1 Tantō Sadamune(2025.5.24-6.22)
This piece features a jigane with fine ji-nie thickly applied, and chikei clearly visible. The hamon has a wide nioiguchi with prominent nie, and the hazakai (border between the tempered and untempered parts of the blade) shows variety of activities. Both the jigane and hamon are bright and clear, embodying a refined style. The hamon is based on a shallow notare, and compared to the works of Masamune, it is calmer and more subdued—an unmistakable hallmark of Sadamune. This piece is known as the smallest among Sadamune’s works. Though diminutive compared to tantō from the late Kamakura period, it has a slightly wider blade in proportion to its length, with little to no curvature and no uchizori (curvature toward the cutting edge). Its overall shape resembles a scaled-down version of the large-sized tantō from the Nanbokuchō period. The name of this piece comes from a merchant in Sakai who once owned it and used “Taikogane” as his business name.
2 Tachi Kuniyuki (Akashi Kuniyuki) (2025.6.24-7.21)
This sword is the only designated National Treasure by Rai Kuniyuki, who is regarded as the virtual founder of the prestigious Rai school. It is affectionately known as the “Akashi Kuniyuki”, named after the Matsudaira family of the Akashi Domain in Harima Province, who once owned it. The jigane features beautifully forged itame-hada, which appears bright and clear. The hamon is primarily a wide suguha, with fine ko-gunome, ko-chōji, and activities such as ashi and yō. It is accompanied by thick ko-nie, along with abundant activity including uchinoke, sunagashi, kinsuji, and even muneyaki. With both the jigane and hamon bright and vivid, this sword shows an elegant appearance and a commanding presence. A typical characteristic of Rai school tachi is the nearly uniform curvature from the kissaki (tip of the blade) to the nakago (tang). This graceful shape is likened to the top rail (kasagi) of a Shintō shrine torii gate, and such curvatures are referred to as kasagi-zori, torii-zori, or wa-zori. These distinctive traits are clearly evident in this remarkable piece.
3 Tachi Nobufusa
There is an old theory regarding Nobufusa of Bizen Province, which holds that swords signed with the two-character signature "信房" (Nobufusa) are classified as Ko-Bizen, while those with the three-character signature "信房作" (Nobufusa saku, meaning "made by Nobufusa") are considered Ko-Ichimonji. This particular sword, bearing the three-character signature, also exhibits characteristics that support this classification: it features a wide hamon with gentle nie, and prominent ko-choji patterns. Compared to Ko-Bizen works, this piece displays a more refined and innovative style, aligning it with the Ko-Ichimonji tradition. However, since there are examples suggesting that both types of signatures could plausibly have been used by the same swordsmith in his earlier and later periods, categorizing them solely by the number of characters in the signature requires careful consideration of each sword’s individual characteristics and workmanship. This particular sword has a somewhat slender shape, with a noticeable taper from the base to the tip and a ko-kissaki (small tip). The curvature is deep near the base but becomes significantly shallower toward the tip, clearly reflecting an old-fashioned style typical of the late Heian to early Kamakura period.
4 Tachi Masatsune
This sword, the work of the renowned Ko-Bizen swordsmith Masatsune, was long treasured by the Ogasawara family of the Kokura domain in Buzen Province. It bears clear marks of its history: a visible chip near the middle of the blade and a cut on the mune (back of the blade), both of which evoke the martial valor of its past. The blade has a bold and powerful shape, with a wide body and an ikubi-like kissaki (a stout, “boar’s neck”-like tip). The curvature does not diminish toward the tip; rather, it becomes even more pronounced. The hamon is more vividly defined than usual due to the finer nie, featuring prominent ko-gunome and ko-chōji patterns compared to the typical ko-midare. A clear utsuri is also visible, reinforcing the impression of a stylistic transition into the early Kamakura period. The sword’s characteristics suggest it is a transitional work that bridges the early and mid-Kamakura periods. Similar features can be seen in the other works including the National Treasure “Kitsunegasaki Tametsugu.”
5 Tachi Yasuhiro
Yasuhiro was a swordsmith of the Osafune school active in the late Kamakura period. His skill is well recognized, with works bearing his signature designated as Important Art Objects. Compared to the more formal inscriptions of the school's main line, his signature appears relatively informal, and the number of surviving works is limited. These factors suggest that he may have been a supporting smith working alongside the main line, represented by swordsmiths such as Nagamitsu. This sword clearly retains the characteristic form of a late Kamakura period tachi in its original state, with minimal taper from base to tip, a curvature centered near the base (koshi-zori), and additional curvature extending toward the tip, ending in a medium-length kissaki. The jigane is itame with a vivid midare-utsuri. The hamon displays prominent nioi, primarily in gunome mixed with chōji. Toward the monouchi (the first third of the blade, below the kissaki) the hamon becomes shallower and more subdued, and the kissaki (tip) temper pattern takes the form of the sansaku-bōshi style. Overall, the workmanship shows a strong stylistic affinity with that of Nagamitsu.
6 Chōgi
Chōgi is one of the distinguished swordsmiths among the Bizen swordsmiths of the Nanbokuchō period, known as "Sōden-Bizen". Alongside Kanemitsu, he demonstrated exceptional craftsmanship, with his works emphasizing the Sōshū tradition even more strongly than Kanemitsu's. He is regarded as one of the least traditionally “Bizen-like” swordsmiths, diverging notably from the Bizen style.
The original sword form of the Nanbokuchō period at its prime was based on the late Kamakura style, but with even larger dimensions and a wider body, and a larger kissaki. This influence is reflected in this piece as well. Specifically, swords of considerable length were often shortened in later years, as seen in this sword, resulting in a shallow curvature, with minimal taper from base to tip ending in a large kissaki. These modified forms became the models for the Keichō Shintō and Shin-shintō swords.
7 Tachi Morimitsu
Morimitsu was a mainline swordsmith of the Bizen Osafune school and one of the foremost representatives of the Ōei-Bizen tradition. The jigane features an itame pattern mixed with moku, accompanied by visible midare-utsuri. The hamon is created in nioi-deki, displaying prominent gunome with open bases and chōji. While vibrant and ornate, the undulations are gentle in height. A signature trait of Morimitsu’s style—often referred to as “Morimitsu’s bald head”—is the rounded crest of the hamon, which is clearly visible in this piece.
The Ōei era is often seen as a period of revival, looking back to the spirit of the Kamakura period. Accordingly, the form of this sword with its long length, well-balanced width, deep curvature, and medium-sized tip (chū-kissaki), closely resembles the tachi from the late Kamakura period. However, compared to Kamakura examples, this sword has a slightly shallower curvature near the base, a somewhat more noticeable curve toward the tip, and a noticeably thick blade relative to its width. These are all distinctive characteristics of swords made during this period.
8 Wakizashi Munemitsu・Katsumitsu
This sword is a joint work by Munemitsu and Katsumitsu. The jigane features a tightly forged ko-itame pattern with visible midare-utsuri. The hamon consists of gunome with open bases, mixed with chōji, and displays a bright, clear nioiguchi. A kurikara (Sanskrit dragon) carving—distinctive of the Sue-Bizen style—is applied near the base of the blade, further indicating that this is a finely crafted, custom-ordered piece typical of Sue-Bizen work. Among its features, the hamon displays a variety of activities, with prominent chōji-style patterns—a hallmark of Katsumitsu’s craftsmanship. The blade also shows a noticeable taper from base to tip, with curvature that deepens toward the tip, and a short tang suited for one-handed use. Swords measuring under two shaku (approximately 60.6 cm) like this one are particularly common from the mid to early late Muromachi period.
9 Katana Muramasa
This sword was donated by the Takamatsu-no-miya family and was once part of the imperial property of Prince Arisugawa-no-miya Taruhito, who served as Commander-in-Chief of the Eastern Campaign during the Boshin War. The hamon features a combination of gunome and chōji that form a box-like midare, with a tendency toward an ō-notare pattern. The irregularities display pronounced variation in height, and the reverse side of the blade mirrors the front, showing a matching pattern on both sides. A distinctive feature of this sword is its tanago-shaped tang, which tapers sharply and diagonally just before the end—an unmistakable hallmark of swords made by Muramasa. This piece is relatively short for a katana, with a short tang designed for one-handed use. The curvature, which deepens toward the tip, reflects a style that was popular from the mid to late Muromachi period.
10 Katana Kunihiro
Kunihiro is one of the representative swordsmiths of the Keichō Shintō period. After the fall of the Itō family of Hyūga, whom he had served, he wandered through various provinces before settling in Ichijō Horikawa in Kyoto. There, he trained many excellent disciples and led the Horikawa school to great prosperity, leaving a lasting influence on later generations of swordsmiths. The jigane is rough, showing a clearly visible pattern finely mixed with impurities that give it a somewhat dry appearance—often referred to as a zanguri texture. The hamon is calm, composed primarily of a straight-line pattern, with gentle notare and occasional gunome spaced widely apart. These features exemplify the characteristic style of Kunihiro. During this period, it was fashionable to rework large ōdachi from the Nanbokuchō period by shortening them. With its wide body, minimal taper from base to tip, slightly shallow curve, and large kissaki, this piece is also exhibiting the stylistic preferences of the time.
11 Katana Kotetsu
Nagasone Kotetsu was originally an armor maker from Echizen, but around the age of fifty, he moved to Edo and became a swordsmith, which is a highly unusual career shift. He was active primarily during the Kanbun era (1661–1673), in the early Edo period.
This era is known in sword history for the tendency toward shallower curvature, a feature characteristic of what is called “Kanbun Shintō.” In particular, works made in Edo during this time show a notably shallow curvature, and because of this regional distinctiveness, they are further classified as “Edo Shintō.” According to one theory, this style reflects the martial culture of Edo, which was centered around the samurai class, and the shape of these swords is said to embody that spirit.
12 Katana Sukenao
Sukenao was born in the 16th year of the Kanei era (1639) in Ōmi Province. He studied under Tsuda Echizen-no-Kami Sukehiro, the founder of the hamon style known as Tōran-ba, and is said to have later become his son-in-law. His active period extended until the Genroku era (1688–1704).
Compared to the Kanbun era (1661–1673), swords from this later period generally show a greater difference in width between the base and the tip, and many exhibit a deeper curvature. However, there are also works—such as this one—where the blade is broader overall, with a less noticeable difference in width from base to tip and an extended kissaki. These characteristics are considered typical of the era, especially beginning around the Jōkyō era (1684–1688).
13 Katana Naotane
Taikei Naotane was born in the 7th year of the Anei era (1778) in Yamagata, Dewa Province. While still young, he went to Edo and became a student of Suishinshi Masahide. Like his teacher, he served Akimoto, the lord of the Yamagata domain, and was highly regarded as one of the most outstanding talents among Masahide’s disciples. He passed away on May 7 in the 4th year of Ansei (1857) at the age of 79.
During the late Edo period, influenced by his teacher Suishinshi Masahide’s advocacy of the “Fukkotō-ron” (Restoration Sword Theory), there was a nationwide increase in swords modeled after the idealized tachi style of the Kamakura period. These swords are characterized by a prominent curvature near the base of the blade—known as koshi-zori—which gives them an elegant appearance. However, many of these swords also feature a thick blade, contributing to a substantial and weighty feel in the hand.
14 Sano Yukihide
Sano Yukihide was born in the 10th year of the Bunka era (1813) in Hoshimaru-no-sato, Asakura, Chikuzen Province. Around the age of 17, he went to Edo and studied swordsmithing under Shimizu Hisayoshi, a student of Hosokawa Masayoshi. At the age of 42, he became a swordsmith for the Tosa Domain. His sword-making career ended in the 3rd year of the Meiji era (1870), and he passed away in Meiji 20 (1887) at the age of 75.
During the late Edo period, as seen in the work of Naotane (see No. 12), some swords were modeled after the tachi style of the Kamakura period. However, reflecting the turbulence of the times, many swords with a wide variety of shapes and styles were also produced. This piece, while relatively short in length, features a large kissaki and can be considered unique—deviating from the traditional stylistic transitions seen throughout the history of the Japanese sword.
15 Katana Kagemitsu
Osafune Kagemitsu was the third-generation head of the main line of the Osafune school. While his father, Nagamitsu, laid the foundation of the school, Kagemitsu is regarded as the master who solidified and perfected it. A large number of his works survive—second only to those of Nagamitsu—and 18 of them have been designated by the Japanese government. His exceptional skill is further evidenced by this number.
One of the defining characteristics of his work is the use of a fine and tightly forged jigane with ko-itame pattern, which is considered so refined that it is said to surpass even that of his father, earning him high acclaim.
This particular piece also displays an exceptionally fine ko-itame, clearly showcasing Kagemitsu’s advanced forging technique to its fullest extent.
16 Katana Tadayoshi
Mutsu-no-Kami Tadayoshi was the son of Ōmi Daijō Tadahiro and succeeded as the third-generation head of the main family line. He passed away in the 3rd year of Jōkyō (1686) at the age of 50, seven years before his father, the second-generation Tadahiro. The relatively small number of surviving works is likely due not only to the short duration of his sword-making career, but also to the possibility that he spent a considerable amount of time producing swords on behalf of his father.
The jigane of Hizen swords is characterized by a fine, tightly forged ko-itame pattern. This distinctive texture is often referred to as “konuka-hada” (rice bran pattern), named for its resemblance to the surface of nukadoko (a rice bran fermentation bed). The fine, well-defined hada is one of the most notable and admired features of Hizen swords.
17 Tachi Sanekage
The Ko-Hōki-mono refers to a group of swordsmiths led by Yasutsuna, and Sanekage was one of the renowned smiths who played a significant role within this group. His extant works are extremely rare—fewer than five are known—and due to the classical appearance of this piece, some experts believe it may date close to Yasutsuna’s era, which corresponds to the mid-Heian period, a time when the wantō (curved Japanese sword) style was being established.
Among the works of the Ko-Hōki, there are occasionally pieces that feature a bold ō-itame pattern, a large-grain variant of the typical itame-hada, such as this one. Based on these features, some have speculated that such swords may have influenced later masters like Masamune, who perfected the Sōshū-den tradition in the late Kamakura period. This piece exudes an aged, rustic charm, embodying a weathered aesthetic.
18 Katana Nagashige
The Sōshū-den style, perfected by Masamune, had spread throughout the country by the Nanbokuchō period, even reaching the Bizen Province, known for its nioi-deki swords. The influence of this style was no exception there, and the Nagayoshi line stands out as one of the leading schools. Nagashige is considered a swordsmith from this line, and is said to be the brother of Nagayoshi.
The jigane of this sword exhibits a tight, finely forged itame-hada from the base to the tip. The jigane shows thick ji-nie and distinct chikei, characteristics of the intricate folding technique in Japanese swords, capturing the exquisite appeal of the jigane. Among the various hada patterns, this one exemplifies the typical appearance of “itame-hada.”
19 Tantō Sadaoki
The Hōshō school was based in Takaichi District, Yamato Province, and flourished from the late Kamakura period through the Nanbokuchō period. Its swordsmiths commonly used the character “貞” (sada) in their names, including Hōshō Sadamune (貞宗), Sadayoshi (貞吉), and Sadakiyo (貞清). Many tantō from this school have survived, while tachi are much rarer, and no signed tachi in ubu (original) condition are currently known. Among the Hōshō swordsmiths, Sadaoki is the most prolific, with many extant works, especially small-sized tantō.
This particular piece features a jigane of masame-hada running consistently from base to tip. The hamon is thin and straight, with a slight notare. The bōshi exhibits brushstroke-like lines and is yakitsume—hardened to the tip without a turn-back. These are all characteristic features of Sadaoki’s typical style. This sword clearly exemplifies the distinctive sō-masame jigane that is a hallmark of Yamato swords.
20 Katana Kunikane
After the Nanbokuchō period, jigane with masame-hada had almost completely disappeared, but it was revived in the early Edo period by the first-generation Kunikane of Sendai. The maker of this piece is the second-generation Kunikane, the son and direct successor of the first generation. He inherited the Yamato-Hōshō tradition and, like his father, is highly regarded. Some of his works are considered nearly equal in quality to those of the first-generation.
This sword clearly exhibits the characteristic features of the style, with a well-ordered masame-hada visible throughout. It is a fine example of the second-generation Kunikane’s high level of craftsmanship. Additionally, the dated inscription of Kanbun 5 (1665) is valuable, as it confirms that this piece was made when he was 54 years old, based on his known year of death.
21 Katana Naotane
When Masatsugu was 12 years old (in 1825, the 8th year of the Bunsei era), both his father (Masahide II) and grandfather (Suishinshi Masahide) passed away. As a result, Naotane became his guardian and is said to have later become his father-in-law as well. Collaborative works between Naotane and Masatsugu are extremely rare—only one other example is known—making this piece particularly valuable. This sword is a pure example of the Yamato-den tradition, featuring a jigane with masame-hada and a slightly frayed suguha. With chikei following the grain pattern of the jigane, it is a fine work that clearly reflects a deliberate effort to recreate the style of Yamato Hōshō. Notably, Naotane’s final known work is dated to the following month, marked as “二月日” (a day in February), and he passed away shortly thereafter, on May 27 of that same year.
22 Tachi Narimune
This piece is the work of Narimune, a member of the Ko-Ichimonji school who was active in the early Kamakura period. It is a slender tachi with deep curvature near the base, displaying an elegant silhouette. The jigane is finely forged with tight itame-hada and dense ji-nie, and a clearly visible utsuri appears on its surface. Notably, within the haze-like utsuri, irregular black spots resembling finger-pressed marks can be seen. The dark band rises high toward the shinogi, producing an antique-looking midare-utsuri. As works by this swordsmith are extremely rare, this is a valuable surviving example.
23 Tachi Muneyoshi
The Fukuoka Ichimonji school originated in the early Kamakura period with Norimune as its founder and flourished most prominently during the mid-Kamakura period. Among the swordsmiths active in the early Kamakura period, a group referred to as the "Ko-Ichimonji" is particularly notable. Muneyoshi was one of them and is listed among the swordsmiths who served Emperor Gotoba in the seventh month as part of the monthly rotating group of imperial smiths.
This piece features a vividly patterned jigane, characterized especially by a distinctive jifu-utsuri, with dark bands resembling thumb-pressed marks extending across the shinogi-suji. Such utsuri is only found in Bizen works from the late Heian to early Kamakura periods. The hamon is suguha, incorporating ko-gunome and ko-choji, giving the sword an elegant and classical appearance.
24 Tachi Masanori (Unshū)
Masanori is counted among the swordsmiths of the Michinaga school. The Michinaga school branched off from the Yoshii school of Bizen Province and later relocated to Izumo Province. However, their style remained almost identical to that of their origin, the Yoshii school of Bizen. This piece features a hamon composed entirely of regularly aligned ko-gunome, and the jigane shows a prominent midare-utsuri, which stands out as if the pattern of the hamon were reflected like a shadow in the jigane. Both the jigane and hamon remain in excellent condition, marking this as a fine example of the Michinaga school’s craftsmanship. Furthermore, the presence of an inscription dating to the Ōei era enhances its historical value.
25 Katana Aoe
Among the Aoe school, which flourished mainly in the lower reaches of the Takahashi River in Bicchū Province, works produced up until the mid-Kamakura period are generally referred to as Ko-Aoe, while those made from that point through the Nanbokuchō period are broadly classified simply as Aoe.
This sword is a work from the Nanbokuchō period, characterized by its extended kissaki and a large-scale proportion. It exhibits the distinctive characteristics of the Aoe school. The hamon is a suguha with occasional saka-ashi present. The jigane prominently displays mokume-hada, featuring a finely textured surface known as chirimen-hada. Additionally, a linear utsuri can be seen following the hamon, and above that, toward the shinogi, a midare-utsuri appears in connection with it. This phenomenon, known as “dan-utsuri”, is a unique feature of the Aoe school and makes this piece especially noteworthy.
26 Tachi Kunitsuna
The Ko-Bizen Kunitsuna is extremely rare, with only two extant works known, including this one. This tachi retains its original, unaltered tang and features a long blade with a deep curvature near the base, exemplifying the tachi style of the late Heian to early Kamakura period. The hamon is relatively wide and displays a ko-midare pattern, with a variety of activities such as kinsuji and sunagashi running from the base to the tip. It also shows fine ha-nie, all of which are shared characteristics with the only other known work by Kunitsuna, demonstrating consistent and distinctive craftsmanship.
The unrefined simplicity of the hamon imparts a rustic, classical charm, embodying the aesthetic of Ko-Bizen swords.
27 Tantō Kuniyoshi
Awataguchi Kuniyoshi was the eldest of six brothers and a grandson of Kunitomo, who served as one of Emperor Gotoba’s imperial swordsmiths. He was a prominent representative of the Awataguchi school and is said to have had Tōshirō Yoshimitsu—praised as one of the Tenga Sansaku (“Three Great Master Swordsmiths of Japan”)—as either his disciple or his son.
Most of Kuniyoshi’s surviving works are tantō, typically featuring a straight hamon (suguha) with a strong nioi foundation and thickly developed fine ha-nie. These works are known for their bright, clear jigane and hamon.
This particular tantō features a pure suguha hamon with a high degree of refinement. It exudes a dignified and serene beauty and is widely recognized as one of Kuniyoshi’s finest and most representative masterpieces.
28 Katana Rai Kunimitsu
Rai Kunimitsu is believed to have been the son of Rai Kunitoshi, and his works span from the late Kamakura period into the early Nanbokuchō period. Among the Rai school, his swords are particularly noted for their exceptional quality. His styles include refined suguha, as well as hamon based on gunome and ko-notare, which feature more irregular and dynamic patterns and often exhibit a stronger nie presence. These are known for their powerful expression, at times surpassing the typical characteristics of the Yamashiro tradition and instead reflecting the bold style of the Sōshū tradition.
This particular sword stands out not only for its overall excellent condition but also for its chū-suguha hamon, which exhibits prominent kinsuji and sunagashi, with thickly applied nie. Both the jigane and hamon are bright and clear, showcasing the refined skill and striking presence characteristic of Rai Kunimitsu’s work.
29 Tachi Fukuoka-Ichimonji
It is widely known that Bizen Province was, both in name and in fact, the most prominent production center in the history of Japanese swords. Among its many achievements, the quintessential style of the Bizen tradition—needless to say—is the chōji-midare hamon, which flourished in the mid-Kamakura period under the Ichimonji school. Whether the origin of this splendid, luxurious, and exquisitely elegant style was a fortuitous result or the outcome of gradual refinement in pursuit of functionality, ultimately arriving at a form of “beauty in utility,” remains a subject of deep fascination.
This piece is a masterpiece that fully displays the exceptional beauty of the chōji-midare pattern.
30 Katana Nagayuki
Tatara Nagayuki (commonly known as Chōkō) was a swordsmith from Kishū who later moved to Osaka and traces his lineage to the Kishū Ishidō school. The Ishidō school was known for specializing in the chōji-midare hamon. Nagayuki’s works reflect two distinctive styles: one that emulates the swords of the Bizen Ichimonji school from the mid-Kamakura period, and the other reminiscent of Sue-Bizen works from the Muromachi period, featuring gunome with open bases.
This sword is a successful example of the former, closely following the Ichimonji style. The hamon displays various activities and prominent undulations, making this a brilliant example of Nagayuki’s exceptional craftsmanship.
31 Wakizashi Kanemitsu
Kanemitsu was a mainline swordsmith of the Osafune school in Bizen Province. His active period spanned approximately 45 years, from the late Kamakura period into the Nanbokuchō period. In his earlier works, the sword shape tends to be conventional, featuring gunome or kataochi-gunome. In later years, his swords became larger in form, and the hamon style shifted predominantly to notare, as seen in this piece—showing clear stylistic changes over time.
This work bears an inscription dated Jōwa 3 (1347). Among known examples featuring notare hamon, no earlier dated works have been confirmed, making this the earliest known instance of Kanemitsu using this style. As such, this sword holds great significance in the study of his works.
32 Katana Sukehiro
Tsuda Echizen-no-Kami Sukehiro was one of the leading swordsmiths of the Osaka Shintō style. He became widely renowned for creating tōran-midare, a hamon pattern that evokes the image of surging sea waves. His innovative style had a profound influence on swordsmiths both in his own time and in later generations. In addition to tōran-midare, his works include a diverse range of hamon patterns, such as chōji-midare, suguha, ō-gunome-midare, and notare.
This particular sword features a pure notare hamon, which, in contrast to the more dynamic tōran-midare that resembles rough waves, evokes the image of a gently undulating, calm sea. It also exhibits a soft nioiguchi that blends gently into the surrounding area—a hallmark of Sukehiro’s craftsmanship. Together with the overall form of the sword, it conveys a sense of grandeur and serenity.
33 Tantō Kanetomo
Kaneuji (commonly known as Shizu), a swordsmith active in the Shizu region of Mino Province (present-day Gifu Prefecture), produced many disciples. As these disciples moved from Shizu to Naoe, also in Mino Province, and continued their swordsmithing, they came to be collectively known as the Naoe-Shizu school.
This piece is the work of Kanetomo, one of the Naoe-Shizu swordsmiths. The jigane displays a flowing pattern, while the hamon features a combination of notare and gunome, with abundant sunagashi, showcasing a variety of activities. The slightly undulating irregular hamon is a characteristic that would go on to influence the style of later Mino works.
This is a rare and valuable tantō from the Naoe-Shizu school, whose signed works are extremely scarce.
34 Moriyoshi
Moriyoshi, whose real name was Tanigawa Matsuyoshi, was born in 1920 in Yatsushiro City, Kumamoto Prefecture. He studied swordsmithing under Kongōhyōe Moritaka Yasuhiro and Enju Tarō Nobushige. Renowned for his powerful interpretation of the Sōshū tradition, he earned high acclaim for his faithful reproductions of works by Minamoto no Kiyomaro.
This piece displays a bold and commanding form, featuring a wide body, shallow curvature, and a large kissaki. The hamon is based on gunome with a mix of chōji and features prominent kinsuji and sunagashi intertwining with the jigane, forming an irregular and undulated pattern. The bōshi rises sharply, ending in a pointed tip with sweeping marks. This dynamic work vividly demonstrates Moriyoshi’s exceptional skill and mastery.
35 Wakizashi Hiromitsu
The Sōshū-den, which was perfected under Masamune at the end of the Kamakura period, was inherited by Sadamune, and later passed on to Hiromitsu and Akihiro during the Nanbokuchō period. It can be said that the style of the hitatsura-ba vigorously mixed with tobiyaki, yubashiri and muneyaki was established by these two swordsmiths, and had a great influence on later generations.
This sword has a large shape that clearly shows the characteristics of the Nanbokuchō period, and the jigane has itame-hada mixed with mokume showing small jinie in thick layers and prominent chikei can be seen. The hamon which gradually gets wider toward the tip is rich in activities, such as thick hanie, kinsuji, sunagashi, and niesuji. It is a sword that demonstrates the true technique of Hiromitsu.
36 Wakizashi Tsugunao
This wakizashi features a wide body in contrast to a notably thin kasane (blade thickness), with an elongated, large-scale form. It clearly reflects the stylistic characteristics of the Enbun and Jōji eras, as indicated by the dated inscription. The jigane is a tightly forged ko-itame hada, exhibiting an exquisitely delicate texture. The hamon features saka-chōji-midare, a signature style of the swordsmith Tsugunao, extending from the base to the tip of the blade. Its brilliance is evident not only in the nioiguchi but throughout the entire hamon, rendering both the jigane and the hamon bright and sharp.
While Tsugunao produced several works with the saka-chōji-midare hamon, this wakizashi stands out for its precision, classical form, and exceptionally thin kasane. It is regarded as one of his finest works, fully expressing the aesthetic and distinctive qualities of the Bicchū-Aoe school.