SAMURAI
The descriptions contain Japanese terminology. Whenever possible, we have included a brief clarification; however, if one is missing, please refer to the glossary below.
Bachi or hachi: The bowl of a helmet
Dō: Cuirass
Dō-maru: Hon-kozane cuirass which wrapped around the body and tied closed under the right arm
Fudai: daimyō who were hereditary vassals of the Tokugawa before the Battle of Sekigahara
Fukigaeshi: The turn backs at the front edge of the upper row of a neck guard
Fukurin: Applied metal rim
Fusegumi: Multi-colored edge seam
Haidate: Defence for the thighs
Harikake: Lacquered papier-machê
Hon-kozane: True scales
Hoshi bachi: Helmet bowl with prominent rivets
Ichimai uchidashi: An element embossed from a single iron sheet
Iyo-zane: Type of scale assembled with almost no overlap
Kamon: Family crest
Kawari bachi/kabuto: Helmet of unusual construction
Kirigane: Applied iron ornaments
Ko-boshi bachi: Helmet bowl with small standing rivets
Kote: Armoured sleeve protecting the arms
Kusazuri: Pendant sections of scales attached to the lower edge of the dō to cover the groin
Kuwagata: Flat, stylised horns used as decoration in front of a kabuto
Mabizashi: Visor of a helmet
Maedate: Crest attached to the front of a helmet
Maki-e: Lacquer decoration, generally with gold designs
Momonari bachi: “Peach-shaped” helmet inspired by the European morion
Nakago: Tang; portion of a sword that is hidden by the handle ( tsuka )
Nodowa: Throat protection to wear like a necklace
Ō-boshi: Rivet having a large head
Origami: Certificate of authenticity
Ressei-men: Mask with fierce expression
Ryūbu-men: Mask with noble expression
Sengoku jidai: A period of Japanese history between 1467 and 1568, when many battles took place
Shakudo: Alloy of copper and gold, patinating to a purple-black colour
Shikoro: Neck guard of a helmet
Sode: Shoulder guard
Suji: Rib or flange obtained by folding a plate to make it more resistant
Suneate: Shin guard
Tare: Throat protection attached to a menpō
Tatemono: Ornaments applicable to the kabuto
Tehen: The hole in the crown of a helmet bowl
Tōkan: Ceremonial lacquer hat worn at the Chinese court
Tosei gusoku: “Modern” suit of armor, in use from the 16 th century
Tsunomoto: Hook for crest attachment
Uchidashi: Embossing technique
Urushi: Lacquer
Wakidate: Crests fitted to the sides of a helmet
Yahazu gashira: Type of iyozane having the upper edges notched
Yodarekake: Neck protection attached to the lower edge of almost any mengu
Za-boshi: Prominent rivet head fitted with a chrysanthemum-shaped washer
Zunari bachi: “Head-shaped” helmet, made with large, flat plates
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HON-KOZANE NI-MAI DŌ TOSEI GUSOKU
Samurai armor bearing the kamon of the Toyama family
Edo period, 18 th century
Origami:
The armor is accompanied by a letter from Prof. Yamagami Hachirō (1902-1980), dated 31 March 1964
Due to its high production cost, golden armor was infrequent during the Edo period. The honkozane (true scale) construction for the cuirass, the engraved gilt brass borders, and the haidate (thigh guard) decorated with a floral scroll motif painted with black lacquer over gold, all indicate that this suit belonged to a samurai of a wealthy clan. The armor also features a nodowa , an additional protection for neck and throat that is exclusive to high-rank armor. The helmet is similarly of excellent quality: a 32-plate zaboshi kabuto with 13 rivets per plate and a chrysanthemum-shaped washer on each rivet.
The broad sode (shoulder guards) and fukigaeshi (helmet turns-back), the visor’s shape, the use of stenciled leather, and the plate construction of the haidate are all characteristics of revival armor, which was being produced in Japan beginning in the early eighteenth century.
The armor is accompanied by an old exhibition tag which states that it was used by Toyama Awajimori, lord of Mino Naegi Castle. The kamon of nibiki type (family crest with two bars), which is shown on various parts of the armor, was in fact used by the Toyama clan during the mid Edo period.
The armor features stirrups, a saihai (commander’s baton), and tabi
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HOTOKE-DŌ GUSOKU
Samurai armor bearing the kamon of the Inaba family
Edo period, 18 th century
Kabuto bachi signed “Masuda Myōchin Minbu Ki no Munesada Saku” and dated February 1757
This magnificent suit of armor, in a revival style, is entirely made of hon-kozane plates (individual scales); the cuirass is decorated in maki-e lacquer with a figure of Raijin - the god of Thunder - creating a storm by beating his drums among clouds. All elements of the armor bear the kamon with the character 三 (three) of the Inaba clan and are furnished with gilt metal engraved kanamono . Interiors are lacquered in gold, a sign of a very high level provenance.
Rich armors modelled on those made during the medieval times became popular with wealthy samurai from the mid eighteenth century. As the political situation of Japan became stable, the practical requirements of the “modern” armor ( tosei gusoku ) became less necessary, while a fashion for the ancient rich style grew as a distinctive sign of wealth and power.
The kabuto (helmet) is made in the style of a Kamakura period ō-boshi sujibachi kabuto, with an eighteenth-plate rounded bowl, showing large protruding rivets. The exquisite parcel gilt wood maedate is shaped as a shachihoko, a mythical creature with the head of a tiger and the body of a carp, often used as protection against fre. The shikoro (neck guard) is covered with a rare red and white
horsehair adornment. Another evident reference to the great armor of the Kamakura period is the use of two large rectangular plates of different shapes to protect the toggle fasteners on the cuirass, sendan no ita and kyūbi no ita, while the rare haidate (thigh guard) of hōdō type, which includes hanging sections that replicate the style of the kusazuri (tassets), is a typical feature of the best suits from the Edo period.
The armor comes with a wide series of accessories: it includes two pairs of suneate (shin guards), one heavier and one very light, as well as a nodowa (throat guard), a pair of bearfur kutsu (shoes), a saihai (commander’s baton), two jinbaori (surcoats), a hakama (pants) and many other original clothes.
The Inaba family originated in 16th century Mino Province; during the Edo period, as hereditary vassals of the Tokugawa, the clan was classifed fudai and its members were appointed daimyō of large and strategic provinces; they also covered various important administrative, political and military roles.
Myochin Munesada, who signed and dated the kabuto , is reported to be the son and pupil of Muneakira; his signed works are very rare, apart from some tsuba , and it is likely that most of his production bears his master’s name.
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GO-MAI DŌ TOSEI GUSOKU
Samurai armor bearing the kamon of the Makino family
Edo period, 18 th century
The helmet signed “Myochin Nobuie Saku”
The cuirass signed on the lining’s interior
“ Mito armourer Iwai Izumo no Jô Fujiwara Munefusa of Bushū, on a lucky day of the tenth month of An’ei two [1773] ” with kao , and another similar inscription
Certificate:
Accompanied by a certifcate of registration as Jūyō Bunka Shiryō (Important cultural work) issued by the Nihon Katchu Bugu Kenkyu Hozon Kai (Association for the Research and Preservation of Japanese Helmets and Armor)
This exceptional suit of armor combines a subtle design with a complex construction of honkozane plates (individual scales) and exquisite details, such as the shakudo-nanako family crests applied to the majority of the armor’s components, the shakudo pierced applications and borders, and, most notably, the unique mask from the Horai school.
This variant of the kashiwa kamon (crest depicting oak leaves) was used by the Makino family. Originally from Mikawa, the clan was granted the fudai status by Hideyoshi in 1588, and its senior branch was established at Tako domain in Kōzuke province in 1590. The clan also had a number of cadet branches and, beginning in 1747, ruled the 80,000 koku Kasama domain in Hitachi province. This domain was adjacent to Mito, where Iwai Munefusa crafted this suit of armor. Tentatively, we can then speculate that the armor belonged to Makino Sadanaga, daimyō of Kasama from 1749 to 1796.
The Iwai is one of Japan’s oldest armorer’s schools. Originating from Nara, they worked for
the Tokugawa family and the military government, the bakufu , primarily assembling parts ordered from selected armor-smiths. Occasionally, Iwai masters would inscribe their signatures in red lacquer or on leather lining. Iwai Munefusa, whose signature appears on two extensive inscriptions inside the dō of this suit of armor, was a Bushū native who worked at the Mito Iwai branch. He was known by the clan name “Fujiwara“ and the honorific title “Izumo no Jō“.
On the other hand, very little is known about the Horai school. A menpō with comparable characteristics, currently housed at the Samurai Art Museum in Berlin, bears the inscription “ Horai Saku ” inside an ear, but the presence of the phrase “Value 100 gold coins” within the other suggests that it is an attribution rather than a signature. The distinguishing characteristics of the Horai masks are the shape of the mouth and cheekbones, the rounded chin, and the presence of fine kirigane at the joints of the nose and chin, applied on a golden background to the most luxurious models.
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YOSHITSUNE-GOTE DŌ-MARU
Samurai armor with sleeves of Yoshitsune style
Edo period, 18 th century
Menpō signed under the chin “ Hirosaki no Ju Myōchin ki Munekata Moriyoshi saku ”
Certificate: Accompanied by a certifcate of registration as Jūyō Bunka Shiryō (Important cultural work) issued by the Nihon Katchu Bugu Kenkyu Hozon Kai (Association for the Research and Preservation of Japanese Helmets and Armor)
Literature:
Katchu Bugu Juyo Bunka Shiryo Zuroku - Vol. 4 , (Tōken Shunjû Shinbunsha: Tōkyō, 2004), Pag. 76-77
With its large sode (shoulder guards) and oldfashioned construction, the style of the armor is reminiscent of the medieval suits popular in the latter half of the Edo period. This fashion for early style armour was firmly established when the eighth shogun Tokugawa Ieyoshi (16841750) promoted a revival of ancient weaponry, including swords and armor, to revitalize what he believed to be a decline in the nation’s martial spirit. In fact, the helmet is based on a Kamakura period kabuto , featuring a hemispherical shape with a large hole ( hachimanza ), large rivets, and richly applied gilded brass kanamono . The cuirass is crafted in the style of a dō-maru , a Muromachi-era design that wraps around the body without hinges and is flexible due to its construction of hundreds of tiny plates joined together. This system, known as hon-kozane (“true scales”), was a complex, expensive, yet effective method of lacing together numerous small plates; it was used until the sixteenth century and then recovered during the Edo period for revival-style armor for high-ranking samurai. The neck guard ( shikoro ), throat guard ( yodare-kake ), shoulder guards ( sode ), and groin plates ( kusazuri ) are made using the same technique as the rest of the armor. The arm protections are black lacquered with gold
takamaki-e (high relief lacquer) decorations, replicating the traditional Yoshitsune-gote , a pair of sleeves, now National Treasure, housed in Nara’s Kasuga Grand Shrine. Although it is said to have belonged to the hero of the Heian period Minamoto-no-Yoshitsune, this pair of sleeves is actually from the Kamakura period, but is nonetheless a stunning example of the art of armor making.
The mask is a highly unusual ressei-men (mask with fierce expression), with styled wrinkles all over its surface, demonstrating the high skill of Munekata, a famous Myōchin armorer who specialized in embossed ( uchidashi ) menpō . Munekata was a pupil of Munesuke, Muneakira’s junior, and the father of Munemasa. In the early eighteenth century, he was hired by the Tsugaru clan and worked in their principal fief of Hirosaki. A famous sōmen by this armorer is on display at the Metropolitan Museum in New York.
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SUIGYU KABUTO
A momonari samurai helmet of hoshi-bachi construction with buffalo horn shaped side crests
Momoyama period, late 16 th century
Provenance:
Kuroda Nagamasa (1568–1623), by repute Kuriyama Daizen (1591–1652)
Thence by descent to Kuriyama Sakae
Exhibited:
• “Kuroda han Chūshin Kurayama Daizen 300 nensai hai Nenten”
• “Tricentennial Memorial Exhibition of Kurayama Daizen, Loyal Retainer of the Kuroda clan”, 1952
Literature:
Kuriyama Sakae, “Kuriyama Daizen” 1952, pp. 3-4
Origami:
The kabuto is accompanied by a letter from sword appraiser Masago Komei, dated 20 December 1977, attesting to its provenance from Kuriyama Sakae, and two wooden exhibition panels bearing hand-written inscriptions with the history of the helmet
The bowl of this kabuto is of momonari shape, resembling the profile of a peach, and its construction is rather uncommon, consisting of six iron plates on each side riveted with za-boshi rather than the more common single sheet. The distinctive water buffalo horn wakidate (side crests), which are held in place by iron supports and surprisingly lightweight, are finished in black lacquer and retain their original fur decoration at the base.
The momonari shape and the buffalo horns, as well as the typical yahazu gashira iyozane construction used for the shikoro , are distinguishing characteristics of the kabuto from the Kuroda clan, whose fuji-kamon family crest is applied to the fukigaeshi
The kabuto has been in the Kuriyama family for centuries. Exhibited in 1952, it was still in the possession of Kuriyama Sakae, who inherited it from his ancestor Kuriyama Daizen (1591–1652),
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one of the senior retainers of Kuroda Nagamasa (1568–1623), an important daimyō during the late Momoyama and early Edo periods, who participated in Hideyoshi’s Korean campaigns and the Battle of Sekigahara, serving under Tokugawa Ieyasu. Daizen had been loyal to Nagamasa his entire life, but he denounced his son Tadayuki (1602–1654) for instituting policies in Chikuzen that undermined the authority of the bakufu . This was a major scandal, as the Kuroda held the seventh largest domain in Japan. According to what has been handed down for generations, this kabuto was given to Daizen by his lord Nagamasa shortly before he passed away, and Daizen used it to remind Nagamasa’s heir Tadayuki of his political obligations.
On the left upper side of the kabuto are battle scars probably inflicted by a katana or naginata, a rare feature that adds to the uniqueness of this item.
TŌKANMURI KABUTO
The wearing of helmets that reproduced the shapes of traditional headgear became common among members of the military class by the end of the 16 th century, in part due to new battle tactics that prioritised fire-weapons and removed generals from the battlefield, in part for the new taste of the warrior class, which tended to emphasise the individuality of the commanders. Helmets shaped as a tōkanmuri , a ceremonial lacquer hat worn at the Chinese court by high-ranking literati and statesmen, were undoubtedly the most successful among the broad category of kawari kabuto , or helmets
of “exceptional” shape, which became popular throughout the “Warring States period” ( Sengoku Jidai ). There are several variations on the theme. This one, which is particularly attractive, has an elongated shape of the bowl, which is an eightplate toppai-bachi , and very long wakidate (side ornaments), which would actually resemble the wing-like flaps on the back of the court’s cap. The helmet’s surface is marked by geometrical lines on the lacquer, while a pair of large, stylised eyebrows decorate the front, as typical of the kabuto from the early 17 th century.
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Samurai helmet in the shape of a court cap
Momoyama to early Edo period, 17 th century
SAIGA KABUTO AND MENPŌ
School of Noguchi Zesai
Edo period, 17 th-18 th century
Documented in the early Edo period as a “strategist”, Noguchi Zesai also engaged in armor design, manufactured by selected armorers according to his guidelines. Zesai’s period of activity, working until late in life, is between 1650 and 1710. He worked closely with the Torii clan, following it through at least four reassignments of fiefs to different provinces in north-central Japan between 1685 and 1712, but he also produced suits of armor for other families, as evidenced by the crests attached to a variety of his works.
The armors designed by Noguchi Zesai have well-defined and distinctive features. The most immediately recognisable trait is the menpō , with moustache and beard painted in black lacquer rather than made of horsehair, often with eye-catching shapes. The helmets are usually 32-plate suji-bachi kabuto made by armorers of the Saotome school, in many cases decorated with shinodare and wakidate , but there are examples where the helmet deviates from
this standard, perhaps to include an existing bowl owned by the commissioner. This helmet in fact adopts a Saiga-bachi, which is nonetheless mounted in the typical Zesai manner, with elongated fukigaeshi and a shikoro composed with extended iyo-zane plates, with the last plate covered with leather, according to the tradition of Kaga province. The Saika kabuto , named after the school, is a six-plate helmet topped by an additional large chrysanthemum-shaped plate, usually made in several tiers, as in this case. Such features are reminiscent of helmets used during the same period in Korea, as are the flat visor and curb-shaped suji liners.
The designs and choices of Noguchi Zesai impacted a number of armorers, particularly those who executed his projects. In the absence of documentation, it is therefore challenging to discern accurately when an armor was actually designed by him or when it is the work of a follower who incorporates his characteristics.
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Samurai helmet and mask
TŌKANMURI KABUTO AND MENPŌ
Samurai helmet
in the shape of a court cap
Edo period, 18 th century
Helmets shaped as a tōkanmuri , a ceremonial lacquer hat worn at the Chinese court by literati and statesmen, were quite popular among samurai by the end of the 16 th century. Of the many variations on the theme, this one is quite rare, with a pointed tip and flat faces on the rear.
The wakidate , side ornaments which normally resemble the long wings on the cap’s back, are here shaped as hawk’s feathers.
Fine elements on this helmet, like the engraved shakudo borders and the stencilled leather with fusegumi on visor and fukigaeshi , indicate that this set belonged to a high-ranking commissioner.
The kabuto is paired with a black lacquered ressei-men mask and an attractive maedate shaped as a shikami , a demon from the Japanese mythology, often found as a front decoration on samurai armor.
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TŌZUKIN-NARI KABUTO AND MENPŌ
Samurai helmet in the shape of a soft cloth cap
Edo period, 18 th century
Kawari kabuto are helmets with unusual designs that were popular during the Momoyama and Edo periods. A number of them drew inspiration from traditional Japanese and Chinese headgear and caps. This kabuto belongs to this group and takes the name after the tōzukin , a kerchief worn in cold weather that covers the entire head, excluding the eyes. The helmet is in fact shaped to resemble a cloth tied around the head and fastened in the back. This intricate form was achieved by molding harikake , a type of papier-machê mixed with urushi lacquer, over a zunari-bachi , a hemispherical bowl which is the actual head protection. The final shape
is quite complex, with a three-dimensional interplay of opposing lines that is uncommon for helmets of this type. The presence of as many as four applied ornaments enhances the visual impact of this kawari kabuto , particularly the two long horns covered in shu-urushi (red lacquer) with horsehair applications.
The menpō is a ressei -type mask, in original combination with the helmet.
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KANI-NARI KABUTO AND MENPŌ
Samurai helmet in the shape of a crab’s claw
Edo period, 18 th century
In feudal Japan, the crab was regarded as a majestic creature and was a symbol of the authority of early samurai warriors. In a wellknown fairy tale, it is also a symbol of revenge, and it is frequently depicted alongside a monkey who murdered its father.
Even though this theme is represented on one of the most renowned tsuba (handguard) in the Tokyo National Museum, it is rather uncommon among samurai equipment. Only few kawari kabuto are in fact decorated with crab claws, and the shape of this helmet, which resembles the claw itself, is undocumented and likely unique.
The kabuto is crafted with moulded harikake , a mix of papier-mâché and urushi lacquer, over an iron bowl. The bold construction and
balanced composition are typical of mid-Edo period production.
The set is completed with a good iron ressei menpō with matching tare
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RYŌEI MENPŌ
Samurai mask of ryūbu style hammered out of a single sheet of iron
Edo period, 17 th century
Ryōei is considered a legendary armor maker and his name is closely associated to the uchidashi (hammering) technique. His real name was Ohara and he lived near Edo (Tokyo) in the late 17 th century. Ryōei had a remarkable instinct for iron and was able to forge helmets, masks and cuirasses by hammering a single metal foil into the desired shape. If not for his disciple Kunitaka, who learned the technique but was unable to capture his teacher’s “spirit,” his talent would have never been attained. Ryōei’s masks are in fact infused with the wabi-sabi aesthetic, which was highly popular at the time for ceramic and tea ceremony items. The stylistic preference for a rough surface and straightforward designs that impart a sense of unrefined elegance to the wearer is a feature that no other armor maker has ever applied.
Ryōei was popular during his lifetime. The Meikō Zukan , a manuscript from the 18 th century
that reproduces some of the best armor pieces of Japan, includes a number of his works. The characteristics of Ryōei’s masks depicted in these drawings include the traits of this particular mask: the distinctly shaped ears, the small extra neck protections, the embossed yadome , the unusual nose, and the middle-tapered upper lip. One of these Meikō Zukan illustrations matches this menpō in nearly every detail. In addition, the Stibbert Museum in Florence houses a mask that is remarcably similar to this one, with the exception of its shorter chin.
The tare (throat protection) is a simple two-plate yodare-kake that fits the wabi-sabi aesthetic.
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GUNBAI UCHIWA
Iron
war fan decorated with a rising sun
Early Edo period, 17 th century
Length: 38.5 cm
Signature: Iga no kami Kanemichi
The gunbai uchiwa was a type of fixed fan used by generals and daimyō to signal orders during battles. It was frequently decorated with a large red sun in the center, in this case painted in red lacquer on a gold background, but some were also adorned with moon or planets designs as well as with kanji or bonji characters. During the Edo period, the gunbai came to be viewed as a symbol of power and status, as only highranking samurai would carry one during public ceremonies and parades. Hosokawa Tsunatoshi (1615–1868), for instance, owned a fan nearly identical to this one, now housed at the EiseiBunko Museum.
Gunbai uchiwa were typically made from materials such as leather or wood, but in the early Edo period, swordsmiths from the Hidari Mutsu school in Settsu province (Osaka) produced a number of them made entirely of iron. These have a sharp, geometric shape, as opposed to the typical rounded form, and could be used as weapons. The handle was actually designed like a katana-tsuka , with silk lacing over rayskin and metal fittings. The present one includes fine fuchi-kashira finished in shakudonanako , a surface treatment that simulates
hard roe, and bears a family crest of tsuta (ivy) design, which was used by the Matsudaira family during the Edo period.
Most of these iron gunbai have a signature chiseled in the tang ( nakago ). The present one is signed by Kanemichi, while another exhibited at Osaka Castle in 2007 is signed by his master, Kaneyasu (second generation). In fact, Kanemichi, who was originally from Yamato province, moved to Settsu during the Kanbun era (1661–1673) to work for Kaneyasu, who was already a renowned sword maker at that time. For his achievement in sword making, Kanemichi received the title of “ Iga no kami ” from the imperial court.
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HEISHI
A pair of maki-e lacquered ritual sake bottles bearing the family crests of the Matsūra family
Early Edo period, 17 th century
Height: 40 cm
From ancient times up until the Heian Period, sake was brewed mainly as an offering to the gods and served in Shinto shrines in unglazed earthenware vessels. During the Kamakura period, large size wooden vessels ( heishi ) became popular and banquets were held for ceremonies and festivals, where people took turns drinking sake from the same bottle. The shape of these vessels was inspired by the Chinese ceramic wine bottles from the Song dynasty and the surface was generally lacquered in Negoro style cinnabar-red, while maki-e decorations, which flourished from the Momoyama period, are extremely rare. In this case, as traditional for ceremonial items, the motif is a landscape with four auspicious symbols of longevity: pine, bamboo, turtle and crane.
The vessels are also decorated with two family crests ( kamon ) of the Matsūra clan, the three circles ( mitsuboshi ) and the paper mulberry leaf ( kajinoha ). The Matsūra clan, who ruled the Hirado domain, were involved in maritime traffic and prior to the Edo period and its closed door policy, they were one of the few
families that ruled through foreign diplomacy, by having the Dutch and the English Trading Posts established in their domain. This pair of heishi might be related to Hirado Matsūra Takashi (1646—1713), who was appointed by the shogunate as national commissioner for shrines and temples. He was the first tozama daimyō (lords who submitted to the Tokugawa shogunate only after the battle of Sekigahara) to be promoted to this important position.
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RAI KUNITOSHI KATANA
A very important Yamashiro samurai sword
Mumei
Late Kamakura period (1185-1333)
Circa 1295-1300
NBTHK Tokubetsu Jūyō Tōken
Nagasa [length]: 71.8 cm
Sori [curvature]: 2.3 cm
Motohaba [bottom width]: 2.7 cm
Sakihaba [top width]: 1.7 cm
Kasane [thickness]: 5.5 mm
Sugata [configuration]: Shinogi-zukuri, iorimune , deep wa-zori shape with difference in width between the higher and the lower part; full hiraniku, chu-kissaki
Kitae [forging pattern]: Itame hada. Jinie, utsuri
Hamon [tempering pattern]: Gunome midare and ko-choji midare in nie-deki on the omote side; ko-notare and gunome
midare on the ura side. Plenty of ashi, yō, sunagashi and kinsuji Boshi [point]: Notarekomi with hakikake kaen Nakago [tang]: O-suriage, kirijiri, yasurime slightly katte sagari ; three mekugi-ana
Origami [certificates]: The blade comes with a Tokubetsu Jūyō Tōken (Particularly Important Sword) certificate issued by the Nihon Bijutsu Tōken Hozon Kyōkai in 2018 (session nr. 25).
The koshirae comes with a Tokubetsu Hozon Tōsogu (Especially Worthy of Preservation Sword Fitting) certificate issued by the Nihon Bijutsu Tōken Hozon Kyōkai
Sayagaki [certification on shirasaya]: The inscription by Dr. Sato Kanzan reads: “ The 25 th NBTHK Tokubetsu Jūyō Tōken. Jōshū Rai Kunitoshi. Even though it is ō-suriage mumei, it still keeps its wazori shape and has a lot of hiraniku left. The hada structure is dense and strong, with massive jinie
and nie, accompanied by utsuri. Hamon is ko-choji mixed to ko-gunome and ko-midare, based on chu-suguha, with lots of ashi, like Kyo-sakaashi. Deep and intense nie and nioi with abundancy of kinsuji. Nioikuchi is bright, characteristics that show the style of the maker. It is an outstanding work with dignity and depth. Length: 2 shaku 3 sun 7 bu. During the fourth month of Kanoe-ne [April 2020]. Written by Tanzan [+Kao] ”
Koshirae [mounts]: The sword is accompanied by a very good formal set of itomaki tachi koshirae from the Edo period, with gold and shakudo-nanako kodogu bearing kirimon and kikumon
The culture of Kyoto is deep and vast and its sword traditions are no exception. During the late Kamakura period, a number of important swordsmith schools grew up in the city, in addition to the Awataguchi group, which was already active since the early thirteenth century. The Rai school, which was known for its extremely high-quality workmanship, had, in fact, a greater influence on Kyoto culture than the Awataguchi, as well as a more farreaching impact extending into other areas of the country. According to legend, the Rai school was established by a swordsmith named Kuniyoshi, who is thought to have come from Korea. However, because there are no extant works by this swordsmith, it is Rai Kuniyuki who is considered the first master of the school.
Kunitoshi was the son of Kuniyuki. Swords signed with only the two characters “Kunitoshi” ( Niji Kunitoshi ) are forged mainly in his father’s style, featuring wide blades with choji hamon and the ikubi kissaki of the time. Other blades, frequently having suguba and a tapering sugata , have a different style, more delicate and less flamboyant; these are normally signed “Rai Kunitoshi” and are referred to as Sanji Kunitoshi (“three-character Kunitoshi”). There has long been heated controversy about the identity of the second smith, some believing that he was a different person, while others believe that both signatures were used by the same smith. The theory that appears to be gaining support is that they are the same individual, and the change in signature corresponds to a change in his work style. Whatever the truth of the matter, there are slight but undeniable differences in the style of swords with and without the additional character “Rai”. Those signed with only two characters often have a choji hamon that is
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full of nie activity, whereas those with “Rai” typically have a hamon that is more straight. The characteristics of this sword point to the earlier style: a slender sugata with a deep curvature of wazori (round) line, typical of the Rai school, chukissaki with a hakikake/notarekomi boshi without kaeri , abundance of ji-nie and a flamboyant midare/choji hamon in the Bizen Ichimonji style.
The structure of both the forging pattern and the tempered area is outstanding even when set against other Kunitoshi blades. Kunitoshi is in fact the swordsmith with the most Jūyō Tōken blades, while those that achieved the highest rank of Tokubetsu Jūyō Tōken are extremely rare, elevating this sword to one of Rai Kunitoshi’s most beautiful creations.
In the Fujishiro rating system, Kunitoshi’s works are classified as saijō-saku , the superior level of workmanship. Fujishiro also provides Kunitoshi’s ranking according to Yamada Asaemon Yoshimitsu’s wazamono system in the Nihon Tōkō Jiten . Normally, the Yoshimitsu book does not include statistics on assigning a wazamono ranking to masters of the Koto era, but it does in the case of Kunitoshi, who is ranked Ō-Wazamono , meaning swords with excellent sharpness. Also, according to Dr. Tokuno’s Tōkō Taikan rating system, Kunitoshi (both niji and sanji ) has a rating of 2,000 man yen, which is an extraordinarily high rating.
This specific blade has a powerful kirikomi on the mune , indicating that it has been used in combat in the past. This serves as a reminder that the Japanese sword is not just a work of art, but also a weapon utilized by samurai in battle and duels.
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YASUNAGA TACHI
An important Oei-Bizen samurai sword
Signature: Yasunaga
Early Muromachi period (1392-1573)
Circa 1400
NBTHK Jūyō Tōken
Nagasa [length]: 71.1 cm
Sori [curvature]: 1.3 cm
Motohaba [bottom width]: 2.9 cm
Sakihaba [top width]: 1.8 cm
Motokasane [bottom thickness]: 6 mm
Sugata [configuration]: Shinogi-zukuri, torizori, iori-mune, chu-kissaki (3.4 cm)
Kitae [forging pattern]: Itame mixed with
mokume , plenty of small jinie and chikei , midare utsuri
Hamon [tempering pattern]: Choji mixed with gunome and togariba with ashi and yō in nioi deki with konie
Boshi [point]: Gunome with komaru
Nakago [tang]: Suriage, saki asai ha agari kurijiri, katte sagari yasurime ; four mekugiana , two filled; tachi mei : Yasunaga ( 康永 )
Origami [certificate]: The blade comes with a Jūyō Tōken (Important Sword) certificate issued by the Nihon Bijutsu Tōken Hozon Kyōkai in 1999 (session nr. 45)
Koshirae [mounts]: The blade is accompanied by a formal uchigatana koshirae of Higo style with black lacquered
same , leather tsukaito and classical Higo tsuba . All metal parts are decorated en suite with kirimon
Provenance: Count Ito Miyoji, Kishu
Tokugawa administrator of Yamaguchi
Tanba no Kami
Literature:
• C. Imamura, Imamura Oshigata , 1927, p. 51
• Tōken kenkyū , 1930, p. 36
• H. Koizumi, Nihontō no kindai-teki Kenkyu , 1969, p. 82
• N. Kawaguchi, Shintō Kotō Taikan , 1972, p. 206
Swords produced by the Osafune smiths during the Oei era (1394-1428) are called OeiBizen. The three most talented swordsmiths of this era were Morimitsu, Yasumitsu, and Moromitsu. Because their last names all finish in “mitsu”, they are often referred to as “ Oei no san-mitsu ”. Yasunaga was son of Yasumitsu and he had always been forging swords that would have been signed with his father’s name. This was a normal practice in all types of Japanese workshops, and depending on whether the master signed the work or whether the student also wrote his master’s name, it was referred to as daisaku or daimei . Because of this, it is impossible to distinguish Yasunaga’s style from that of his father. Therefore, signed swords by Yasunaga are exceedingly rare, which is why the present blade has been included in a number of reference books.
The characteristics of this tachi match those that one would expect from Yasumitsu: the hada is a mixture of itame and mokume , while the hamon varies from choji to midare , with a prevalence of nioi and a large space between the midare waves. The area of the monouchi is quieter than the rest, where in some points the hamon shape is sakagakari
The sword comes from an important Japanese collections: Count Ito Miyoji, who also inscribed the shirasaya , was a government official and statesman; he was involved in the drafting of the Meiji Constitution and held important posts, including secretary to the Prime Minister and minister.
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DEN KENCHO KATANA
An important Soden-Bizen samurai sword
Mumei
Nanbokuchō period (1333-1392)
Circa 1365
NBTHK Jūyō Tōken
Nagasa [length]: 70.2 cm
Sori [curvature]: 1.1 cm
Motohaba [bottom width]: 2.8 cm
Sakihaba [top width]: 2.05 cm
Motokasane [bottom thickness]: 6.7 mm
Sugata [configuration]: Shinogi-zukuri, iorimune , shallow sori, chu-kissaki (3.7 cm)
Kitae [forging pattern]: Mostly itame hada
with jinie Hamon [tempering pattern]: Ko-notare, gunome togari with togari-gokoro. Ko-ashi, sunagashi , deep nioi becoming ko-nie Boshi [point]: Midarekomi with togarikokoro kaeri and hakikae
Horimono [carving]: Bo-hi on both sides, passing into nakago on omote and sweeping away on ura Nakago [tang]: O-suriage, kirijiri, yasurime katte-sagari ; three mekugi-ana , two filled, mumei
Origami [certificate]: The blade comes with a Jūyō Tōken (Important Sword) certificate issued by the Nihon Bijutsu Tōken Hozon Kyōkai in 1965 (session nr. 15)
Sayagaki [certification on shirasaya]: The inscription by Living National Treasure Hon’ami Nisshū (1908–1996) reads: “ Jūyō Tōken. Bizen [no] kuni Kencho. Suriage mumei. Around Jōji period [1362–1368]. Length: 2 shaku 3 sun 2 bu. One of treasured items of Okumura family. Polished and written in early March of year Showa HinotoHitsuji [1967] by Hon’ami Nisshū [+kao] ”
Koshirae [mounts]: The sword is accompanied by a good antique koshirae with shakudo and gold fuchi-kashira and an iron Higo tsuba
Provenance: Okumura family
The Osafune group in Bizen province represents the most talented and longeststanding school of swordsmiths among all schools and traditions. The main line of Osafune was founded by Mitsutada around 1250, in the middle of the Kamakura era. A few decades later, the popularity of the Soshu tradition encouraged a greater number of swordsmiths to travel to Kamakura to study Soshu methods, which they then brought back home.
Smiths coming and going to and from Kamakura lead rise to the story of the Masamune Juttetsu , the “ten great students of Masamune”. We now know that they were not all direct pupils of Masamune, but it is certainly true that in all these swordsmiths’ works we see a thread that connects back to the Soshu tradition. Among these ten masters, Kanemitsu and Chogi belong to the Osafune school in Bizen, even if it seems that it was Nagashige, the older brother of Chogi, who might have been working directly with Masamune. Both Kanemitsu and Chogi worked during the Nanbokucho period and blades forged in Bizen
during this time are known as Soden-Bizen.
Kencho is the most talented among Chogi’s students. Transliterated as Kanenaga, we pronounce his name Chinese-style for the same lost reasons as Chogi’s. He is grouped with his master by his work style and generally it is difficult to tell them apart, being many blades attributed to Chogi made in fact by Kencho. Works by Chogi and Kencho show some distinct features inherited from the Soshu tradition and many of them can be found on this sword: the sugata is wide and powerful, sori is shallow and kasane is thick, with scarce hira-niku . The steel tends to be soft and worked in an itame-hada mixed with mokume . The grain is tight and dense with nie forming chikei , a very difficult feature to obtain on Bizen’s soft steel. Sometime utsuri can be seen, but it is not very common. The hamon is gorgeous, mostly in nioi deki , as common for Bizen, but with nie as well. Inside the ha there are many ashi and yō and on works rich of nie like this one, these activities form sunagashi, inazuma and kinsuji
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MASAMITSU KATANA
An important Soden-Bizen samurai sword
Mumei
Nanbokuchō period (1333-1392)
Circa 1360
NBTHK Jūyō Tōken
Nagasa [length]: 69.6 cm
Sori [curvature]: 1.4 cm
Motohaba [bottom width]: 3 cm
Sakihaba [top width]: 2.3 cm
Motokasane [bottom thickness]: 2 mm
Sugata [configuration]: Shinogi-zukuri, maru-mune . The blade is wide, with a slight difference between top and bottom, thick kasane , high shinogi , slightly deep sori, ō-kissaki (5.6 cm)
Kitae [forging pattern]: Itame hada mixed
with frequent mokume hadatachi Jinie , fine chikei , pale utsuri
Hamon [tempering pattern]: Ko-notare mixed with ko-gunome, kaku-gunome, ko-choji and togarigokoro. Some ashi, ko-nie, fne sunagashi toward the monouchi, bright nioiguchi
Boshi [point]: Yakifukai, midarekomi, sakitogarigokoro kaeri, hakikake
Nakago [tang]: Ō-suriage, sakikiri, yasurime kiri ; two mekugi-ana
Origami [certificate]: The blade comes with a Jūyō Tōken (Important Sword) certificate issued by the Nihon Bijutsu Tōken Hozon Kyōkai in 2022 (session nr. 67)
Sayagaki [certifcation on shirasaya]: The inscription by Tanobe sensei reads: “ Bizen [no] Kuni Osafune Masamitsu. Ō-suriage, mumei, wide haba, ō-kissaki, high
shinogi with dropping shinogi-ji and thin kasane. The shape style is that of Enbun/Teiji periods [1356–1368]. Itame hada showing a pale midare utsuri. Composed hamon with wide yakihaba and good nie, showing ō-notare mixed with gunome. This sword displays the style of the Kanemitsu school and is a great work with characteristics that, among the school, show that the attribution must be narrowed to this particular swordsmith. Length: slightly more than 2 Shaku 2 sun 9 bu. Midspring during the Reiwa period. Written by Tanzan [Tanobe] Michihiro [+kao]”
Koshirae [mounts]: The sword is accompanied by a good antique handachi koshirae with a shakudo tsuba rimmed in gold, shakudo-nanako fuchi-kashira and shakudo and gold menuki
Bizen swords produced during the Nanbokuchō period have special characteristics and are commonly called Soden-Bizen. This style was inaugurated by Osafune Kanemitsu, who contaminated the Bizen tradition with the new Soshu style, resulting in a very interesting and innovative form characterized by expressions of both approaches, with an itame jihada with extended ji-nie and a midareba with profuse nie
Compared to Chogi, the other swordsmith who contributed to the creation of the Soden-Bizen style, Kanemitsu’s approach is more subtle and graceful, recalling the elegance of late Kamakura blades. The works of Kanemitsu and his students show some distinctive features belonging to the Soden-Bizen tradition, almost all of which can be observed in this sword, assigned to Masamitsu, student and probably the son of
Kanemitsu: the sugata is broad and powerful, the sori is shallow and the kasane thick, with a slight hira-niku . The steel has a tendency to be soft and darkish, worked in itame-hada mixed with mokume . The grain is thick and dense with nie forming chikei , a very difficult workmanship to achieve in soft bizen steel. Sometimes there may be a utsuri , which is very light in the case of this sword, but this is not a common feature. The hamon , generally ō-midare mixed with chojimidare , is broad and refined, usually in nioi deki , as is typical in Bizen tradition, but also with the presence of abundant nie , as is common for Soden-Bizen blades, with numerous ashi, yō, sunagashi, inazuma and kinsuji
Masamitsu is ranked Jo-jo saku (highly superior) by Fujishiro.
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