awataguchi school, which flourished in Kyoto during the Kamakura period. Celebrated as a master of tantō, he was, in the Edo period, revered alongside Masamune and Gō as one of the “Tenga Sansaku” (Three Great Masters of Japan). His tantō display a variety of forms, with jigane densely covered in fine ji-nie, and in particular, those with a nashiji (pearskin-like texture) surface exhibit a moist, lustrous appearance. His hamon are most often refined suguha, sometimes accompanied by small gunome around the yakidashi (the tempered pattern near the tang). It has also been noted that the hamon tends to narrow in width toward the fukura (the rounded portion near the tip). Another characteristic not to be overlooked is nie-no-kui-sagari, where part of the nie on the bōshi trickles down into the jigane. This piece is an exceptional example, fully exhibiting all of these distinctive characteristics of Yoshimitsu’s work.
No. 7 YUKIMITSU (Oshima YUKIMITSU)
Yukimitsu, who was slightly senior to Masamune, advanced the development of the Sōshū tradition and led it to completion. His signed works are limited to only a few tantō. The styles of hamon seen in mumei-kiwame (unsigned works later attributed to him) are diverse, yet in every case the jigane and hamon display abundant activity such as chikei, kinsuji, and yubashiri, fully expressing the exquisite beauty of nie following the Sōshū tradition.
This piece, with a form characteristic of the Nanbokuchō period, is recognized as a broad and somewhat stout tantō. Its name derives from its having once belonged to Ōshima Mitsumasa, who served Toyotomi Hideyoshi, and it is recorded in the “Umetada Meikan” (a sword directory).
No. 8 Ashiya MASAMUNE (Ashiya MASAMUNE)
Masamune is known as the great master who elevated the Sōshū tradition to the realm of true artistry, and he stands as one of the most eminent figures in the history of the Japanese sword. His works combine steels of both hard and soft qualities, producing rich and intricate chikei across the jigane. The hamon displays a wide variety of patterns, expressed with freedom, vigor, and boldness, yet always retaining an innate elegance. This balance of dynamism and refinement represents the very essence of Masamune’s genius.
This tantō is an exceptional masterpiece, fully embodying Masamune’s brilliance and far surpassing the works of other smiths of the Sōshū tradition. It was bestowed upon Shimazu Iehisa as a keepsake just ten days before the death of Tokugawa Ieyasu and was preserved within the Shimazu family for generations. The piece is accompanied by an old scabbard with a sayagaki (inscription about the sword) by the Shimazu family, a finely crafted lacquered tantō box, and a tantō koshirae (mounting) dating back no later than the early Edo period.
No. 9 KUNIMITSU(Shintōgo)
Shintōgo Kunimitsu is considered, in effect, the founder of the Sōshū tradition and is said to have trained three great masters under his school: Yukimitsu, Masamune, and Norishige. He was especially skilled in suguha (straight hamon), producing them in a wide variety of styles—fine, narrow, medium, and wide—and was renowned as a master of tantō, standing alongside Tōshirō Yoshimitsu.
This piece features a tightly forged itame-hada jigane, abundantly covered with fine ji-nie and richly marked with chikei. The hamon is a fine suguha, with a wide nioiguchi, thick nie, and fine kinsuji appearing prominently in places, all clearly showcasing Kunimitsu’s artistry. Overall, both the jigane and hamon retain their original form, displaying a bright and clear appearance. Moreover, the fact that it bears a dated inscription of 1316 (正和、Shōwa 5) makes it an especially valuable work from a scholarly perspective.
No. 10 KANEMITSU
Kanemitsu was the legitimate successor of the Osafune school following Kagemitsu. His dated works span a long period of about forty-five years, from the end of the Kamakura period, 1321 (Genkō 1), through the early Nanbokuchō period, up to the Jōji era. Until around the early Nanbokuchō period (Kōei era), his works in both tachi and tantō were generally in the style of suguha with mixed gunome, or kataochi-style gunome, reflecting the style of his father Kagemitsu. This piece also displays a fine suguha with ko-gunome subtly mixed in.
Notably, among Kanemitsu’s works, only a few, including this tanto, bear a kaō (stylized signature mark) in addition to a date, making it an especially valuable example for the study of this swordsmith.
No. 11 SUKESADA
Among the Sue-Bizen swordsmiths, many bore the name Sukesada, and works signed with this name appear under various nicknames. Foremost among them is Yosōzaemon-no-jō Sukesada. From the tantō inscribed “Made in Tenbun 6 (1537), at the age of 71,” it can be deduced that he was born in 1467 (Ōnin 1). Thus, this piece was forged when he was sixty-seven years old.
While many of his works are characterized by a hamon of gunome with a wide base that splits into two at the top, he was also highly skilled in producing suguha, as seen in this piece. The jigane here is finely forged with a dense covering of ji-nie, showing no looseness or roughness. Together with the straight hamon, it fully demonstrates his exceptional craftsmanship.
No. 12 KIYOMARO
Kiyomaro, whose real name was Yamauchi Tamaki, was born in the Ueda domain of Shinshū and also signed his works as Masayuki and Hidetoshi. He specialized in the bright, vigorous Sōshū style characterized by rich nie activity, earning him the nickname “Yotsuya Masamune.”
This tantō exhibits the sharp structure typical of Kiyomaro’s school, with a thick blade and a sharply defined tip. The jigane shows itame-hada with bold chikei running through it, giving the piece a striking presence. The irregular hamon consists mainly of gunome mixed with chōji, thickly covered in nie and accompanied by kinsuji, sunagashi, and yubashiri. Both jigane and hamon are remarkably bright and clear, a result of the abundant nie, making this an exemplary work that fully displays Kiyomaro’s distinctive style. Based on the style of the inscription, it is regarded as a late work from around the Kaei era (1848–1854). It is accompanied by an aikuchi-tantō koshirae (mounting) with a black lacquer scabbard carved in a twisted rein-like pattern.
No. 13 Minamoto KIYOMUNE
Miyairi Kiyohira, whose real name was Eizō, was born in Sakaki Town, Hanishina District, Nagano Prefecture. Together with his elder brother Akihira (later Yukihira), who would go on to be recognized as a Living National Treasure, he devoted himself to sword forging. In his later years, he changed his smith name to Kiyomune, and until his passing in 2003 (Heisei 15), he pursued the Sōshū tradition as the foundation of his style.
This tantō displays a bold construction, with a broad and thick blade. The jigane is a tightly forged ko-itame, finely covered with ji-nie, producing an exquisite texture. The hamon consists of gunome mixed with chōji, with long ashi extending into it, and features a nioiguchi thickly and unevenly covered with nie, giving it a bright and clear appearance. Abundant activity such as kinsuji and sunagashi runs throughout. With its sparkling nie and dynamic strength, this masterpiece strongly recalls the celebrated brilliance of Kiyomaro, the famed master also from Shinshū.
No. 14 Araki TŌMEI
Araki Tōmei was born in Kyoto in 1817 (Bunka 14). He first studied under Gotō Tōjō, from whom he received the character “Tō” (東) and took the name Tōmei (東明). Later, he continued his training under Gotō Ichijō, and signed his works as Issai Tōmei.
This is a wakizashi koshirae (mounting) adorned with metal fittings in the ear-of-millet (awaho) motif, which was Tōmei’s specialty. The unique soft texture of millet ears is skillfully expressed in hard metal, vividly conveying both Tōmei’s exceptional skills and his deep fondness for this design. The handle, wrapped in baleen with dashi-menuki, harmonizes with the scabbard finished in kuro-urumi-magarimon lacquering. In the shakudō nanako-ji base metal, the gold millet ears stand out beautifully. The motif is carried consistently on the meatal fittings such as fuchi-gashira, menuki, tsuba (handguard), and kozuka (small knife), creating a mounting that exudes a subdued yet elegant refinement.
No. 15 TOSHINAGA
Shibahara (Fujiwara) Toshinaga was a gifted disciple of Tōryūsai Kiyotoshi. Born in 1829 (Bunsei 12), he also used the names Seijō, Kōsō, Kōsō, and Ryugansai. His style carried on the refined Edo-period aesthetic of Kiyotoshi’s technique.
This is an aikuchi-style tantō koshirae (mounting), a form that was popular from the late Edo period through the Meiji era. The fittings, all crafted by Toshinaga in solid gold, display luxurious craftsmanship. Using a variety of colored metals, he created scenic motifs with exceptional detail. On the uragawara, delicate shirauo (whitebait) are engraved, while the saguri features a motif of tsuto-shijimi (clams in a straw bag), showcasing his elaborate design sense. The scabbard is finished in sakura-kawa-nuri (cherry-bark-like lacquering), so finely crafted that its texture and knots could easily be mistaken for real cherry bark.
This mounting is a masterpiece by one of the finest craftsmen of his time, representing the height of skill and refined artistry.
No. 16 Gotō RENJŌ
The fittings for this mounting were crafted by Gotō Renjō. He is the fourth son of Gotō Sokujō, the eighth-generation head of the Gotō family. At the age of eighteen, he inherited the family title of Shirobei, changed his name to Mitsutomo, and in 1652 (Jōō 1), at twenty-five years old, he succeeded as the tenth head of the family. The Gotō family had traditionally resided in Kyoto, but by order of the Tokugawa shogunate, Renjō was the first to relocate to Edo in 1662 (Kanbun 2). At the age of fifty-six (Tenna 3), he took Buddhist vows and adopted the name Renjō, later passing on the headship to his adopted son Mitsutoshi in 1697 (Genroku 10) and retired to Kyoto.
This aikuchi-style tantō koshirae (mounting), with a shirasame (white ray-skin) hilt left unwrapped and a scabbard finished in kuro-roiro (black lacquer), was regarded as a formal style used by samurai. The horse-motif fittings made by Renjō are of excellent craftsmanship, giving the mounting a sense of dignity and refinement.
No. 17 CHIKAMITSU
According to the “meikan” (sword directory), three swordsmiths named Osafune Chikamitsu were active from the Ōan to Ōei eras. However, due to the rarity of signed and dated examples, it is difficult to clearly distinguish between their generations.
This sword displays a characteristic early Muromachi-period form, with a blade relatively long and thick in proportion to its width. The jigane is itame mixed with some mokume, covered with ji-nie and showing a faint bō-utsuri-like pattern. The hamon prominently features gunome that are wide toward the base and angular gunome, while the bōshi is irregular, turning back to a sharply pointed tip reminiscent of a candle flame. Both the jigane and hamon exemplify the Ōei Bizen style represented by swordsmiths such as Morimitsu and Yasumitsu.
No. 18 Gassan SADAKATSU
Gassan Sadakatsu was born in 1869 (Meiji 2) in Osaka as the son of the first-generation Gassan Sadakazu, an Imperial Household Artist. Throughout the Taishō and Shōwa eras, he produced a great number of works. The Gassan family was renowned for swords with ayasugi-hada jigane, but Sadakatsu also dedicated himself to faithfully recreating a wide range of styles, including the Sōshū-den and Bizen-den traditions.
This sword has a slender form with a relatively shallow curvature, giving it a graceful appearance. The jigane is a finely forged ko-itame with a delicate layer of ji-nie, creating an elegant texture. The hamon is in suguha, with a soft and clear nioiguchi. The habuchi shows subtle features such as hotsure and uchinoke, while the bōshi curves round gently at the tip. Altogether, it displays a calm and refined character, making it an excellent example of Sadakatsu’s wide-ranging artistry.
No. 19 Yosōzaemon-no-jō SUKESADA
Among the Sue-Bizen swordsmiths, Yosōzaemon-no-jō Sukesada is especially renowned for the excellence of his works, standing as one of the foremost masters of the school.
This sword features a finely forged itame-hada, delicately covered with ji-nie and chikei, displaying a beautiful apearance enhanced by midare-utsuri. The hamon consists mainly of gunome with wide bases that split into two toward the top, mixed with ashi and yō, and a bright nioiguchi with fine ko-nie. The bōshi is wide with irregular in pattern, and returns rather long. Altogether, the sword clearly displays the distinctive characteristics typical of his style.
At the time of its designation as an Important Art Object, this sword was owned by Mr. Tamenobu Ochiai, the grandfather of Mr. Tameichi Ochiai. Mr. Tamenobu had taught alongside Natsume Sōseki at the predecessor of Kumamoto University called Dai-go (No. 5) High School. He later served as chamberlain to Emperor Taishō, and was also highly esteemed as a Chinese-style poet under the name Tōkaku.
No. 20 MASAMUNE (Hachisuka MASAMUNE)
This sword was bestowed in 1638 (Kanei 15) by Tokugawa Iemitsu to Toda Ujikane, the first lord of Ōgaki Domain, in recognition of his merits during the Shimabara Rebellion (“Tokugawa Jikki”, “Kansei Chōshū Shokafu”). The itame-hada is well forged, with chikei appearing throughout, and its refined texture is especially notable. Compared to typical Masamune works, the undulation of the hamon pattern is not strongly emphasized, yet the shallow notare-midare is enlivened by bright nie that blends with nioi, producing a clear and vivid effect. Abundant activities such as kinsuji, nie-suji, and yubashiri also work energetically in the hamon, and the powerful bōshi adds to its presence. This work is a superb example of Masamune’s artistry, showcasing quiet elegance with a commanding spirit. It is a masterpiece of peerless dignity.
No. 21 MITSUHIRA
Mitsuhira, together with Tsunemitsu, was one of the most skilled representatives of the Edo Ishidō school. His works often feature brilliant chōji-midare that recall the style of the old Ichimonji style. Dated examples of his work are known from 1644 (Kanei 21) to 1683 (Tenna 3), indicating that his sword-making career spanned about forty years.
This sword has a jigane showcasing slightly dense itame-hada with fine ji-nie and a subtle midare-utsuri. The hamon consists mainly of chōji-midare with pronounced undulations and a prominent nioi. The bōshi shows a gently irregular pattern and turns back in a small round. Altogether, this work was clearly modeled after the Fukuoka Ichimonji style.
No. 22 Unshō
Unshō was a swordsmith who lived in Ukan-no-shō, Bizen Province, from the late Kamakura to the Nanbokuchō period. Together with Unji and Unjū, he was known as one of the Unrui (雲 group). His works are distinctive among Bizen smiths, blending elements of the Yamashiro tradition into the Bizen style, while also showing influence from the nearby Bitchū Aoe school.
Although the sword has been shortened, it still retains a deep curvature and graceful form. If the orikaeshi-mei (folded signature) was restored to its original position, it can be inferred that the sword originally exceeded two shaku eight sun in length, indicating that it was once a long and magnificent tachi. The jigane shows ko-itame-hada with a distinct jifu-utsuri, and the hamon is based on a wide suguha, mixed with angular patterns and small gunome, with some areas showing oblique slanting. The bōshi forms a large rounded shape. Altogether, this is an excellent example that clearly displays the distinctive features of this school.
No. 23 (Kikumon)
This is a tantō made by Tokugawa Nariaki, the ninth lord of the Mito Tokugawa family. Above the mekugi-ana (peg hole) on the tang is engraved a stylized crest of the Tokugawa family’s hollyhock, known as the “Aoimon-kuzushi” (葵紋崩し). Because of the three lines resembling clock hands, it is also called the “Tokeimon” (時計紋, “clock crest”). Nariaki did not inscribe his own smith’s name but used only this crest, likely in imitation of the Kikumon (菊紋, chrysanthemum crest) that Emperor Gotoba had engraved on swords he himself made.
The exact period when Nariaki began forging swords is unclear. However, it is believed that from a relatively young age he actively engaged in swordmaking with the assistance of Mito domain swordsmiths such as Ichige Tokurin, the father-and-son pair Naoe Sukemasa and Suketomo, and Katsumura Norikatsu.
No. 24 Hōjōji MASATERU
Hōjōji Masateru was a swordsmith of the Edo Hōjōji school, active mainly during the Kanbun to Enpō eras (1661–1681). He studied under Hōjōji Masahiro, was granted the title “Echizen no Kami,” and is said to have later moved to Akita. Among the Hōjōji smiths, he was regarded as one of the most skilled, particularly excelling in suguha works.
This sasa-ho yari (bamboo-leaf–shaped spear) is relatively short, yet it has a broad and imposing form. The jigane is a strong, flowing itame-hada with a slightly rough texture and prominent ji-nie. The hamon is bright and clear, showcasing a suguha with a wide nioi finely covered with ko-nie, a characteristic feature of the Edo Hōjōji school. A sasa-ho yari made by a member of this school is extremely rare, and the fact that this piece bears a date further enhances its historical significance, making it a truly exceptional and valuable example.
No. 25 TAIMA (2025.10.25-11.24)
The Taima school, founded by Kuniyuki, flourished from the late Kamakura to the Nanbokuchō period. Few signed works by this school survive today, and most existing examples are mumei-kiwame (appraised unsigned works attributed to a maker).
This sword features a wide shinogi and a relatively thick blade. The flowing texture of the jigane, along with the slightly frayed appearance of the habuchi, reflects characteristics of the Yamato tradition. At the same time, the hamon, consisting mainly of chū-suguha mixed with small gunome, displays abundant nie and features sunagashi along the cutting edge — traits characteristic of the Sōshū tradition. Combining elements of both Yamato and Sōshū styles, this sword is an excellent example that clearly represents the distinctive features of the Taima school.
No. 26 MASATOSHI (2025.10.25-11.24)
Known as Kishinmaro Masatoshi, he first signed his works as “Hatsukuni” His dated works range from Ansei 2 (1855) to Genji 1 (1864). Based on his craftsmanship and the style of his signature, he is considered a student of Kiyomaro. Some sources also suggest that he studied under Hosokawa Masayoshi and Taikei Naotane. A sword dated to Bunkyū 2 (1862) bears a joint signature with Masayoshi. He passed away in 1865 (Genji 2=Keiō 1) at the age of 51.
This sword reflects the style of the time, featuring the extended kissaki and thinner blade typical of the Shinshintō style. The hamon with prominent nie recalls that of his teacher Kiyomaro, and together with the frequent mune-yaki, gives the entire piece a bold and spirited impression.
No. 27 KAGEMASA (2025.11.26-12.21)
Kagemasa, who was also known as Shinji Saburō, is a swordsmith whose lineage remains unclear. However, collaborative tachi swords by Kagemasa and Kagemitsu dated to the Shōchū and Karyaku eras are known to exist, suggesting that he was closely associated with Kagemitsu. Although only a few signed works by him survive, his style shows great skill and strong resemblance to that of Kagemitsu.
This sword features a tightly forged ko-itame jigane mixed with masame, displaying a clear midare-utsuri. The hamon consists of a shallow notare pattern combined with small gunome, angular gunome, and ko-chōji. The bōshi on the back side shows sansaku form. Altogether, the craftsmanship strongly recalls that of Kagemitsu. This piece clearly exhibits the distinctive qualities of Kagemasa’s style, with a bright and clear nioiguchi that gives it a refined appearance.
No. 28 SHIGETSUGU (2025.11.26-12.21)
Although little is known about Shigetsugu, the construction, craftsmanship, and style of his signature suggest that his work dates no later than the late Muromachi period.
This sword is forged in the shōbu-zukuri form, with a relatively wide blade and a strong curvature toward the tip, features characteristic of late Muromachi-period works known as sue-mono. Despite its short length, the hamon begins in a yakidashi style and then transitions into a pattern dominated by gunome, irregularly mixed with open-based, pointed, and angular shapes. The nioiguchi is unevenly covered with nie. Certain aspects of the hamon resemble works from the Bizen and Mino schools of the same period. Altogether, this piece is a valuable example that contributes to the study of swordsmithing styles of the Muromachi period.
No. 29 Rai KUNIYUKI
Rai Kuniyuki is considered, in effect, the founder of the Rai school. Among his works, a variety of sword forms can be seen—from slender and ordinary shapes to those with a broad and powerful appearance—but most typically feature a short and stout kissaki (ikubi-style).
This sword displays a broad and thick blade, presenting a dignified and imposing apearance. The jigane is a mixture of itame and mokume-hada, densely covered with fine ji-nie, and intricately patterned with abundant chikei. The hamon is based on a chū-suguha, mixed with small chōji and small gunome. The nioiguchi is bright with ha-nie thickly attached, and there are plentiful kinsuji and sunagashi activities throughout. Altogether, this piece vividly displays the distinctive characteristics and refined beauty typical of Rai Kuniyuki in both jigane and hamon. Among his works, this sword stands out for the remarkable activities within the hamon and its rich classical elegance.
No. 30 HŌSHŌ (2025.10.25-11.24)
The Hōshō school of Yamato Province is known, from surviving examples, to have been based in the Takaichi District. The school flourished from the late Kamakura to the Nanbokuchō period. Among its most notable swordsmiths were Sadamune and Sadayoshi, followed by other highly skilled smiths such as Sadakiyo and Sadatoki — all of whom shared the character “貞 (Sada)” in their names. The typical style of this school features a masame-hada jigane with a suguha hamon.
This sword also displays a tight masame jigane with fine ji-nie, and a suguha hamon covered with small nie. In some areas, the habuchi is slightly fraying and showing uchinoke, all of which clearly reflect the distinctive characteristics of the Hōshō school.
No. 31 CHIKAKAGE (2025.10.25-11.24)
Chikakage is said to have been a disciple of Nagamitsu, and dated examples of his work span from the late Kamakura to the early Nanbokuchō period.
Although this sword displays typical characteristics of Chikakage, such as abundant nie in hamon and a bōshi that rises sharply above the Yokote, its overall appearance retains strong features of the late Kamakura style. It is somewhat slender, with a noticeable taper from base to tip of the blade, and even though it has been shortened, the curvature near the base and firm funbari remain, leading to a chū-kissaki. The jigane is a slightly dense itame-hada with fine ji-nie and a clear midare-utsuri, showing an especially refined jigane compared to typical examples. The hamon consists mainly of chōji mixed with gunome, with frequent ashi and yō. In places, the peaks of the pattern curve gently, and the nioiguchi is relatively wide and bright. Altogether, this sword closely resembles the work of his teacher Nagamitsu and stands as one of the finest works by Chikakage.
No. 32 AWATAGUCHI (2025.11.26-12.21)
From the early to mid-Kamakura period, the Awataguchi school flourished in Yamashiro Province. The school became renowned through six brothers, led by the eldest, Kunitomo, each displaying exceptional craftsmanship. Later generations produced other distinguished swordsmiths such as Norikuni, Kuniyoshi, and Yoshimitsu.
This tachi exhibits an elegant form with a graceful curvature near the base. The jigane is finely forged in tight ko-itame, covered with a thick layer of fine ji-nie that gives it a bright appearance. The hamon is a calm suguha with a gentle notare, creating a refined and graceful impression. This sword beautifully reflects the Awataguchi school’s hallmark characteristics with meticulous jigane and refined suguha hamon.
No. 33 Ko-Hōki SADATSUNA (2025.11.26-12.21)
Yasutsuna, along with his son Sanemori and other swordsmiths such as Sadatsuna and Sanekage, formed a group of swordsmiths collectively known as the Ko-Hōki.
This sword exhibits the typical shape of the late Heian to early Kamakura period, with a deep curvature near the base that gradually becomes shallower toward the upper half, ending in a small kissaki. The jigane is composed of large itame that stands out clearly, showing a slightly blackish tone, which is a distinctive feature of Ko-Hōki works. The hamon is based on a small midare with abundant nie, mixed with uchinoke, hotsure (frayed areas), and kinsuji, producing a richly varied and gracefully antique appearance.
No. 34 KUNIMURA (2025.10.25-11.24)
Kunimura, regarded as the founder of the Enju school in Higo Province, is said to have been the grandson of Rai Kuniyuki through his daughter. His craftsmanship closely resembles that of the Rai school, though his jigane tends to appear slightly whitish with a prominent masame pattern. The hamon shows a somewhat vague nioiguchi with gentle activities in hamon, and features such as the large, rounded bōshi are characteristic of the Enju school.
This sword, in particular, displays Kunimura’s distinctive form with a long blade with a noticeable difference in width between the base and tip, a deep curvature, and a small kissaki. According to old scabbard inscriptions and historical records such as the “Tokugawa Jikki”, this tachi was presented to the Tokugawa shogunate in 1693 (Genroku 6) by Maeda Toshiyoshi, when he became the lord of the Nanokaichi domain in Kōzuke Province, as a memento of his late father, Toshihiro. When it was later designated an Important Art Object, the sword was still in the possession of the Tokugawa family head, Iesato, suggesting its long tradition of being handed down within the Tokugawa family.
No. 35 YOSHIKAGE (2025.11.26-12.21)
There are several theories regarding Osafune Yoshikage’s lineage. Some suggest that he was a disciple of Kanemitsu or Chōgi, but based on stylistic similarities and his distinctive practice of inscribing his signature in reverse chisel strokes using the shared character “景” (kage), he is most plausibly considered a collateral member of the Osafune school, related to swordsmiths such as Chikakage and Morikage. Dated examples of his work are known from the mid to late Nanbokuchō period.
The blade of this sword is thick and well preserved in its original form. It features a wide blade with little taper from base to tip and a large kissaki, all hallmarks of the Nanbokuchō-period style. The jigane shows a slightly prominent itame pattern with a faint midare-utsuri. The hamon consists mainly of small gunome, small chōji-like patterns, and pointed elements arranged irregularly, with angular patterns standing out. These characteristics clearly exemplify the distinctive craftsmanship of Yoshikage.
No. 36 TADAHIRO
Tadahiro was the son of the first-generation Tadayoshi (Musashi Daijō Tadahiro). At the young age of nineteen, in 1632 (Kanei 9), he inherited the name Tadahiro, and in 1641 (Kanei 18), he was granted the title Ōmi Daijō. His active sword-making career spanned over sixty years, until his death at the age of eighty-one in 1693 (Genroku 6). Tadahiro is the most prolific of the Hizen swordsmiths, and many of his works survive to this day.
This sword has a graceful curvature and clearly demonstrates the characteristics of the Hizen school, with a tightly forged fine ko-itame-hada that takes on a konuka-hada texture. The hamon is composed of chōji mixed with gunome, with long ashi frequently appearing. Nie is abundant, sunagashi flows through the pattern, and the nioiguchi features thick and fine ko-nie, producing a bright and clear effect. Altogether, this piece exemplifies the masterful skill and artistry of Tadahiro.
No. 37 Ko-Bizen YOSHIKANE (2025.10.25-11.24)
Yoshikane is a name found in both Ko-Bizen swords and the swords from the Fukuoka Ichimonji school, and examples range from large to small signatures, suggesting that multiple swordsmiths may have used this name.
This tachi has an unsigned tang in its original form and displays a slender appearance with a pronounced curvature at the base that gently rises toward a small kissaki, giving it an elegantly archaic look. The jigane shows a well-flowing itame-hada with abundant ji-nie and prominent chikei, demonstrating both strength and refinement. The hamon is mainly composed of small midare, mixed with numerous small chōji and gunome-like patterns. Kinsuji and sunagashi appear frequently, with yubashiri also visible, creating richly varied activities. While maintaining the traditional Ko-Bizen aesthetic, it features a powerful jigane and a dynamic hamon, resulting in a striking and captivating composition.
No. 38 TADAYOSHI (2025.11.26-12.21)
The first-generation Tadayoshi was a retained swordsmith of the Hizen Nabeshima domain. In 1596 (Keichō 1), by order of the domain, he went to Kyoto and studied sword-making under Umetada Myōjū. In 1624 (Genna 10), he was granted the title Musashi Daijō and changed his name to Tadahiro. His works are known from August in 1600 (Keichō 5) to August in 1632 (Kanei 9), and his style includes both suguha (straight hamon) and midareba (irregular hamon).
This sword features a tightly forged ko-itame-hada, and the hamon consists of a gentle notare combined with small gunome. Within the hamon, there are visible ashi and yō activities, with kinsuji appearing in places. The nioiguchi is bright and clear, adding much visual interest. The well-balanced shape and the moist, refined ko-itame-hada clearly reflect the distinctive beauty of the Hizen school.
No. 39 Mutsu no Kami TADAYOSHI
Mutsu no Kami Tadayoshi was the son of Ōmi Daijō Tadahiro and succeeded as the third-generation head of the main lineage. Although his surviving works are fewer compared to those of his father, this is likely due to his relatively short sword-making career and the possibility that he spent a significant period assisting his father as a substitute swordsmith.
This sword features a tightly forged ko-itame-hada with abundant ji-nie, producing a refined jigane of excellent quality. The hamon is a straight chū-suguha with a dense ko-nie. Particularly notable is the beautiful jigane characteristic of Hizen swords, known as konuka-hada—a fine grain pattern that resembles rice bran—which serves as the highlight of this piece.
No.40 TSUGUNAO
Aoe Tsugunao was, along with Tsuguyoshi and others, one of the leading swordsmiths of the Aoe school during the Nanbokuchō period. This large sword has a wide body, long length, shallow curvature, and a noticeably thin kasane, imposing an appearance typical of the Enbun–Jōji style at the height of the Nanbokuchō period. The jigane is a tightly forged ko-itame-hada, characteristic of the Aoe school in this era, and shows traces of midare-utsuri. The hamon is nioi-prominent, producing a bright and clear saka-chōji-midare, which was his specialty and is full of dynamic movement. Among Tsugunao’s works featuring saka-chōji-midare, this sword stands out as one of the most exemplary and beautiful pieces. The mounting is believed to have been fitted by Itō Miyoji, a renowned sword enthusiast who also served as a Privy Councilor.
No. 41 KANESADA
In the late Muromachi period, many swordsmiths known as the Seki-kaji were active in Mino Province, among whom the second-generation Kanesada was one of the most prominent. Since he inscribed the character for “定 (sada)” in a distinctive form “㝎”, he was also called “Nosada.” He was active during the Eishō to Daiei eras (1504–1528). Most of his works are tantō, wakizashi, or short katana known as katate-uchi.
This sword features a tightly forged ko-itame-hada mixed with areas of flowing patterns, showing a whitish appearance. The hamon consists of gunome, yahazu-shaped (nock-shaped) patterns, and pointed patterns, creating a lively and varied impression. The bōshi leans slightly toward the edge, a characteristic feature commonly seen in Seki-kaji of this period, along with the whitish jigane. The bright hamon and the well-forged jigane demonstrate the high level of craftsmanship achieved by Kanesada.
No. 42 NAOTANE
Naotsune was born in Yamagata, Dewa Province, in 1779 (Anei 8). His real name was Shōji Minobē, and he used the art name Taikei. At a young age, he went to Edo and became a student of Suishinshi Masahide. Later, like his master, he served the Akimoto lord and, together with Hosokawa Masayoshi, became one of the outstanding talents of the Suishinshi school.
This sword features a jigane of tightly forged ko-itame-hada with fine ji-nie. The hamon is straight with a gentle notare and a wide nioiguchi. Within the hamon, abundant sunagashi and nie-suji appear, and the variation in the width of the nioiguchi creates a subtle but dynamic effect. Additionally, the construction is in shōbu-zukuri, which is uncommon among Naotsune’s works, making this a particularly noteworthy example.
No. 43 KUNISADA
The first-generation Izumi no Kami Kunisada (Oya Kunisada) was born in Hyūga and later moved to Kyoto to study under Horikawa Kunihiro, though in reality he was likely instructed by his senior disciple, Echigo no Kami Kunitomo. He later relocated to Osaka.
The early works of Oya Kunisada display the bold, vigorous style characteristic of the Keichō Shintō period, with a straight yakidashi at the base, shallow notare incorporating gunome and pointed patterns, while the nioiguchi tends to appear slightly vague. Later works are somewhat more restrained, with a tighter jigane, longer yakidashi, closely spaced gunome and chōji, and features muneyaki and tobiyaki appearing near mitsugashira and monouchi.
This sword appears to be a transitional work between these two phases, making it an interesting example for understanding the stylistic evolution of Kunisada’s craftsmanship.
No.44 AKIHIRO
Akihiro, along with Hiromitsu, was one of the leading swordsmiths of the Sōshū school during the Nanbokuchō period, and both were particularly skilled in hitatsura hamon. Dated examples of his work range from Enbun 2 (1357) to Meitoku 3 (1392). Compared to Hiromitsu, Akihiro’s works include especially large forms as well as smaller examples, reflecting his longer period of sword-making. His signature is usually the five-character “相州住秋広” (Sōshū-jū Akihiro), while the reverse side often bears only the era name and year.
This piece is a large hira-wakizashi in the Enbun–Jōji style, similar to Hiromitsu’s works. Both jigane and hamon features bold hitatsura-yaki with abundant nie and chikei throughout, while the activities in the hamon, along the hamon, and the bōshi are all lively and vigorous, fully demonstrating Akihiro’s skill and energy, rivaling even that of Hiromitsu.
No.45 HIROMITSU
Hiromitsu appeared in Sagami Province during the Nanbokuchō period and, together with his junior Akihiro, perfected the technique of hitatsura-yaki hamon. Their work not only defined the Sōshū school but also greatly influenced later swordsmiths in other provinces. Dated examples of Hiromitsu’s work range from Shōhei 7 (1352) to Jōji 3 (1364), and many feature the long signature “相模国住人広光” (Sagami no Kuni Jūnin Hiromitsu).
This sword has a wide body with an extended length and shallow curvature, showing a characteristic Nanbokuchō-period appearance. Both the jigane and hamon display abundant nie, with visible chikei. Kinsuji, sunagashi, yubashiri, and mune-yaki appear actively, while tobi-yaki is particularly prominent, creating a lively and powerful hitatsura-yaki. Along with the bright and clear nioiguchi, the overall quality demonstrates Hiromitsu’s exceptional skill.
No.46 HIROMASA
Several swordsmiths named Sōshū Hiromasa are known to have been active from the Nanbokuchō period through the late Muromachi period, but dated works are rare, making it difficult to distinguish between generations. This piece, with its slightly short length and noticeable curvature toward the tip, is thought to date from the mid-Muromachi period. The densely carved Kurikara within the groove on the front side of the blade is reminiscent of the Sōshū school master Fusamune, showing characteristics typical of Sōshū swordsmiths of the time.
This sword was once owned by Kanichi Satō (art name Kanzan), who was involved in the founding of this association and later served as Executive Director and Deputy Director of the Sword Museum. It was passed down to his eldest son, Junichi Satō, and later donated by him for preservation purposes.
No. 47 Shojiku (Hanging Scroll)
Uchida Soten (1881–1952), a scholar of Japanese swords, was also a poet and haiku writer who composed many tanka poems on the beauty of the Japanese sword, its jigane, and hamon. This work features Uchida’s own handwritten calligraphy of his tanka, published in “Kinnō Nihontō no Kenkyū” (A Study of Imperial Loyalist Japanese Swords):
“Tachikoi no toshi o henureba kanikakuni, tachi koi nareno suruga okashiku” (As the years have passed in my longing for the sword, I find it strange how naturally this yearning has become part of me.)
Written in his unpretentious hand, this poem expresses Uchida’s deep affection for the Japanese sword, born from a fateful encounter during his time as a journalist. It is a verse that resonates with anyone who has ever felt drawn to Japanese swords.
No. 48 Shojiku (Hanging Scroll)
Jiun was a Shingon Buddhist monk and calligrapher of the late Edo period, known for his vigorous yet refined brushwork. The phrase “千年磨一剣 (Sennen ikken wo migaku)” (One thousand years to polish a single sword) expresses the idea that a blade polished over a long time possesses unparalleled sharpness. It originates from a passage in “Kenkaku” by Katō (Jiǎ Dǎo), a poet of the Tang dynasty “十年磨一剣、霜刃未曾試、今日把似君、誰為不平事.” (Paraphrased: I have honed my skill over many years, yet have not had the chance to put it into practice. When that moment comes, no one will be able to question its worth.)
No.49 (Kin-Nashiji Kirimon Makie Saya Chiisa Katana Koshirae)
The hilt is made in dashi-zame zuka style covered with samegawa (ray skin) without any wrapping, and its large oyatsubu (a pearl-like node of the ray skin) is beautifully showcased. The base of the scabbard is kin-nashiji, over which fine gold flakes are applied and polished to a smooth finish, further decorated with scattered kiri-mon (paulownia crests) in gold maki-e. The kashira, koikuchi, kurigata, uragawara, and kaeritsuno—which are often made of horn and simply lacquered—are instead finished in kin-ikakeji base and decorated with kiri-mon karakusa (arabesque designs) in maki-e, showing an elaborate work at an exceptional craftsmanship. The matching tsubogasa-menuki, fuchi, tsuba, and kozuka, all adorned with kiri-mon, are skillfully made, and the curvature of the scabbard is well-balanced. Additionally, the natural aging imparts this luxurious and refined mounting with an elegant sense of dignity and historical presence.
No.50 ISSEI
Naruki Kazunari (Iseei/1931–2021) was recognized in 1981 as an Important Intangible Cultural Property Holder of Nakatsugawa City, Gifu Prefecture, for his mastery of “Sword Handguard (Tsuba) Forging Techniques.” He dedicated his life to recreating the jigane seen in antique iron tsuba. To achieve this, he developed his own tatara smelting method—producing steel by burning charcoal he made himself and refining iron from sand iron and iron ore collected from more than fifty locations across Japan.
This work depicts tsuchiguruma (a type of water wheel) on both sides and a kikkō-tsunagi pattern, beautifully expressing an iron surface with a rich, purplish-black patina that evokes the color and texture of age.
No. 51 TOSHIYUKI
This handguard was made in the final year of the Heisei era by the metal worker Tamaoka Toshiyuki. Tamaoka has won the top prize multiple times in the association’s competitions and was recognized as a Mukansa (an artist exempt from examination) in 2005 (Heisei 17). In 2022 (Reiwa 4), he was designated as a Holder of an Intangible Cultural Property of Ehime Prefecture for his craftsmanship in “Sword-making Techniques” (Kōgei Gijutsu – Tōken Seisaku Gijutsu), and he continues to be active today.
The design, known as a “Bukan-sukashi tsuba,” features a circular arrangement of various family crests. Tamaoka has devoted many years to perfecting this handguard. It showcases meticulous gold inlay of arabesque patterns and extremely fine openwork surrounding each crest. Despite its many intricate elements, the overall harmony and beauty of the composition demonstrate Tamaoka’s accumulated skill and exceptional artistic sensibility.
and refined mastery.
No.52 JOZAN (2025.10.25-11.24)
This pair of fittings features magnolia motifs carved in high relief on a shakudō nanako-ji (fish roe patterns on copper alloy) ground. The finely executed nanako-ji texture and the vertically recessed carving are characteristic of the Mino style. The magnolia branches, carved deeply down to the thinnest twigs, are rendered with a vivid, three-dimensional sense of life. The flowers are inlaid with gold of varying shades, creating a beautiful contrast with the shakudō ground.
This work was exhibited at the Shinsaku Meitō Exhibition in 1994 (Heisei 6) and received the Effort Prize.
No.53 JOZAN (2025.10.25-11.24)
This tsuba, depicting eggplants carved in sukisage-takabori, is made on a shakudō Nanako-ji ground. The finely and evenly crafted nanako surface demonstrates the artist’s outstanding skill. The eggplant design is compact and well-balanced, with the uneven texture of the stems and the irregularly shaped leaves expressed in a realistic manner. The eggplants themselves are plump and full, conveying a fresh and lively impression.
This work was exhibited as a mukansa (a work made by an artist exempt from examination) entry at the Shinsaku Meitō Exhibition in 2010 (Heisei 22).
No.54 JOZAN (2025.11.26-12.21)
This work features kudzu vines rendered in high relief using the sukisage-bori carving technique. The fine-grained, lustrous shakudō nanako-ji (fish-roe textured shakudō surface) beautifully enhances the contrast between two different shades of gold, exemplifying the distinctive style of Mino-bori. The composition achieves a striking balance through the contrast between the soft blossoms of the kudzu and the firm, unbending leaves, conveying the plant’s fresh vitality. This piece received the Chairman’s Award of The Society for Preservation of Japanese Art Swords at the Shinsaku Meitōten (Newly Made Master Sword Exhibition) in 2008 (Heisei 20).
No.55 JOZAN (2025.11.26-12.21)
This fuchigashira set features an arabesque design in flat inlay using gold, silver, and hiiro-dō (reddish copper) on a shakudō (copper alloy) base. The vivid colors of gold, silver, and hiiro-dō stand out beautifully against the deep black of the shakudō, creating a striking impression. At first glance, the vines appear evenly arranged, but on closer inspection, each leaf is uniquely shaped, giving the design a natural rhythm. This work was submitted as a Mukansa (a work made by an artist exempt from examination) to the Shinsaku Meitōten (Newly Made Master Sword Exhibition) in 2014 (Heisei 26), reflecting the artist’s maturity
No. 56 Saya-nuri Mihon (Scabbard Lacquer Samples)
This is a collection of saya (scabbard) lacquer samples showcasing a wide variety of decorative techniques, including kawari-nuri, mijin-nuri, and kizami-nuri.
The samples range from standard styles to highly distinctive and inventive finishes, making this an exceptionally valuable reference for the study of traditional lacquer techniques.
No.57 Katanazutsu
A Katanazutsu is a container used for carrying and storing swords, commonly used by daimyō and other high-ranking figures when traveling. In picture scrolls depicting daimyō processions, individuals carrying katanazutsu are shown, indicating that specific personnel were assigned to the task of transporting these sword cases.
This particular katanazutsu is lavishly decorated with gold maki-e, featuring clematis design, paired cranes in a diamond pattern, and Eiraku-Tsūhō coin motifs. Considering that it was used in public processions, it is likely that part of its purpose was to display the katanazutsu itself as a show of status and refinement.
No.58 Kuro-urushi Uchigatana Koshirae
This koshirae (mounting) features a black-lacquered scabbard combined with a swordsmith-made handguard and a hilt wrapped with iron-colored twisted threads (tetsuiro-ito morohineri-maki tsukamae). The scabbard has a uniquely shaped kaerizuno that resembles a slide when viewed from the side, a characteristic seen in Satsuma-style mounting. The handguard, made by a late Muromachi-period swordsmith, is openworked with plum blossoms, giving a delicate impression that enhances the charm of the otherwise simple mounting. While each fitting is modest in design, the combination with the Satsuma-style scabbard conveys a sense of robust simplicity and practicality of this mounting.