Arms and Armor of Ancient Japan

In Japan the sword and its associated fittings have for centuries been regarded as an expression of the highest art, worthy of the consideration of an Emperor and, in fact during the early thirteenth century, the Emperor Go-Toba participated in the creation of masterpieces which approach the zenith of sword excellence. The west has commonly regarded them as curiosities, the products of a craft, and equated them with other swords. It is the hope of the Southern California To-Ken Kai that this exhibit may in some measure contribute to a better understanding of the Japanese sword and a more correct evaluation of its artistic values.

The descriptive terminology in this catalogue is the language of the sword and recourse to the glossary of terms will, for the uninitiated, be absolutely necessary. From very early times expertise on the sword was the exclusive property of families of sword experts, principally the Honami, who maintained their knowledge as a closely guarded secret. Thus, the language was intended to obscure rather than reveal. Further, the idiom is one which does not lend itself to easy translation, there being no equivalent terms in the English language.

Chronology is arbitrary since there is no close agreement even among historians. The chronological divisions are in the main political, the single exception being connected with sword history. Most divisions in sword history coincide with political divisions, there being a strong interconnection between the two.

It is to be regretted that all of the material exhibited could not be included in the catalogue. Examples were chosen not only on the basis of quality but as specimens representative of a particular time and school. Selection was made from an aggregate total of over two hundred swords and seven hundred tsuba exhibited.

The study and collection of the Japanese sword and its fittings is attracting a growing list of followers from widely assorted backgrounds. Their common interest is an appreciation of the unique skills and creative talents which rank the master swordsmith and the ciseleur with the enduring artists of this and future times. Their rights to such distinction are evident in the pieces chosen for display in this exhibit. Many are rare examples, many are seldom seen masterpieces ... all are fine examples of the art.

Our deep appreciation is extended to those institutions and individuals who so generously made their collections available to us, to the people without whose unselfish aid this achievement could never have been, and to the Los Angeles Municipal Art Patrons for their unremitting support of our hopeful effort.

Editor's note: The actual catalog contains the Japanese characters for the smiths' signatures, which are not reproduced here. Also, some of the pages have been rearranged to take advantage of the web format versus the page format of the original catalog.

THE SWORD

Preserved within the confines of Todaiji temple in Nara is an ancient storehouse founded in 756 A.D. as a memorial to the Emperor Shomu. In this relatively fragile structure all of the Emperor's personal possessions, together with gifts of the court, have remained inviolate to this day. Included among the treasures dedicated were swords, armor of plate and scale, bows, arrows, pole arms of several types, and other military equipment. During the Oshikatsu rebellion in 764 A.D. the weapons were removed to the palace by imperial command and much was lost in the subsequent fighting. The precious remainder serve as the principal source of information about the weapons of the period. Among the rest, forty nine long swords were left, their blades bright and shining today. These swords exhibit every important characteristic found at the culmination of the swordsmiths' art five centuries later. Although the sword underwent modifications during the succeeding centuries, the shape and underlying principle remained the same. Thus, old swords remained serviceable until the last and were carefully preserved, both for their utility and because of the deep reverence which the Japanese feel for the blade.

All swordsmiths, regardless of the place or time, have been confronted with the problem of creating a blade which would neither bend nor break and yet would cut well. The unique Japanese solution to this problem was the development of what may be called a composite blade. The basic principle of the Japanese sword is the support of an extremely hard edge steel by means of a tough resilient back. This was achieved by enclosing the edge steel in a mild steel back, by wrapping a mild steel core with edge steel, or by complicated constructions utilizing appropriate steels.

Traditionally, Japanese swords are classified into five schools or methods named after the province in which they originated: the Yamato, Yamashiro, Bizen, Soshu, and Mino, listed in the order of their historical appearance. They were, simply, different paths to the same goal differing only in technique. The basic principles were identical. All Japanese swords are composed of steels which were forged, folded, and reforged a number of times consistent with their utility, edge steels fifteen to twenty times and the milder steels six to eight times. Sometimes during the folding the grain of the steel was crossed. Heat treatment was accomplished by coating the blade with refractory clay which was thinner at the edge, bringing to heat, then quenching in water. The area at the edge, having less insulation, cooled rapidly and became hard. The back, covered with thicker clay, cooled slowly and became tough. At the same time the differential cross-sectional thickness in the blade caused it to assume a curve.

The spectacular polish found on Japanese swords not only enhances their beauty by making visible the tempered edge pattern and the details of forging which are so important to an aesthetic appreciation, but makes possible a visual evaluation of the essential qualities of the sword. If the grain created in the forging process is small and the heat before quenching high, as can be determined by the presence of a wide tempered edge and coarse nie (mirror-like particles of Martensite), the blade will be brittle. Conversely, if the grain is large and the tempered edge narrow and composed of nioi (cloud-like Martensite) then the blade will be soft. All of the elements involved in the making of the sword must be compatible, the grain of the steel, the temperature of the water, the thickness of the clay, and the heat. An infinite number of correct combinations are possible. Steel, the fabric of which the sword is composed, possesses important values of its own entirely separate from other considerations. It may be translucent deep and clear, a thing of transcendent beauty, or coarse, hard and dry, a product of haste and opportunity. Here the work of the smith stands most clearly revealed and his work defined.

The Japanese, as a people, are unique in their awareness of beauty. The society is permeated with this consciousness and there is a constant preoccupation with the aesthetic. Blades can be expected to reflect this sensitivity. The first consideration in the judgment of a sword is the shape: regardless of the period and the changing styles, it must be aesthetically satisfying. Swords made during the Heian period, with its strong overtones of effeminacy, and those made during the virile masculine Kamakura period were and are subject to the same rigorous aesthetic canons, although their shapes may be vastly different. Swords lacking form and style, such as those mass produced during the latter half of the Muromachi period for common use, are passed over by the discriminating collector. Similarly, the phenomena seen in the surface of the steel must be in taste. Pictorial representations in the hamon found during the Genroku era are considered to be merely examples of a limited virtuosity and lack depth and sincerity. The collector must differentiate between swords which are kept as representative of a type and those which are worthy of an aesthetic appreciation.

Although swords disappeared from daily use in 1877 with the promulgation of the Haitorei edict which prohibited their wear, some few smiths continued to work and, binding the present to the past, blades are being made today in accord with the highest traditions of this ancient art.

Kamakura Period (1185 - 1333)

During the early part of the thirteenth century the ex-Emperor Go-Toba called the most prominent smiths in the country to Kyoto to work with him in the fashioning of swords. This unheard-of distinction initiated a golden era in sword history which lasted for approximately one hundred years. Never again was this zenith to be approached. The Shogun Yoritomo founded his camp-capitol at Kamakura, a small fishing village, in order to avoid the debilitating decadence of the court and set a fashion simple and manly. Even the court aped this mood. Two of the traditional five methods made their first appearance during this era. The Bizen method, founded during the early years by the ban-kaji Norimune and the Soshu method, which was founded during the latter part of the period by the Yamashiro Awataguchi smith Shintogo Kunimitsu who was followed by Yukimitsu and the great Masamune. Shifting centers of power caused the migration of smiths to new sources of patronage and many new families of smiths appeared. During the closing years, the wars between the followers of Ashikaga Takauji and the adherents of the Emperor Go-Daigo, whose headquarters were at Yoshino in the province of Yamato, caused the resuscitation of the practically defunct Yamato method. The great majority of swords now classed as national treasures or important art objects were made during the Kamakura period.

Yoshino Period (1333 - 1392)

The schism between the Ashikaga Shogun, Takauji, and the Emperor Go-Daigo resulted in the flight of Go-Daigo to Yoshino in Yamato and the establishment of a new Emperor in Kyoto. The period is sometimes called the 'Nan-Boku Cho Jidai' or the 'Age of the North and South Courts.' It was an era of heroes and scoundrels, of the proto-typical loyal samurai Kusunoki Masashige and Nitta Yoshisada and the proficient but brutal and treacherous brothers Ko. It was an age of incessant warfare and battles. The great demand for weapons naturally caused a general deterioration of quality in the sword, although master-smiths continued to produce work of the highest quality. Of particular note were the migrations of smiths to the province of Mino and the establishment of the last of the Gokkaden. The most important were Kaneuji and Kinju of Soshu (Masamune ju-tetsu) and a numerous group of Yamato smiths including Zenjo Kaneyoshi. Another important center which continued an ancient tradition was at Osafune in Bizen. These two provinces produced the major portion of the swords made in Japan.

WAKIZASHI

Signed Hasebe Kuninobu.
Date early Yoshino;
Length of 12.9 inches;
Shape hira zukuri ko wakizashi, wide and very thin, Enbun-Joji shape;
Hamon is ko-midare of ko-nie in nioi, ha-buchi is indistinct and watery (urumu), small kinsuji;
Jihada is o-mokume and itame mixed;
Jitetsu is fine;
Boshi on the omote is su-ken with bonji, ura is gomabashi-bi;
Nakago is funagata;
Comments: Hasebe Kuninobu was the son of Hasebe Kunishige, one of the ten students of Masamune. He also used the name Kunishige.

WAKIZASHI

Signed Kaneyoshi.
Date early Yoshino;
Length of 18.3 inches;
Shape shinogi zukuri, fumbari, slender delicate shape;
Hamon is hoso suguba of ko-nie, hotsure, kinsuji;
Jihada is ko-itame;
Jitetsu is fine;
Boshi is hakkake;
Nakago is suriage with signature retained and folded over (orikaeshi mei);
Comments: The Kaneyoshi were students of the Tegai of Yamato who later migrated to Mino and founded their own school. Originally this was a ko-dachi which was shortened and made into a wakizashi.

TANTO

Signed Nobukuni.
Date mid Yoshino;
Length of 11.3 inches;
Shape hira zukuri, chukan zori, Enbun-Joji shape;
Hamon is hoso suguba of ko-nie, slight hotsure;
Jihada is ko-mokume;
Jitetsu is very fine and beautifully worked;
Boshi is o-maru, slightly kareru;
Hori on omote is ken and bonji, ura is ken and bonji in hi (ukibori)
Nakago is ubu;
Comments: The first Nobukuni was a student of Sadamune of Soshu who later migrated to Kyoto and established his own famous school there. The Nobukuni were famous as carvers of horimono.

TANTO (not illustrated)

Unsigned, attributed to Soshu Hiromitsu .
Date early Yoshino;
Length of 13.8 inches;
Shape hira zukuri of Enbun-Joji style;
Hamon is suguba of ko-nie, nijuba, yo;
Jihada is a little open and has a feeling of wetness;
Jitetsu is fine and well forged, the hada is sinking;
Boshi is ko-maru with slight kaeri;
Nakago is ubu, tanago bara form;
Comments: Hiromitsu was a son or student of Sadamune of Soshu. The attribution is by Shimizu Toro.

KATANA

Signed Tomoshige.
Date mid Yoshino;
Length of 26.5 inches;
Shape shinogi zukuri;
Hamon is midare of nie, togare, kinsuji;
Hada is mokume with some itame mixed, utsuri;
Jitetsu is of medium density, a little open;
Boshi is midare komi with some hakkake;
Nakago is suriage;
Comments: The first Tomoshige of Kaga was a student of Rai Kunitoshi of Yamashiro. The work of the school; however, contains the elements of the styles of Mino, Bizen, and Soshu and is classified as wakimono (outside the main lines of school styles). This sword exhibits some tendency toward the koshi hiraita midare hamon (open hip, with valleys) which became popular during the Oei period.

TACHI

Signed Bizen Osafune Tomomitsu.
Date 1364;
Length of 28.9 inches;
Shape shinogi zukuri, koshi zori;
Hamon is gunome midare of nie, kinsuji, inazuma, sunagashi, nie saki, some hotsure;
Jihada is itame mokume mixed, profuse chikei;
Boshi is midare komi, yakizumi;
Bo-hi with bonji on both sides
Nakago is ubu;
Comments: Tomomitsu was the son or brother of the famous O-Kanemitsu of Bizen, one of the ten students of Masamune. This blade has definite overtones of the Soshu style which are probably due to this relationship. The style is called Soden Bizen.

TACHI

Signed Naoe Kanehisa, in gold, authenticated by Honami Koson.
Date mid Yoshino;
Length of 28.3 inches;
Shape shinogi zukuri, strong koshi zori;
Hamon is suguba with center section of blade in gunome choji of nie, kinsuji, sunagashi;
Jihada is mokume and itame mixed;
Boshi is togare;
Nakago is o-suriage;
Comments: Kanehisa was the son of Kanetoshi, younger brother of Shizu Saburo Kaneuji (Masamune's student). This blade is of an older form and the hamon is unusual and interesting.

WAKIZASHI

Signed Hiromasa, in gold, authenticated by Honami Koson.
Date ;
Length of 15.3 inches;
Shape hira zukuri ko-wakizashi;
Hamon is o-midare of nie, ara nie, ashi, yo;
Jihada is masame, ji-nie becoming dense toward the point;
Boshi is togare with long kaeri;
Hori on omote is kuichigai-bi, ura is su-ken with jewel (tama)
Nakago is o-suriage;
Comments: Hiromasa was a man of the late Soshu tradition. Many of the earlier characteristics were changing and in some cases disappear entirely. The masame hada is a striking deviation from the norm.

Muromachi Period (1392 - 1596)

With the reconciliation of the two imperial houses and the re-unification of Japan, the Nan-Boku Cho came to an end. Political power continued to be vested in the Ashikaga Shoguns, but the inherent weakness of the system prevented the establishment of political unity. Petty warlords seized local power and the slight control exercised by the Ashikaga diminished until the Onin period (1467) when the country again exploded into civil war. The next one hundred years is known as the 'Sengoku Jidai' (Age of the Country at War). During this century, the country was utterly devastated and reduced to poverty. Kyoto, the ancient capital, was burned, an irretrievable loss. There are relatively few schools producing good work during the Muromachi period. The majority are kazuuchi mono (ready made) or were even mass produced. As always, however, some conscientious smiths continued to follow a tradition of excellence.

KATANA (not illustrated)

Signed Muramasa.
Date early Muromachi;
Length of 31.6 inches;
Shape shobu zukuri, very wide and long;
Hamon o-midare hamon of ko-nie in nioi;
Ha-hada;
Jitetsu has a feeling of softness and is clear;
Boshi is hakkake with long kaeri;
Hori on omote is Fudo and stylized cloud with bo-hi, ura is dragon with bo-hi;
Nakago is ubu of typical tanago bara form;
Comments: Muramasa blades excite a great deal of interest because of the numberless stories concerning their bloodthirstiness. They were supposed to have been particularly unlucky for the Tokugawa. Shirai Gompachi, the street killer, is said to have used a Muramasa blade. There were several smiths of the same name who followed the Mino tradition at Sengo in the province of Ise..

WAKIZASHI (not illustrated)

Signed Norimitsu, in gold.
Date early Muromachi;
Length of 20.7 inches;
Shape shinogi zukuri, fumbari;
Hamon suguba of ko-nie, hotsure, no activity in the ha;
Jihada o-mokume, few ji-nie;
Jitetsu open but not coarse;
Boshi maru;
Nakago o-suriage;
Comments: An early example of the Norimitsu line who worked at Osafune in Bizen. There were many smiths who used the name, some of very good quality. They were swords for practical use. This sword is of chu-mon uchi (special order) quality.

TACHI

Signed Bishu Osafune no ju Norimitsu.
Date 1471;
Length of 28.3 inches;
Shape shinogi zukuri, koshi zori, strong fumbari;
Hamon choji midare of nie, kinsuji, inazuma, ha-hada;
Jihada is mokume, yubashiri, profuse ji nie, hada is strongly marked, the pattern outlined with bright silvery lines;
Boshi maru with hakkake;
Nakago is ubu;
Comments: There were seven smiths of this line, the second and third being the most important. This sword is most probably by the third.

KATANA (not illustrated)

Signed Bizen Osafune Katsumitsu.
Date 1494;
Length of 21.6 inches;
Shape shinogi zukuri, strong sori;
Hamon is suguba ko-midare of nie hotsure, kinsuji;
Jihada is mixed itame mokume;
Jitetsu is fine;
Boshi is midare komi (Bizen boshi) with hakkake;
Nakago is ubu;
Comments: Typical mid-Muromachi blade of the later Bizen mode with its roots in the style of Oei Bizen. There is nothing extreme and it may be called 'koroai' or 'just right.' A sword for practical use.

TANTO

Signed Bizen Kuni no ju Osafune Yosozaemon no Jo Sukesada.
Date 1529;
Length of 7.3 inches;
Shape moroha zukuri;
Hamon is suguba of nie, sunagashi, inazuma, kinsuji, hotsure;
Jihada is ko-itame, slight utsuri;
Jitetsu is dark and the yakiba very luminous;
Nakago is ubu Bizen;
Comments: There are forty one smiths of the Sukesada line recorded - and many more unrecorded. The first Yosozaemon is one of the most important of this line. The date on this blade is correct for the first.

TANTO (not illustrated)

Signed Bingo Mihara no ju Masachika.
Date 1533;
Length of 7.8 inches;
Shape hira zukuri, take-no-ko-zori;
Hamon is suguba ko-midare, ko-ashi, yo, nie are coarse and brilliant, wide ha-buchi;
Jihada is ko-mokume, approaching nashiji, ji-nie, yubashiri;
Boshi is ko-maru;
Nakago is ubu;
Comments: .

KATANA

Signed Kanesada.
Date mid-Muromachi;
Length of 27.4 inches;
Shape shinogi zukuri, koshi zori;
Hamon is suguba of nie in nioi, fushi nie in the ha-buchi are very brilliant;
Jihada is very subtle ko-mokume;
Boshi is maru;
Bo-hi on both sides;
Nakago is suriage;
Comments: One of the early Kanesada of Mino, the first two smiths being the most important. An excellent blade with a firm and strong shape.

KATANA (not illustrated)

Signed Bishu Osafune Sukesada saku.
Date mid-Muromachi;
Length of 25.8 inches;
Shape shinogi zukuri, koshi zori, strong fumbari;
Hamon is choji midare with valleys of nioi, some formed like crab claws, typical Bizen togare tipped with nioi, koshi hiraita midare (open hipped);
Jihada is ko-itame;
Jitetsu is soft feeling and fine;
Boshi is midare komi;
Nakago is ubu of Bizen form;
Comments: This is a classic example of the mid-Muromachi blade of the Sukesada school made for practical use.

WAKIZASHI

Signed Hirosuke.
Date circa 1555;
Length of 15.5 inches;
Shape hira zukuri, slight sori;
Hamon is gunome choji of nie, sunagashi, small kinsuji, ha-hada;
Jihada is ko-mokume which is very prominent and which may be used as an exact example of mokume;
Jitetsu is bluish, somewhat open texture;
Boshi is midare komi;
Bo-hi on both sides;
Nakago is ubu;
Comments: Hirosuke is a smith of the Shimada school of Suruga.

TANTO

Signed Kanemichi.
Date late Muromachi;
Length of 10.6 inches;
Shape hira zukuri, slight sori;
Hamon is o-gunome, profuse nie in the area of the ha-buchi which is wide and brilliant;
Jihada is ko-mokume becoming masa close to the mune;
Jitetsu is fine and very clear;
Boshi is ko-maru (Mishina boshi);
Gomabashi-hi on omote, ura bo-hi;
Nakago is ubu;
Comments: Kanemichi was the founder of the prolific Mishina school of Mino which migrated to many parts of Japan during the succeeding period. Their blades are very numerous in western collections because of their rather obvious attractive qualities.

KATANA

Signed Bizen Kuni no ju Osafune Shichibei no ju Sukesada.
Date 1580;
Length of 26.1 inches;
Shape shinogi zukuri, koshi zori;
Hamon is midare mainly nie, ashi, yo, sunagashi, same ara nie;
Jihada is primarily mokume;
Jitetsu well forged with prominent hada;
Boshi is hakkake;
Nakago is ubu, Bizen form;
Comments: One of the better smiths of the Sukesada school. Chu-mon uchi (special order).

Edo Period (1596 - 1868)

Shinto and Shin-Shinto

Although the true Edo period comes a little later, Keicho is taken as the date separating Koto (Old Swords) from Shinto (New Swords). Before Keicho, swords were made in the traditional style of the place where the smith worked. After 1596 the relocation of the Daimyo and the movement of their vassal smiths with them makes the identification of place by method extremely difficult. Additionally, the use for the first time of factory steels causes swords made using them to look alike and to lose their distinctive identity. Traditional methods were violated and the swords of the Shinto Tokuden have fine grain, wide hamon, and ara nie. They are brittle and will break.

As was so often true, the period began with a tremendous surge of inspired creativity. A large number of talented smiths studied with the great metal worker Umetada Mioji at Nishijin in Kyoto and with his co-worker Kunihiro at Ichijo Horikawa. Most of the great master smiths of the Edo period were derived from this school.

Inspired largely by the efforts of Suishinshi Masahide, we find at the beginning of the 19th century a movement to return to the early traditional methods and shapes. Unfortunately, the models chosen were many times early, shortened examples. The shape, therefore, leaves something to be desired. Several outstanding smiths came out of the Suishinshi school. these swords are called 'Shin-Shinto' or "Newer-New Swords.'

TANTO

Signed Yasutsugu, on ura 'while residing in Edo,' with the Tokugawa mon.
Date early Edo;
Length of 7.4 inches;
Shape moroha zukuri;
Hamon is suguba with wide ha-buchi of nie;
Jihada is ko-mokume, almost nashiji;
Hori on omote 'Hachiman' ;
Nakago is ubu;
Comments: The first Yasutsugu was swordsmith to the Tokugawa Shogun, Ieyasu, and was accorded the honor of inscribing the Tokugawa mon on his work. His descendants continued this practice. Much of his work was decorated by the famous carver, Kinai of Echizen. He was the first to use foreign steel.

TACHI

Signed Hizen Kuni no ju nin Hironori. Recorded on the ura is a test dated 1662 in which two bodies were cut by the famous tester Yamano Kauemon no Jo Nagahisa.
Date circa 1600;
Length of 28.6 inches;
Shape shinogi zukuri, tori zori;
Hamon is o-choji midare of nie in nioi, kinsuji, inazuma, sunagashi, ashi;
Jihada is ko-itame, ji-nie;
Boshi is midare komi (Bizen boshi);
Nakago is suriage;
Comments: Hironori was a student of the first Tadayoshi of Hizen who was a student of Umetada Mioju. The name Nagahisa, the tester appears on many of the famous early Shinto blades.

WAKIZASHI (not illustrated)

Signed Tsuda Echizen no Kami Sukehiro.
Date 1672;
Length of 20.2 inches;
Shape shinogi zukuri;
Hamon is toran of nie, somewhat hotsure, small kinsuji, nie saki;
Jihada is nashiji, ji nie;
Jitetsu is very fine and homogeneous;
Boshi is hakkake;
Nakago is ubu;
Comments: Typical Shinto Tokuden. Sukehiro was noted for his beautiful toran ba, the conception of which was the product of his own creativity. One of the most famous of Shinto smiths.

KATANA

Signed Yamato no Kami Yasusada.
Date early Shinto;
Length of 27.5 inches;
Shape shinogi zukuri, heavy and wide;
Hamon is hiro suguba, wide ha-buchi of ko-nie, ko-ashi;
Jihada is ko-mokume - almost nashiji, ji-nie;
Boshi is o-maru with long kaeri;
Bo-hi on both sides, ato bori (put in later)
Nakago is suriage;
Comments: A smith of the Edo school of Musashi. Typical Shinto Tokuden.

TACHI

Signed Hizen Kuni no ju Mutsu no Kami Tadayoshi.
Date circa 1665;
Length of 27.9 inches;
Shape shinogi zukuri;
Hamon is chu-suguba, wide ha-buchi of ko-nie, very brilliant;
Jihada is nashiji, very fine and dense;
Boshi is maru;
Nakago is ubu;
Comments: This blade is by the third Tadayoshi and is a definitive example of his work.

KATANA (not illustrated)

Signed Inoue Izumi no Kami Kunisada.
Date 1671, with chrysanthemum;
Length of 28.1 inches;
Shape shinogi zukuri, slight sori;
Hamon is notare gunome choji, profuse nie in the ha-buchi;
Jihada is nashiji, ji-nie;
Boshi is maru;
Bo-hi on both sides;
Nakago is ubu;
Comments: Typical Osaka yakidashi (straightening of the hamon at the nakago). Kunisada was the name used by Inoue Shinkai prior to 1672. This blade is typical of the Osaka style.

WAKIZASHI

Signed Inoue Shinkai.
Date 1678, with chrysanthemum;
Length of 20.2 inches;
Shape shinogi zukuri, shallow sori;
Hamon is notare, wide ha-buchi of nie, inazuma, Osaka yakidashi;
Jihada is nashiji;
Boshi is maru;
Nakago is ubu;
Comments: This blade is comparable to others by this famous smith.

WAKIZASHI

Signed Awataguchi Omi no Kami Tadatsuna.
Date early Shinto;
Length of 21.2 inches;
Shape shinogi zukuri;
Hamon is hitatsura yaki of nie and nioi, Osaka yakidashi, nie saki, sunagashi;
Jihada is itame with masame in the shinogi ji;
Boshi is o-maru (Osaka boshi);
Nakago is ubu;
Comments: This blade is by the first Tadatsuna of Osaka, progenitor of a highly regarded line who were especially notable for their carving. The hamon of hitatsura is not normal to this smith's style.

WAKIZASHI (not illustrated)

Signed Awataguchi Omi no Kami Tadatsuna.
Date circa 1688;
Length of 20.2 inches;
Shape is hira zukuri, wide and heavy with slight sori;
Hamon is chu-suguba of nie;
Jihada is nashiji;
Jitetsu is typical Shinto;
Boshi is maru;
Hori on omote is a dragon, ura is a ken, the carving is strong
Nakago is ubu;
Comments: Tadatsuna the second was famous for his carving of horimono as well as his skill as a smith. The hamon is out of style for the smith.

KATANA (not illustrated)

Signed Echigo no Kami Kanesada.
Date early Shinto;
Length of 28 inches;
Shape shinogi zukuri;
Hamon is o-choji midare - close to toran, nie in nioi;
Jihada is almost nashiji of excellent color;
Boshi is maru;
Nakago is ubu;
Comments: Sakakura school of Settsu. Alternative name used by Terukane, the second Kanesada. The line is derived from the Hidari Mutsu school.

KATANA

Signed Bungo Yukihira sue Takada Kawachi no Kami Motoyuki shichi ju ichi sai saku.
Date 1716;
Length of 33.4 inches;
Shape shinogi zukuri;
Hamon is o-midare of nie with ara nie, nie saki;
Jihada is o-itame, very prominent;
Boshi is ichimai;
Bo-hi on both sides
Nakago is ubu;
Comments: Originally of the ancient Bungo Takada school, became a member of the Later Tadayoshi school of Hizen.

WAKIZASHI

Signed Oku Yamato no Kami Taira no Ason Motohira.
Date 1797;
Length of 16.6 inches;
Shape shinogi zukuri, almost osoraku zukuri with very long kissaki, wide and heavy;
Hamon is notare midare, ara nie, sunagashi, kinsuji;
Jihada is o-itame, coarse ji nie;
Boshi is midare komi;
Hori on ura is gomabashi hi with renge
Nakago is suriage;
Comments: Recent Satsuma school whose origins were founded in Yamato. He excelled in making swords in Soshu style.

WAKIZASHI

Signed Masahide, with kakihan and stamped seal.
Date 1811;
Length of 15.4 inches;
Shape hira zukuri, Enbun-Joji shape;
Hamon is suguba of nioi with ko-nie in the ha-buchi;
Jihada is ko-mokume, damp feeling and translucent;
Boshi is ko-maru;
Hori on omote 'Hachiman dai Bosatsu,' ura 'Namu Myoho Renge Kyo';
Nakago is ubu;
Comments: Suishinshi Masahide was the inspiration for the renaissance in the art of the swordsmith which occurred about 1804. He advocated a return to the traditional methods and shapes of the earlier great periods. His influence was widely felt.

KATANA

Signed Daijoka no ju Koyama Bizen no Suke Munetsugu and So-Ichiro Munetsugu Saijin kore.
Date 1831;
Length of 26.3 inches;
Shape shinogi zukuri, wide and heavy;
Hamon is ko-choji midare, some juka choji, inazuma, kinsuji;
Jihada is ko-mokume with many ji-nie and chikei;
Boshi is o-maru with small kaeri;
Nakago is ubu;
Comments: Kato school of Musashi, signed by both the first and second Munetsugu. The first was a student of Tsunateru of Dewa.

TACHI

Signed Keio gannen hachi gatsu hi Fujiwara Kiyondo, on ura Akita Innai tame Saito Ujichika kitau kore.
Date 1865;
Length of 27.4 inches;
Shape shinogi zukuri, slight sori;
Hamon is notare gunome choji, ashi, inazuma, chikei;
Jihada is ko-mokume in masa (very pale striations), ji -nie;
Boshi is ko-maru with streamers of nie;
Nakago is ubu;
Comments: Kiyondo was a student of Kiyomaro, founder of the Yamaura school of Edo. Many of their blades resemble the style of Shizu.

KATANA

Signed Gassan Sadakazu kinsei no kitai, tei shitsu gigei in, with kakihan.
Date 1906;
Length of 28.5 inches;
Shape shinogi zukuri of beautiful curve;
Hamon is juka choji with deep ashi and yo, mainly nioi with ko-nie;
Jihada is ko-mokume with slight utsuri, very fine ji nie;
Boshi is midare komi;
Bo-hi on both sides
Nakago is ubu;
Comments: This blade was made by special appointment for the Emperor Meiji and is a masterpiece. Sadakazu was famous for his ability to duplicate the work of earlier masters and his carving of horimono was unrivalled in any age. This sword is in the style of Bizen.

TANTO

Signed Bizen Kuni Osafune no ju Toshimitsu.
Made in 1961 for Robert Haynes;
Length of 9.2 inches;
Shape is hira zukuri chukan zori of excellent form;
Hamon is midare, mainly nie, sunagashi, kinsuji, strong activity in the ha-buchi;
Jihada is running ko-itame;
Jitetsu is very clear and deep;
Boshi is ko-maru with hakkake;
Nakago is ubu;
Comments: Toshimitsu is the last smith living in Osafune, working there for love of the art. this blade is a most beautiful example of his work.

TSUBA SECTION

The fittings for the Japanese sword were designed for both functional and aesthetic purposes. The artist value of these fittings has survived not only the edict prohibiting the wearing of the sword, but the passing of the artists as well. In spite of this disappearance of the artisans, their contributions to the beauty of the mounted sword have become a distinct art form. This form has gained popularity in the western hemisphere - possibly because of the numerous facets which comprise the various mountings.

There are techniques and skills to satisfy the most exacting connoisseur as well as striking colors and designs to intrigue event the casual observer.

The fittings may be enjoyed on several levels. Some collectors acquire pieces for the obvious visual beauty of the decoration. Others collect as many various types or as many of a single type as possible. Those who go more deeply into the subject may be strongly influenced by the arbiters and judges of fashion in Japan and will at first adhere to their dictates, later he may follow his own path. What ever way the student chooses, the enjoyment and study within this field will offer both satisfaction and a challenge seldom to be found in any other.

This exhibit is primarily intended to illustrate the chronological development of the sword and its fittings. Since examples of tsuba prior to 1400 are very rare, even in museums and shrines in Japan, we are primarily confined to the 500 year span from 1400 to 1900.

Particular attention has been paid to the selection of examples which are typical of individual schools and the eras in which they enjoyed their greatest success. The styles of design and execution are sharply defined in many instances; but the influence of one school on another or a then-current fashion for particular subjects or techniques has provided the students and the experts with endless opinions and grounds for forming them.

All descriptions, datings and information in this catalogue are based on an exhaustive review of the literature on the subject. This research is further amplified by individual contributions from those who have made lifetime studies in the areas represented in this collection.

It will be noted that some pieces in the tsuba section have the annotation that they are certified pieces. This means that these pieces have been examined by one of the experts in Japan and they have passed judgment on the authenticity and quality of the piece. These certificates are written on the inside of the box lid in which the pieces are stored. The experts who have written these certificates mentioned in this exhibit are:

Kuwabara Yojiro, one of the leading experts in the early part of this century.
Ogura Soemon (Amiya Soe), author, dealer, and prime source of fine tsuba in the same period.
Torigoye Kazutaro (Kodo), author of many works on both the blade and the tsuba, now living in Okayama city. He is today the leading expert in the field of tsuba and is the mentor of the growing group of students in the west.
The Nihon Bijutsu Token Hozon Kyokai, the society for the preservation of Japanese art swords in Tokyo, headed by Mr. Hosokawa and Dr. Homma. They issue certificates in several grades from Tokubetsu Kicho (white paper), Marutoku (green paper), to higher grade certificates, which are issued only after a board of experts has passed on objects submitted for their consideration.

Robert E. Haynes

Tsuba Prior to 1400

The earliest extant tsuba were made prior to the eighth century. They are the HOJU type, either iron plate, rarely decorated with silver inlay, or copper plate, usually covered with sheet gold. The iron plate example (described as number 5 in the sword section) is typical of the later style of Hoju tsuba.

Examples of tsuba made in the Nara period (710-793) are almost nonexistent outside of Japan. A few examples of tsuba of the Heian period (794-1185) are to be found in the West, such as number 65 (not illustrated).

A copy of the leather plate style of tsuba (Nerikawa tsuba) is displayed and shows what the original type of this tsuba made in the Heian period resembled. The rim cover of gilt copper and the black lacquer surface are typical of the old leather fighting tsuba. Another leather tsuba, probably of the Kamakura period (1186-1333) has a center core of iron and a raised lacquer decoration on the surface. This is a very rare example.

(Not illustrated) A typical fighting tsuba of iron plate made in the late Kamakura period (circa 1300) illustrates this rare type. The raised design (a wide relief line) was at one time covered with sheet gold; only vestigial specks remain. The two side perforations (hitsuana) were added at a later date. the reverse side is flat and without decoration. This is a very rare example of the Kamakura katchushi tsuba. This tsuba is certified by Dr. Torigoye Kodo. Illustrated in the Tsuba Geijutsu Ko (1960), top of page 7. Thickness at center, 3.25 mm; at edge, 3 mm.

Not illustrated.

Swordsmith (Tosho) Tsuba

Swordsmith tsuba made prior to 1450 are exceedingly rare. The few examples extant are treasured by shrines and private collectors in Japan. From 1450 forward, examples are more numerous, but do not become common until the nineteenth century. At that time many of the famous Shinto and Shin-Shinto swordsmiths turned their hand to the making of tsuba in the popular style of the day or in the Nobuiye revival style.

Signed Hata Naoaki, worked about 1860. Student of Shoji Naokatsu I. the shape of this tsuba represents the Daruma. Thickness 4.5 mm.

Armorsmith (Katchushi) Tsuba

Large tsuba of thin plate with simple perforations are commonly called armorsmith tsuba, though there is no proof that the were actually made by the ancient armorers. It is more likely that they are the work of the earliest professional tsuba makers, though their individual identity is unknown. Examples date from about 1350 to 1900.

Unsigned. Rare example of the early Muromachi (1425) style of armorsmith tsuba. The shape of the hitsu-ana has been changed at a later date. This tsuba is certified by Dr. Torigoye Kodo. Thickness at center 2.75 mm, thickness at edge 6 mm.

Unsigned. Typical example of middle Muromachi (1450) armorsmith tsuba. This tsuba is certified by Dr. Torigoye Kodo. Thickness at center, 2.5 mm; at edge, 3.75 mm.

Unsigned. Rare design of middle Muromachi tachi armorsmith tsuba. Thickness at center, 2.25 mm; at edge, 3.25 mm.

Satome (Armorer) School

The genealogy of this family is recorded, though it is thought to be in error since it is now known that there were several generations who used the same name, such as Iyesada and Iyetada.

Unsigned. A typical early example of the work of this school. Thickness at center, 2.75 mm; at edge, 4.5 mm.

Signed Odawara (no) ju Saotome Iyesada. This tsuba is considered to be a masterpiece of the Saotome school. It was made about 1625. A gold tag affixed to the ring on the back of the helmet has the name Fujiwara Morifusa inscribed. This is probably the name of the owner. Thickness at center, 2.5 mm; at edge, 3 mm.

Tempo Tsuba

The artists of this school were students, or followers, of the Saotome masters. The majority of their work is of common quality; though in rare cases they created a few noble pieces. Signed work, such as Yamashiro (no) ju Tempo, Sanada, or Sanoda Tempo, is slightly better than the average example. This school worked during the Edo period (1600-1850).

No illustrations.

Kamakura (Style) Tsuba

The name for this style of tsuba is said to be derived from a type of lacquer decorated with a similar style of carving, known as Kamakura-Bori lacquer. There is a theory that a few examples of the tsuba of this style may actually date from the Yoshino period (circa 1350), though there is no proof of this at this time. This style of tsuba went out of fashion in the early seventeenth century. There are no signed examples.

No illustrations.

Onin (Style of Brass Inlay) Tsuba

The name for this school style is taken from the Onin era (1467-68). It is thought that this style of tsuba was made at least fifty years prior to this date and for a hundred years after. A few examples were made during the Edo period. Individual artists are unknown and there are no signed examples.

Unsigned. Classic style of brass inlay Onin tsuba, intended for mounting on a tachi, but later used on a katana. Thickness 3.5 mm.

Heianjo (Kyoto Brass Inlay) Tsuba

The name for this school is derived from the area of which Kyoto is the center. The individual artists signed their work in rare cases, but no family or school seems apparent. The school style is characterized by the decorative inlay of brass, either flush to the plate surface, or slightly raised above it, or a combination of the two. Ninety percent of all brass inlay tsuba are the work of this school which was active from about 1450 to 1850.

Unsigned. Classic style of brass inlay Heianjo tsuba. Circa 1580. Thickness at center 5 mm.

Unsigned. Later work of this school, circa 1700. Flush inlay of brass, copper, and silver. A masterpiece of this type. Illustrated in the de Haviland collection catalogue, page 53, number 29. Thickness at center, 4 mm; at edge, 3 mm.

Unsigned. Brass inlay style of about 1600. Good example of pictorial style. Thickness at center, 3.5 mm; at edge, 4.75 mm.

Not illustrated.

Other Brass Inlay Schools

In addition to the above two schools there were the Kaga and Koike Yoshiro schools of brass inlay style. A few members of the Koike school moved to Okayama in Bizen. They worked there for a few generations during the Edo period. The Kaga school extended through the entire Edo period.

Unsigned. Kaga crest inlay style of the earliest type, very rare. This tsuba is certified by Dr. Torigoye Kodo. Thickness 3.25 mm.

Signed, Izumi (no) Kami Yoshiro Koike Naomasa. One of the masterpieces by this artist. This tsuba is certified by Dr. Torigoye Kodo. Thickness at center, 4 mm; at edge, 3.5 mm.

Signed, Yoshiro saku. A typical example of the Bizen Yoshiro school. Illustrated in the Mosle collection catalogue, number 470. Thickness at center 4.25 mm.

Not illustrated.

Heianjo (Kyoto Openwork) Tsuba

This school had a parallel development to the Heianjo brass inlay school. By the seventeenth century, the two schools were completely integrated. The early style of this school is characterized by designs in bold positive openwork with occasional sparse brass inlay. A few signatured examples exist but they seem to be independent artists.

Unsigned. Earliest style of this school. There are three brass dots of inlay on the face and two on the reverse side. Thickness 3.5 mm.

Kyo-Sukashi (Kyoto Openwork) and Daigoro Schools

The development and growth of the Kyoto openwork school was parallel to, but slightly later than, the Heianjo openwork school. Its beginning was about 1550 and it reached its peak by 1580. The style was made until late in the Edo period; but the quality was in continuous decline during this time. The Daigoro school was a branch development of the Kyoto openwork school shortly after 1700. Their style gave new impetus to the then stagnant designs of the parent school.

No illustrations.

Kaneiye (Style) Tsuba

Kaneiye tsuba may be divided into many classes. First are the few extant examples by the first master, who signed Joshu Fushimi (no) ju Kaneiye. Then there are the examples by the first artist, who signed Yamashiro Kuni Fushimi (no) ju Kaneiye. In addition there are a few signed and unsigned examples made by students and followers of the second artist. Next there is the Saga Kaneiye school work. These are the work of the later followers after the school had moved to Saga in Hizen. They were made from 1600 to about 1850. In addition