Ono Yoshimitsu – Pursuing Koto Bizen
1.
Tachi

(Long sword)

Inscription:
Front:
Yoshimitsu seitan kore (wo) tsukuru(Yoshimitsu respectfully made this)Back:

Heisei san nen aki kissho bi(An auspicious day in Fall 1991)

Length:76.1cm (2 Shaku, 5 sun, 1 bu)

Curvature: 1.9cm (6 bu, 3 rin)
Kashima Susumu
The Japanese sword’s shape (blades with curvature) was perfected by the end of the
Heian period. They evolved from straight kiriha-zukkuri and shinogi-zukuri blades.
This blade is in the shape of Heian period tachi, but with quite a shallow curvature. The
forging is tight and it displays utsuri. The hamon is a mix of suguha and ko-midare innioi-deki with ko-nie. The boshi is ko-maru with kaeri.
An excellent example of an extant tachi from this period is kept at Tokyo National
Museum. It was worn by Minamoto no San-i Yorimasa.
Ono Yoshimitsu
Suguha was the first consciously made hamon. It is the most basic hamon used by all
workshops from ancient times to the present.
Heian period blades are thinner in construction with a graceful curve giving them anelegant shape. The blade’s curve is deepest in the nakago. As it appears to have beendifficult to use with two hands, it is probable that it was intended for one-handed use. I
also believe this is the reason why during Sengoku period, shorter one-handed swords
were a common feature, because they are easier to use.
Polished by Fujishiro Okisato
Habaki by Nakamura Saido
Shirasaya by Takayama Kazuyuki

2.
Tachi

(Long sword)

Inscription:
Front:
Etchigo (no) kuni (ni) oite Yoshimitsu kore (wo) tsukuru(Yoshimitsu made this in Etchigo Province- Niigata)

Back:

Heisei san nen aki kissho bi(An auspicious day in Fall 1991)

Length:77.6cm (2 Shaku, 5 sun, 6 bu)

Curvature: 2.8cm (9 bu, 3 rin)
Kashima Susumu
This tachi is in the style of the Bizen school of the late Heian early Kamakura period, inparticular that of the Ko-Bizen school. This blade has a narrow mihaba, it is koshi-zoriand has funbari. The boshi gradates naturally to a small point. It is light when held and iswell balanced. It is tightly forged with a masame-hada feel and abundant ji-nie. The
hamon is a nioi mix of ko-choji and ko-midare with ko-ashi and yo. The omote has somemidare. The boshi is a deep notare-komi with ko-maru in the omote, whilst the ura is
midare-komi.
I feel that this tachi is in the style of Ko-Bizen Tomonari. The jigane is strong, and thehamon is a highly skilled, graceful mix of ko-choji and ko-midare. It has the classic styleof a tachi and displays aspects of the period well.
Ono Yoshimitsu
From the first early straight hamon, the next generation of Bizen smiths began to make amore gorgeous flamboyant hamon. Inside the ko-gunome, ko-choji hamon many changes
were taking place. Despite their relatively small width, these hamon were very intricate.
Although this tachi was intended to be in a Ko-Bizen style blade, it more closely
resembles the workmanship of the Ko-Ichimonji school.
Polished by Nagayama Kokan
Habaki by Nakamura Saido
Shirasaya by Yonekura Hidekazu

3.
Tachi

(Long sword))

Inscription:
Front:
Yoshimitsu seitan kore (wo) tsukuru(Yoshimitsu respectfully made this)Back:

Tetsu wa maboroshi—Heisei san nen aki kissho bi(Steel Phantom-An auspicious day in Fall 1991)

Length:90.3cm (2 Shaku, 9 sun, 8 bu)

Curvature: 3.3cm (1 sun 1 bu)
Kashima Susumu
This is a copy of Okanehira. Of the many blades of Japan, the Okanehira is the most
famous. The original was the favorite sword of the Lord of Okayama – Ikeda Terumasa.
This sword is a little longer than the original. It has a wide haba and a thick kasane. The
kissaki is large and overwhelming. The blade is finely forged and displays utsuri. The
hamon is a mix of ko-choji and ko-midare with plenty of ashi and yo. It is in nioi-deki
and is very clear. The boshi is suguha, with an almost pointed ko-maru.
This tachi is almost three shaku (91cm) long and it has a deep curvature of more than one
sun (3.3cm). It is evenly forged and utsuri can be seen in the ji. The hamon differs
slightly from the original ko-choji and ko-midare, but on the whole, it retains the essenceof Okanehira’s style.
Ono Yoshimitsu
This is a copy of the o-dachi called Okanehira. The original is a wonderful blade in konie deki and is recognised as Japan’s most valuable o-dachi. I do not have the skill tomake a copy to match the masterpiece, so I used the opportunity of copying this sword togain valuable learning experience of how old swords were made.
On the reverse of the tang I inscribed the phrase—tetsu wa maboroshi—steel phantom,
because I have devoted my life to pursuing a vision that is held within the steel.
Polished by Fujishiro Okisato
Habaki by Hotei Choichi
Shirasaya by Sakai Toshifumi

4.
Tachi

(Long sword)

Inscription:
Front:
Etchigo (no) kuni (ni) oite Yoshimitsu kore (wo) tsukuru(Yoshimitsu made this in Etchigo Province- Niigata)

Back:

Heisei san nen aki kissho bi(An auspicious day in Fall 1991)

Length:77.8cm (2 Shaku, 5 sun, 6 bu, 5 rin)

Curvature: 2.8cm (9 bu, 2 rin)
Kashima Susumu
This tachi displays the style of workmanship of the Ichimonji school from the early
Kamakura period.
The blade is quite narrow and is koshi-zori with funbari and a small point section that isshaped like the head of a barracuda. The forging is a tight ko-itame hada and displays
utsuri. The hamon is a large choji-midare that turns into juka-choji with ko-ashi andplenty of yo mixed in. The nioi-guchi is tight and the boshi is a deep midare-komi in an
ichimai style with kaeri.
This tachi has met its aim of attaining the feeling of the early ‘ichi’ signed Kamakura
Ichimonji tachi, and displays the characteristics well.
Ono Yoshimitsu
Early Kamakura blades have a beautiful shape. A flamboyant juka-choji can be seen
creeping up to the shinogi. After this, they began experimenting with different juka-chojistyles.
As this blade’s mihaba was narrow, it was difficult to produce a flamboyant hamon.
Polished by Inutsuka Tsuneyuki
Habaki by Nakamura Saido
Shirasaya by Sakai Toshifumi

5.
Tachi

(Long sword)

Inscription:
Front:
Etchigo (no) kuni (ni) oite Yoshimitsu kore (wo) tsukuru(Yoshimitsu made this in Etchigo Province- Niigata)

Back:

Heisei san nen aki kissho bi(An auspicious day in Fall 1991)

Length:74.6cm (2 Shaku, 4 sun, 6 bu)

Curvature: 2.7cm (9 bu)
Kashima Susumu
This blade illustrates the workmanship of the mid-Kamakura period Ichimonji school.
The haba is wide and the kasane becomes thicker. With the motohaba at over 3.2cm (1sun 5 rin), it has a confident and stately shape. It is tightly forged and displays utsuri. The
hamon is a mixture of large and small choji-midare turning into juka-choji with plenty ofashi, yo, and some sunagashi. The boshi is midare-komi with kaeri.
This tachi illustrates the mid-Kamakura period at its most flamboyant. The hamon
constantly changes with lots of activity. These wonderful works displayed in ‘World ofJuka-Choji’ are worthy enough to be called “Modern Ichimonji”.
Ono Yoshimitsu
I have spent my life trying to recreate Ichimonji tachi of the mid-Kamakura period: awide mihaba with a splendid shape, a flamboyant nioi based juka-choji midare withutsuri. With many different features to look at, many people are fascinated by these kindsof works. I have to ask myself, where do I begin to approach making such works? The
challenge of approaching such a task is endless.
Polished by Usuki YoshihikoHabaki by Hotei Choichi
Shirasaya by Hiroi Akihisa

6.
Tachi

(Long sword)

Inscription:
Front:
Etchigo (no) kuni (ni) oite Yoshimitsu kore (wo) tsukuru(Yoshimitsu made this in Etchigo Province- Niigata)

Back:

Heisei san nen aki kissho bi(An auspicious day in Fall 1991)

Length:74.6cm (2 Shaku, 6 sun, 2 bu)

Curvature: 3.3cm (1 sun, 1 bu)
Kashima Susumu
This tachi is a copy of the Ichimonji Yamatorige. It has a wide mihaba and is slightly
longer than the original. It has a splenderous koshi-zori with an ikubi kissaki. The koitame hada is tightly forged, and the hamon is a mix of overlapping o-choji and jukachoji that reach up to the shinogi. The boshi is a deep midare komi.
Although this copy of the Yamatorige it is a bit longer than the original, it still feels goodin the hand. It is forged in a tight ko-itame hada. The koshiba is an o-choji midare thatturns into juka-choji with plenty of ashi and yo. The nioi-guchi is tight, but a little weak.
However, at almost the size of an o-dachi it is still georgous enough. It gives you the
feeling that each of the choji are individually alive. The even forging with no flaws in a
blade of this length is an indication of the smith’s superior level of skill.
Ono Yoshimitsu
The tachi called Yamatorige has a flamboyant juka-choji hamon running from thehabaki-moto to the kissaki, and crossing the shinogi. Why did the smiths of the midKamakura design such a flamboyant hamon in that era? Faced with the inherent
limitations of a hamon, the limitations of flamboyancy, and the limitations of their skill,
as a swordsmith, I can’t imagine how to produce such an original flamboyant hamon. Forme, the original tachi has a real feeling of power. I feel that the juka-choji hamon was
perfected in the Mid-Kamakura period.
Polished by Fujishiro Matsuo
Habaki by Hotei Choichi
Shirasaya by Takayama Kazuyuki

7.
Tachi

(Long sword)

Inscription:
Front:
Etchigo (no) kuni Yoshimitsu kore (wo) tsukuru(Yoshimitsu of Etchigo Province made this)Back:

Heisei gannen shogatsu kichi jitsu(An auspicious day in January 1989)

Length:74.6cm (2 Shaku, 4 sun, 5 bu)

Curvature: 2.6cm (8 bu, 5 rin)
Kashima Susumu
This blade has a wide mihaba and the kasane is thick with an ikubi kissaki. It has quite adeep koshizori and fumbari giving it a majestic tachi shape. It is very tightly forged,
almost muji-hada with densely detailed ko-nie. The hamon goes right up to the shinogi ina mix of a large and small choji-midare turning into a juka-choji midare with lots of yo
and ashi. The boshi is midare komi and it has a bo-hi carved on both sides on the blade.
The blade displays a stout-bodied mid-Kamakura tachi sugata, with the hamon rising
toward the shinogi in a splendorous juka-choji midare, in which you can feel theambition. The activities within the ha are exceptional, exhuding beauty and power. Thiskind of work is Ono Yoshimitsu’s forte - The World of Juka-Choji.
Ono Yoshimitsu
There are several challenges when creating juka-choji. First—choosing the materials. To
produce a wide hamon, lots of hard high carbon materials are best. However, it is difficult
to produce choji-ashi and yo (activies) and easier to generate clumps of nie and cause
hagire. Conversely, producing a lower carbon (softer steel) hamon makes it hard to
produce juka-choji.
Then you have the difficulty of making the application clay. If you make it too thick, it isdifficult to form a hamon. If you make it too weak, it will fall off during the hardening
process. The application of the clay is also difficult, as a variation of one millimeter
either way is enough to make the difference between success or failiure.
Polished by Yanagawa Seiji
Habaki by Miyajima Hiroshi
Shirasaya by Takayama Kazuyuki

8.
Tachi

(Long sword)

Inscription:
Front:
Etchigo (no) kuni (ni) oite Yoshimitsu kore (wo) tsukuru(Yoshimitsu made this in Etchigo Province- Niigata)

Back:

Heisei san nen aki kissho bi(An auspicious day in Fall 1991)

Length:71.5cm (2 Shaku, 3 sun, 6 bu)

Curvature: 2.9cm (9 bu, 8 rin)
Kashima Susumu
This tachi is a copy of the Nikko Sukezane, which is kept in the Toshogu repository at
Nikko shrine, Tochigi prefecture. That tachi was famous for being worn by the Shogun
Ieyasu Tokugawa. This tachi has a wide mihaba, and a splendid ikubi point section. The
jihada is tight, and the hamon is a mix of o-choji, ko-choji and juka-choji with anabundance of ashi and yo. The hamon undulates somewhat, and the boshi is midare-komi
and with some hakikake. On both sides it has a single groove: on the omote it ends inkaki-nagashi, whilst on the ura it is kaki-toshi.
This tachi is a good reproduction of the original. The hamon is Ono’s own style of choji,
and is used skillfull and freely. However, in comparison with the original it is quite gentle
and not as spirited, but in the swordsmiths own words, “I specialize in choji-midare,
which is not the style of this tachi.”Ono Yoshimitsu
In this exhibition of my pursuit of trying to recreate Koto-Bizen blades, this blade is the
only one that I recreated in its shortened form. After some consideration I decided tocopy the Nikko Sukezane shape in its shortened form, so it would match the koshirae ofthe original. In this way none of the atmosphere was lost. I did however, switch thehamon of the original for one my own style.
Polished by Yoshida Hideo
Habaki by Miyajima Hiroshi
Shirasaya by Hiroi Akihisa

9.
Tachi

(Long sword)

Inscription:
Front:
Etchigo (no) kuni (ni) oite Yoshimitsu kore (wo) tsukuru(Yoshimitsu made this in Etchigo Province- Niigata)

Back:

Heisei san nen aki kissho bi(An auspicious day in Fall 1991)

Length:72.4cm (2 Shaku, 3 sun, 8 bu, 8 rin)

Curvature: 2.7cm (9 bu)
Kashima Susumu
At the end of the Kamakura period, the Yoshioka and the Fukuoaka Ichimonji schools
were highly competitive in ko-nie deki works.
This blade has a wide mihaba and deep curvature. It is tightly forged and utsuri can be
seen. The hamon is a mix of o-busa saka-choji and gunome, with saka-ashi and yo. The
boshi is gunome and is almost pointed.
This tachi accomplishes its aim of emulating the style of the Yoshioka Ichimonji schoolin its original length. I feel the saka-choji are quite exaggerated, as it has some gunome
mixed in, evidence of the smith trying different ideas. As the swordsmiths of the Bitchu
Aoe school also specialized in saka-choji midare, please note the slight differences inhamons between the two schools.
Ono Yoshimitsu
Whereas juka-choji activities vary, the activities (ashi and yo) within saka-choj areslanted. The activities in saka-choji are standardized, and a little simpler than usual choji.
Even though regular juka-choji are graceful and magnificent, you can feel the power ofsaka-choji.
Polished by Usuki YoshihikoHabaki by Hotei Choichi
Shirasaya by Hiroi Akihisa

10.
Tachi

(Long sword)

Inscription:
Front:
Etchigo (no) kuni (ni) oite Yoshimitsu kore (wo) tsukuru(Yoshimitsu made this in Etchigo Province- Niigata)

Back:

Heisei san nen aki kissho bi(An auspicious day in Fall 1991)

Length:76.8cm (2 Shaku, 5 sun, 3 bu, 5rin)

Curvature: 2.8cm (9 bu, 2 rin)
Kashima Susumu
This is a copy of a blade made by the famous Osafune swordsmith of the Kamakura
period—Nagamitsu. The undulation of the hamon is different from that of Ichimonji
works; it has a gentle choji-midare.
This tachi has a wide mihaba and magnificient koshi-zori. It is forged very finely withlots of detailed nie and displays utsuri. The hamon has round-headed choji that do not
undulate very much, with lots of ashi and yo. The nioi-guchi is tight and clear. The boshi
has some midare-komi that comes to a point with kaeri.
This tachi has a good shape, and the forging is tight with a lots fine ji-nie and it displays
utsuri. The hamon is a gentle choji-midare with ashi and yo mixed in. It is different to
the Ichimonji Style; the hamon gives the feeling of Nagamitsu himself. The nioi-guchi isvery controlled and clear, so it doesn’t quite catch the flavor of koto blades, however, it
does capture the characteristics of Nagamitsu’s blades.
Ono Yoshimitsu
This tachi is typical of the distinctive style Osafune Nagamitsu was famous for. The startof the hamon is quiet, the middle becomes very active, and the mono-uchi becomessubdued again. The boshi was intended to be suguha, but it did not quite turn out quite asplanned, as always tends to be the case.
Polished by Kobayashi Hisao
Habaki by Nakamura Saido
Shirasaya by Sakai Toshifumi

11.
Tachi

(Long sword)

Inscription:
Front:
Etchigo (no) kuni (ni) oite Yoshimitsu kore (wo) tsukuru(Yoshimitsu made this in Etchigo Province- Niigata)

Mune:

Jitouan Senshu kore (wo) horu
(Horimono by Jitouan Senshu)

Back:

Heisei san nen aki kissho bi(An auspicious day in Fall 1991)

Length:80.6cm (2 Shaku, 6 sun, 6 bu)

Curvature: 3.3cm (1 sun, 1 bu)
Kashima Susumu
The original tachi called ‘Koryu Kagemitsu’ has been shortened. It is said to have beenworn by General Dainanko in the Nanbokucho period. This favorite sword of the emperor
Meiji is not only a beautiful Bizen blade, but among all Japanese swords it is of thehighest class.
This blade has been made in the shape the ‘Koryu Kagemitsu’ would have been before it
was shortened. However, it is still well balanced, with a medium point section that is
almost ikubi kissaki. It has a prominent running itame-hada with ji-nie. The nioi-dekihamon is gunome-choji, which on the whole is slanted. It has lots of ashi and yo mixed inand diplays the characteristics and image of the original well. The famous Bakamatsu
period smith – Koyama Munetsugu—also made a copy of the Koryu tachi, but this one
surpasses his attempt. The carving on this blade was done by Mr. Kokeiguchi Senshu,
who is well known in the carving world, and incidentally, comes from Okayama.
Ono Yoshimitsu
The Koryu Kagemitsu has a small shin-no-kurikara carved inside the groove on theomote, and a sanskrit character called a bonji on the reverse. I made this tachi as it would
have been in its un-shortened form. As the blades go to the horimon carver before goingto the polisher, I have to pray that no flaws appear during the polishing process. I believethat Kagemitsu’s kataochi-gunome hamon developed from a low saka-choji hamon.
Polished by Abe Kazunori
Habaki by Hotei Choichi
Shirosaya by Yonekura Hidekazu

12.
Tanto

(Dagger)

Inscription:
Front:
Yoshimitsu seitan kore (wo) tsukuru(Yoshimitsu respectfully made this)Horimono dõ saku
(and carved the horimono)

Back:

Heisei san nen ni gatsu kichi jitsu(An auspicious day in February 1991)

Length:28.7cm (9 sun, 4 bu, 7 rin)

Curvature: 0.1cm (0.1 rin)
Kashima Susumu
Kagemitsu was the son of Nagamitsu. He is the third generation of famous smiths ofOsafune village in Bizen province. The tanto called ‘Kenshin Kagemitsu’ was a favorite
blade of Uesugi Kenshin. In modern times it has been recognised as a national treasure.
Although skilful, this work departs somewhat from the Kagemitsu kataochi-gunome
hamon.
The tanto is quite long and has some curvature. The kasane is thick and the ji-hada is
prominent with plenty of ji-nie. Utsuri is also present. The hamon is choji-gunome, withsaka-choji, ko-ashi and yo mixed in. The boshi is Ichimonji style.
This blade’s kasane is quite thick, and displays some utsuri. The hamon is not purekataochi: it has some gunome and saka-choji and other activities mixed in. The nioiguchi is rich. The swordsmith carved the splendid horimono on both sides of the blade
himself. The original Kenshin Kagemitsu, inscribed—chichibu daibosatsu, was ordered
by Mr. Ogawara when he was appointed as lord and protector of Chigusa ward, Harimakuni (Hyogo Prefecture). He dedicated it to the chichibu shrine in the town from where
he came.
Ono Yoshimitsu
Kagemitsu is Bizen’s most famous maker of tanto. This is a copy of an outstanding tanto
by Kagemitsu. However, the hamon on this blade came out 3mm higher than the original.
Polished by Abe Kazunori
Habaki by Hotei Choichi
Shirosaya by Yonekura Hidekazu

13.
O-dachi(Very long sword)

Inscription:
Front:
Etchigo (no) kuni (ni) oite Yoshimitsu kore (wo) tsukuru(Yoshimitsu made this in Etchigo Province- Niigata)

Back:

Heisei san nen aki kissho bi(An auspicious day in Fall 1991)

Length:96cm (3 Shaku, 1 sun, 7 bu)

Curvature: 3.0cm (1 sun)Kashima Susumu
There are not many extant Nanbokucho period o-dachi remaining in their original length.
Among the Uesugi family heirlooms there are three famous large Kanemitsu blades.
This tachi has a wide mihaba, with a thick kasane and a grand point section. The hada isquite prominent, with abundant fine nie. The hamon is a mix of ko-notare and kogunome. From the koshi-moto onwards is a deep notare gunome. The nioi-guchi is tightand clear with ko-ashi and yo mixed in. The boshi is midare-komi that is almost pointed
with kaeri.
I believe this tachi is a copy of a blade owned by the Uesugi family signed ‘Bizen
Osafune Kanemitsu’ and dated 1359 (Enbun 4). It is well forged, even though the hamon
has a new blade feel, it conveys the style of Kanemitsu well.
Ono Yoshimitsu
At the start of the Nanbokucho period the o-dachi became very popular. At this time
Kagemitsu was the representative Bizen smith.
This kind of ‘big wave’ hamon looks simple to make at first glance, but it is easy for thenioi-guchi to become wide in the valleys and tight at the peaks. To keep the balancethroughout the hamon is quite difficult. In addition to this, controlling it the whole lengthof a blade that is over 90cm (3 shaku) presents an even greater problem.
Polished by Fujimoto Terutoyo
Habaki by Yao Toshinori
Shirosaya by Kubo Junichi

14.
Wakizashi(Short sword)

Inscription:
Front:
Yoshimitsu hori dõ saku
(Yoshimitsu made this and carved the horimono)

Back:

Heisei san nen aki kissho bi(An auspicious day in Fall 1991)

Length:35.6cm (1 Shaku, 1 sun, 7 bu, 5 rin)

Curvature: 0.4cm (1 bu, 2 rin)
Kashima Susumu
There are many Wakizashi made in the Nanbokucho period with wide mihaba, a thinkasane and some curvature. Within Bizen blades made by Kanemitsu, Nagayoshi,
Motoshige, Morikage and so forth the same characteristic shape can be seen.
This wakizashi has a wide mihaba, a fairly thin kasane and some curvature. The hada istight, and it displays utsuri clearly. The hamon is a mix of notare and ko-gunome with koashi. The nioi-guchi is tight and clear with abundant ko-nie. On the omote is a carving ofa bonji and a suken. On the ura is a bonji and gomabashi.
This wakizashi is a copy of a blade made by the second generation Kanemitsu around the
Enbun period. I feel it is as if you are looking at the real workmanship of Enbun
Kanemitsu.
Ono Yoshimitsu
A notare hamon is as difficult on a big tachi as it is on a short tanto. A hira-zukuri kowakizashi with a gentle hamon needs some balance and lift. A simple suken and bonji
horimono go in harmony with the hamon and improve the appearance.
Polished by Okisato Fujishiro
Habaki by Nakamura Saido
Shirosaya by Hiroi Akihisa

15.
O-dachi(Very long sword))

Inscription:
Front:
Etchigo (no) kuni (ni) oite Yoshimitsu kore (wo) tsukuru(Yoshimitsu made this in Etchigo Province- Niigata)

Back:

Heisei san nen aki kissho bi(An auspicious day in Fall 1991)

Length:98.2cm (3 Shaku, 2 sun, 4 bu)

Curvature: 3.8cm (1 sun, 2 bu, 5 rin)
Kashima Susumu
Nanbokucho Bizen Osafune smiths Kanemitsu and Chogi are both famous for producing
o-dachi. Chogi’s workmanship is quite different to Kanemitsu. Within Bizen blades, it issaid that Chogi makes the most un-Bizen like.
This o-dachi has a wide mihaba with a deep curvature. The kasane is thick, and it has alarge point section. The forging of the hada is fine and very tight with a feeling of utsuri.
The hamon is a notare-style mix of gunome-choji and gunome, with ashi and yo. The
nioi-guchi is tight, and clear. The gunome boshi has a saki-togari feel and kaeri. It has abo-hi on both sides that finishes in kaki-nagashi.
This o-dachi is the longest blade in this exhibition. The composition of the hamon is like
Chogi. However it is a little different, because the nioi-guchi is a little tighter than theoriginal. I feel a little more practice of Chogi’s techniques is required.

Ono Yoshimitsu
Chogi and Kanemitsu were the two best Bizen smiths during the Nanbokucho period.
More so than Kanemitsu, Chogi made many strong nie-deki blades known as so-den
Bizen. Among the many works of Chogi, there are many nioi-deki blades with a very
distinct choji. I tried to recreate that kind of choji here. To date, this is the largest bladethat I have ever made.
Polished by Kobayashi Hisao
Habaki by Nakamura Saido
Shirosaya by Sakai Toshifumi

16.
Wakizashi(Short sword)

Inscription:
Front:
Etchigo (no) kuni (ni) oite Yoshimitsu Saku
(Yoshimitsu made this in Etchigo Province- Niigata)

Back:

Heisei san nen aki kissho bi(An auspicious day in Fall 1991)

Length:33.7cm (1 Shaku, 1 sun, 1 bu)

Curvature: 0.4cm (1 bu, 3 rin)
Kashima Susumu
Nanbokucho Bitchu Aoe smiths prospered during middle Enbun period. Their
workmanship was a flamboyant pointed saka-choji midare.
This wakizashi has a wide mihaba, and the kasane is quite thin. It has some curvature.
The forging is quite a prominent itame-hada, and utsuri can be seen. The hamon is sakachoji midare, with saka-ashi mixed in. The hamon is a clear deep nioi with ko-nie. The
boshi on the omote is almost pointed, whilst the ura is in ko-maru.
As a specialist in juka-choji, Ono Yoshimitsu adheres to the original works well with thisSue-Aoe piece. The midare on both sides differs somewhat, but every trait of the schoolfrom this period can be seen.
Ono Yoshimitsu
This not a Bizen-to, however, the works from the Bizen province had a big influence onother schools and I wanted to make one sword from one of those provinces.
Good form saka-choji are harder to make on short hira-zukuri tanto than on tachi andkatana. Recently, saka-choji ko-wakizashi and tanto have become popular orders.
Polished by Fujimoto Terutoyo
Habaki by Yao Toshinori
Shirosaya by Kubo Junichi

17.
Tachi

(Long sword))

Inscription:
Front:
Etchigo (no) kuni (ni) oite Yoshimitsu kore (wo) tsukuru(Yoshimitsu made this in Etchigo Province- Niigata)

Back:

Heisei san nen haru kissho bi(An auspicious day in Spring 1991)

Length:76.4cm (2 Shaku, 5 sun, 2 bu)

Curvature: 2.9cm (9 bu, 6 rin)
Kashima Susumu
The representative smiths of Osafune in the Oei period were Morimitsu and Kanemitsu.
As well as tachi, they produced many tanto and wakizashi.
This tachi has a fairly wide mihaba, and is quite long with saki-zori curvature. The
forging is prominent, with ji-nie. The hamon has yamagata koshi no haraita choji mixed
with gunome. It has a plentiful mix of ko-ashi and yo. In nioi-deki, the nioi-guchi is clear.
The midare-komi boshi is almost pointed with kaeri. The characteristics of Morimitsu
have been well-perceived, meeting its aim of emulating an Oei period Morimitsu
production.
Ono Yoshimitsu
This tachi’s period is the peaceful era when the northern and sourthern courts rejoined
after years of separation in the Nanbokucho period. Within the sword world, it is said
that this was a big turning point in sword manufacturing techniques.
I decided make this blade with a standard Kamakura period shape, but with aNanbokucho style notare hamon.
Polished by Sasaki Takushi
Habaki by Nakamura Saido
Shirosaya by Sakai Toshifumi

18.
Wakizashi(Short sword)

Inscription:
Front:
Etchigo (no) Kuni (ni) oite Yoshimitsu kore (wo) tsukuru(Yoshimitsu made this in Etchigo Province- Niigata)

Back:

Heisei san nen haru kissho bi(An auspicious day in Spring 1991)

Length:47.0cm (1 Shaku, 5 sun, 5 bu)

Curvature: 1.4cm (4 bu, 7 rin)
Kashima Susumu
This wakizashi is a part of a pair with the previous tachi. The shape is more like a katana
in construction. The hada is very tight, the hamon is a mix of yamagata-choji andgunome with long ashi and yo. The nioi-guchi is bright and clear. The boshi is midarekomi rising to a point with kaeri. It displays the characteristics of Oei-Bizen blades well.
Ono Yoshimitsu
This blade is the short sword of a pair. There are many shinogi-zukuri wakizashi still
extant from the Oei period. Until now I have not taken many orders for 1 Shaku 5 sun(45 cm) shinogi-zukuri wakizashi. As I had no good samples to copy, it was fairly
difficult.
Polished by Sasaki Takushi
Habaki by Nakamura Saido
Shirasaya by Sakai Toshifumi

19.
Wakizashi (Short sword)
Inscription:
Front:
Yoshimitsu seitan kore (wo) tsukuru(Yoshimitsu diligently made this)Horimono dõ saku
(and carved the horimono)

Back:

Heisei san nen haru kissho bi(An auspicious day in Spring 1991)

Length:47.3cm (1 Shaku, 5 sun, 6 bu)

Curvature: 0.9cm (3 bu)
Kashima Susumu
As well as Oei-Bizen tachi, many tanto, hira-zukuri and shinogi-zukuri wakizashi can be
seen. Among these there are famous hira-zukuri wakizashi blades by Morimitsu andKanemitsu.
This wakizashi is a hira-zukuri, sunobi-ko-wakizashi. The forging is very tight and it
displays utsuri. The hamon is nioi-deki with koshi no haraita gunome-choji. The lower
half has tobi-yaki mixed in with plenty of ashi and yo. The nioi-guchi is clear. The boshi
is midare-komi nearly coming to a point with kaeri. The horimono on the omote is a bonji
and a suken, with a bonji and a koshi-hi on the ura.

Ono Yoshimitsu
This hira-zukuri wakizashi has the shape and extended length of sunobe-tanto of the
Nabokucho period.
Polished by Okisato Fujishiro
Habaki by Nakamura Saido
Shirasaya by Takayama Kazuyuki

20.
Katana (Long sword)
Inscription:
Front:Rin Byõ Tõ Sha Kai Jin Retsu Zai Zen(Incantation)

Yoshimitsu hori dõ saku
(Yoshimitsu made this and carved the horimono)

Back:

Heisei san nen haru kissho bi(An auspicious day in Spring 1991)

Length:61.5cm (2 Shaku, 3 bu)

Curvature: 1.4cm (4 bu, 7 rin)
Kashima Susumu
One of the best Osafune smiths during the Muromachi period was Katsumitsu.
This katana’s mihaba is standard, with saki-zori. The hada is tightly forged, with deep jinie. The hamon’s koshi no haraita pattern is mixed with choji and gunome and has koashi and yo. The boshi is midare-komi that is almost pointed with kaeri. There is ahorimono on both sides of the blade of a bonji and a bo-hi.
This blade has a typical uchigatana design: it is saki-zori with a short nakago. The
forging is quite prominent and the hamon has the characteristic gunome—all the marks of
Katsumitsu.
It has a nine-character inscription of (Rin Byõ Tõ Sha Kai Jin Retsu Zai Zen) known askuji. This is a chant of encouragement for morale shouted by the frontline ranks ofwarriors of the sengoku period who were about to go into battle.
Ono Yoshimitsu
The best swords from the end of the old swords period are the Sue-Bizen swords. At justover 2 shaku (60 cm), this katana is based on the shape and hamon of Katsumitsu.
Looking from the standpoint of Sue-Bizen blades, you can feel the same kind of charm of
the Kamakura Ichimonji tachi. However, today there is little demand for custom length
blades.
The next katana was made at standard length. For Ichimonji tachi koshirae, finding
fittings of the original period is problematic, so they usually have to be made. For
Muromachi period mountings however, using old fittings from the Muromachi and Edoperiods holds lots of appeal. Katana koshirae when first produced have matching tsuba,
menuki, kozuka, kogai, so they probably weren’t called tosogu then.
Polished by Harada Yuji
Habaki by Hotei Choichi
Shirosaya by
21.
Katana(Long sword)

Inscription:
Front:
Etchigo kuni (ni) oite Yoshimitsu kore (wo) tsukuru(Yoshimitsu made this in Etchigo Province- Niigata)

Mune:

Jitouan Senshu kore (wo) horu
(Horimono by Jitouan Senshu)

Back:

Heisei san nen haru kissho bi(An auspicious day in Spring 1991)

Length:70.6cm (2 Shaku, 3 sun, 3 bu)

Curvature: 2.0cm (6 bu, 8 rin)
Kashima Susumu
Among the wide Sue-Bizen works, Katsumitsu and Sukesada ‘s introductory works are
excellent. Katsumitsu’s workmanship is a remarkedly flamboyant mix of gunome andchoji.
This hira-zukuri katana is quite long with a thick kasane, and is fairly saki-zori. The
forging is very tight, and it displays utsuri. The hamon is a mix of gunome and choji, andsome koshi-haraki in places with a mix of gunome and much yo and ashi. The nioi-guchi
is clear. The boshi is gunome and almost comes to a point, but turns into ko-maru. The
horimono on the omote is a bo-hi with a soe-hi and shin-n- kurikara. The ura has a bo-hi
with a soe-hi and the carved characters for ‘Hachiman Diabosatsu’.
Although this katana is hira-zukuri, it also has a yokote. This was one of the popular
shapes of the Muromachi period. Ono Yoshimitsu was aiming for the style of Jirou
Saemon no Jo Katsumitsu, and in all honesty he has done a marvellous job. It is said that
Katsumitsu’s workmanship resembled the juka-choji midare of the Fukuoka Ichimonji
school of the Kamakura period. The horimono was carved by Kokeiguchi Senshu.
Ono YoshimitsuIt is thought that blades made in hira-zukuri with a yokote were not made at the start ofthe sengoku period.
The sengoku period was the period of toppling one’s lord. One took the chance of making
a name for oneself. It was during this warring period that many new ideas came about.
Breaking away from the traditions of older era, lots of new blade shapes appeared in thisperiod.
The metalwork for this katana’s koshirae was made to compliment the color of thelacquer of the scabbard.
Polished by Usuki YoshihikoHabaki by Hotei Choichi
Shirosaya by Hiroi Akihisa
22.
Tanto

(Dagger)

Inscription:
Front:
Etchigo (no) Kuni (ni) oite Yoshimitsu kore (wo) tsukuru(Yoshimitsu made this in Etchigo Province- Niigata)

Back:

Heisei san nen haru kissho bi(An auspicious day in Spring 1991)

Length:21.9cm (7 sun, 2 bu, 3 rin)

Curvature: 0.0
Kashima Susumu
Tanto of the Muromachi period were short with a thick kasane and a slight inward curvein the front section. It has an effective shape for thrusting or stabbing. This kind of tanto
is called ‘yoroi-doshi’. Moroha-zukuri tanto were also introduced in this period.
This tanto is hira-zukuri with no curvature. It has a thick kasane of about 3 bu (0.9 cm) inthe yoroi-doshi shape. It is forged finely and tightly and displays nie-utsuri. The hamon
has a tight nioi-guchi with koshi-haraita gunome, choji and ashi. The boshi is midare
komi, almost togari with kaeri. It has a koshi-hi carved on the omote and gomabashi on
the ura.
This tanto is a thick, resilient blade, and you can see the hamon has good Sue-Bizen
form.

Ono Yoshimitsu
This tanto is short with a thick kasane. Many stout unbending tanto were made during thesengoku period for stabbing up through the armor. These were called ‘yoroi doshi tanto’.
It is difficult to forge thick blades. It is also difficult to get a high hamon on them.
However, this tanto has a good high hamon.
Polished by Honma Masatoshi
Habaki by Sawada Mitsutoshi
Shirosaya by Sakai Toshifumi
23.
Katana(Long sword)

Inscription:
Front:
Etchigo (no) Kuni (ni) oite Yoshimitsu hori dõ saku
(Yoshimitsu madeand carved this in Etchigo Province- Niigata)

Back:

Heisei san nen haru kissho bi(An auspicious day in Spring 1991)

Length:70.0cm (2 Shaku, 3 sun, 1 bu)

Curvature: 2.4cm (7 bu, 8 rin)
Kashima Susumu
Among the Sue-Bizen productions there are some special order blades. Whereas inmodern times the tradition of swordmaking is considered art, these blades were mademore so for practical use. Katsumitsu and Sukesada are the representational smiths of thisperiod.
This katana has a wide haba and a large point section. The shinogi-ji is steep with a thinkasane, and it is forged tightly. The hamon has koshi-haraki gunome and choji, with lotsof ashi and yo mixed in. The nioi-guchi is tight and very clear. The boshi is gunome witha pointed tip. As an uchigatana it is splendid. I feel the shape mirrors the work of
Sukesada, with a flamboyantly mixed hamon of choji and gunome.
Ono Yoshimitsu
With a thin kasane, a high shinogi, and a wide mihaba, the shape of the blade looks as
though it will cut by any means. Made from battle experience, you can feel theearnestness of this blade.

Polished by Kobayashi Hisao
Habaki by Nakamura Saido
Shirosaya by Hiroi Akihisa
24.
Katana(Long sword)

Inscription:
Front:
Etchigo (no) Kuni (ni) oite Yoshimitsu kore (wo) tsukuru(Yoshimitsu made this in Etchigo Province- Niigata)

Back:

Kirimono Jitouan(Carving by Jitouan)

Heisei san nen haru kissho bi(An auspicious day in Spring 1991)

Length:71.2cm (2 Shaku, 3 sun, 5 bu)

Curvature: 2.3cm (7 bu, 5 rin)
Kashima Susumu
Some of the characteristics of the Sue-Bizen works, are the split gunome ‘kani no tsume’(crabs claw) midare, hiro-suguha, o-notare and hitatsura blades.
This katana is a little longer than usual with a wide haba, a thick kasane and saki-zori.
The forging of the hada is quite prominent with ko-nie. The hamon is a mix of notare,choji and gunome with lots of ko-ashi and yo mixed in. The nioi-guchi on the whole israther subtle. There is a bo-hi on both sides of the blade. On the omote, there is also a So
no Kurikara, whilst on the reverse there is the carved inscription Hachiman Dai Bosatsu.
This katana completely captures the work of Yosozaemon no Jo Sukesada. The boldly
cut horimono was by the hand of Kokeiguchi Senshu. The carving compliments the blade
beautifully.
Ono Yoshimitsu
On this blade the hamon starts out low, like an extended yakidashi, then becomesrhythmic like a hadori polish. This kind of hamon was also constructed in the opposite
direction, undulating from the moto, then becoming low from the mid-point right up to
the kissaki. This kind of hamon was devised by smiths of the Sengoku Period. Before thisperiod, hamon of this nature were never seen.
Polished by Okonogi Takeshi

Habaki by Nakamura Saido
Shirosaya by Sakai Toshifumi
25.
Katana(Long sword)

Inscription:
Front:
Etchigo (no) Kuni (ni) oite Yoshimitsu kore (wo) tsukuru(Yoshimitsu made this in Etchigo Province- Niigata)

Back:

Heisei gannen haru kissho bi(An auspicious day in Spring 1989)

Length:71.5cm (2 Shaku, 3 sun, 6 bu)

Curvature: 1.5cm (5 bu)
Kashima Susumu
The late Muromachi period is synonymous with Sue-Bizen blades. There were shinogizukuri blades, hira-zukuri and moroha-zukuri blades. There are still quite a few extant
Yosozaemon no jo Sukesada hitatsura moroha-zukuri blades.
This katana is an unusual shobu-zukuri (without yokote). The mihaba is wide and thehamon is a mix of choji and juka-choji with some tobiyaki. Inside the ha are plenty of yo
and ashi. The nioi-guchi feels tight. The boshi is midare-komi, with a feeling of sakitogari and a long kaeri. It displays the characteristics of Sue-Bizen blades, but the hamon
is a bit more flamboyant than the usual Sue-Bizen style.
Ono Yoshimitsu
Sue-Bizen katana sometimes can be seen to display a hitatsura hamon. In this case, I
exchanged it for my own style of hitatsura.
This hamon’s beauty lies in the tobiyaki. I intended to put in big tobiyaki, but they cameout small. It did not turn out as I intended. As for the shape, I intended to add mune-yaki
as a calculation of the curve, but this failed too.
This was my first experiment with shobu-zukuri, and hitatsura.
Polished by Inutsuka
Habaki by Akano Eichi
Shirosaya by Hirato Koichi

26.
Tanto:

Moroha-zukkuri(Dagger with a cutting edge on both sides of the blade)Inscription:
Front:
Tõtõ (no) ju nin Yoshimitsu kore (wo) tsukuru(Yoshimitsu, resident of Tokyo made this)Back:

Heisei san nen haru kissho bi(An auspicious day in Spring 1991)

Length:24.9cm (8 sun, 2 bu, 3 rin)

Curvature: 0.0
Kashima Susumu
Moroha-zukuri (blades with a cutting edge on both sides) tanto were popular during the
Muromachi period. They have a ridge down the middle of the blade that gives it a left andright cutting edge. There were many of these blades made by the Sue-Bizen and Sue-Sekischools.
This tanto is quite saki-zori and is very well balanced. The hada is well forged with amasame feeling. The hamon is a mix of suguha and ko-gunome with lots of ko-nie andsunagashi. Among the Sue-Bizen smiths many made moroha-zukuri, but I think thistanto is based on the workmanship of Sukesada or Tadamitsu.
Ono Yoshimitsu
Almost ken shaped, moroha-zukuri tanto are characteristic of the Muromachi period.
Until the Muromachi period, I believe that smiths had not developed any new blade
shapes.
In this past three years, since deciding on the theme of “Pursuing Koto Bizen”, I decided
to try to make swords with typical shapes from each of the historical periods: Heian,Kamakura, Nanbokucho and Muromachi. If I had made a mistake, and had to skip aperiod that would have looked very strange, so I could not relax until every sword waspolished and completely finished.
At times this project has been quite stressful, but it has left me with some wonderful
memories.
Polished by Hashimoto KenyoHabaki by Sawada Mitsutoshi
Shirosaya by Sakai Toshifumi
27.
Kuro urushi aikuchi uchigatana goshirae (Yamatorige koshirae utsushi—Dai
roku zuhan tachi no koshirae)(Black lacquered aikuchi uchigatana mountings) (Yamatorige mountings replica)
This is a replication of the mountings for the Ichimonji tachi ‘Yamatorige’. The original
koshirae was produced in the late Muromachi period. It has the unique characteristic of
not having a tsuba. With the exception of the Uesugi family, this style of koshirae is quiterare. It is also thought that Uesugi Kenshin liked the works of Kagekatsu.
The handle is bound in indigo leather, the scabbard is black lacquer, and the menuki are
shakudo Tigers. The kogai and kozuka are a matching set in shakudo nanako with a wild
tiger in high inlaid relief. This is a faithful copy of the original. The handcrafted
metalwork was by Mr. Hotei Choichi. The rest was under the guidance of Mr. Maeda
Kosaku.
Koshirae by Maeda Kosaku
Kanagu by Hotei Choichi
Sageo by Watanabe Toshio
28.
Kuro urushi uchigatana goshirae (Sukezane goshirae utsushi—Dai hachi zuhan
tachi no koshirae)(Black Lacquered Uchigatana Mountings) (Sukezane Mountings Replica)
The original koshirae rests in the Toshogu repository at Nikko shrine, Tochigi prefecture.
It is the koshirae for the national treasure sword Nikko Sukezane that belonged to Shogun
Ieyasu Tokugawa. The scabbard is finely lacquered. The handle is leather bound and has
a sukashii tsuba with a four-leaf design. The menuki are shakudo of three or four
tadpoles. Although this simple and graceful koshirae is in a later period mounting stylethan the blade, it is still called Sukezane Koshirae.
The kozuka, kogai and menuki differ from the originals on this uchigatana mounting. The
tsuba also differs, as it is one of Ono Yoshimitsu’s own productions.
Koshirae Shitaji by Hiroi Akihisa
Seppa, Shitodome, Fuchi by Miyajima Hiroshi
Tsuba by Ono Yoshimitsu
Lacquer work by Kawanobe Tomoaki
Tsuka-maki by Watanabe Toshio
Sageo Fukai Riichi

29.
Shu urushi uchigata goshirae—Dai niju ichi zuhan katana no koshirae(Vermilion Lacquered Uchigata Mountings)
Each of the modern day uchigatana koshirae makers has their own area of production.
The tsuba, kozuka, kogai kurikata, the uragawa, kojiri and so forth, are handmade by
Ono Yoshimitsu and the nearby Metalworking school of Sawada Mitsutoshi. On the
shakudo fittings every single tadpole can be seen in detail.
Koshirae Shitaji by Sakai Toshifumi
Tosokanagu Sawada Mitsutoshi
Seppa, Shitodome by Hotei Choichi
Lacquer work by Koyama Mitsuhide
Tsuka-maki by Watanabe Toshio

Sakuto no Ayumi – The Ayumi Chronology
1.
Tachi

(Long sword)

Inscription:
Front:
Yoshifusa (ni) Narau - Ono Yoshimitsu tsukuru(Replica of Yoshifusa- Made by Ono Yoshimitsu)

Mune:

Kobayashi Mitsuo shi (no) Tame (ni)(For Mr Mitsuo Kobayashi)

Back:Showa goju-nen haru
(Spring 1975)

Length:75.2cm (2 shaku, 4 sun, 8 bu)

Curvature: 3.2cm (1 sun, 5 rin)This blade received the Award for Excellence at the 11th Shinsaku-meitoten
This is a modern production of the national treasure tachi by Yoshifusa. Ono Yoshimitsu
has splendidly recreated the shape of this tachi, the original of which was an heirloom of
the Tokugawa shogunate family. The forging is quite prominent and displays a paleutsuri. The hamon has round-headed choji mixed with ko-choji and some gunome.
Whilst the nioi goes quite deep, the nioi-guchi is tight. The boshi on the omote is suguha
in komaru, whilst the ura is midari-komi that goes almost to a point. This blade displays
the typical workmanship and characteristics of the Ichimonji smith Yoshifusa of the
Kamakura period.
2.
Tachi

(Long sword)

Inscription:
Front:
Ichimonji Yoshifusa no i - Ono Yoshimitsu saku
(Essence of Ichimonji Yoshifusa- Made by Ono Yoshimitsu)

Mune:

Ito Kazunari judai Yorishomo Noshu Ichiyajo henju(For the heirs of Mr Ito Kazunari, resident of Yorishomo- Gifu prefecture in the vicinity of
Ichiya castle)

Back:

Showa goju ichi nen haru
(Spring 1976)

Length:79.1cm (2 Shaku, 6 sun, 1 bu)

Curvature: 3.4cm (1 sun, 1 bu)
This blade received the Award for Effort at the 12th Shinsaku-meitoten
This splendid blade has a wide haba with a deep curvature in the middle. It has an ikubikissaki. The forging is very tight and displays utsuri. The hamon is a deep nioi chojimidare mixed with Ofusa choji and gunome. On the whole the ashi and yo are
magnificent. The boshi is midare-komi and somewhat pointed.
The workmanship of Yoshifusa within the Ichimonji school has a particular splendor.
This tachi exhibits these special flamboyant characteristics well, especially in the beautyof the activities within the ha.
3.
Tachi

(Long sword)

Inscription:
Front:(Bonji) (Ichi) Ito Kazunari judai Yorishomo Noshu Ichiyajo henju(Sankrit carving) (For the heirs of Ito Kazunari, resident of Yorishomo, Ichiyajo in Gifu)

Mune:

Etchigo (no) kuni ju Ono Yoshimitsu saku Showa goju ni nen haru
(Made by Ono Yoshimitsu, resident of Etchigo)

Back:(Spring 1977)

Hori onajiku kore (wo) tsukuru(and carved this Horimono)

Length:70.9cm (2 Shaku, 3 sun, 4 bu)

Curvature: 3.1cm (1 sun, 2 rin)This blade received the Award for Effort at the 13th Shinsaku-meitoten
This blade has a wide mihaba with a deep curvature and fumbari with an ikubi-kissaki.
The hada is a tightly forged ko-itame with fine ji-nie and a gentle but prominent utsuri.
The hamon is deep nioi with a mix of choji-midare and juka-choji and has lots of ashi
and yo. On the lower half of the blade, the hamon swells and falls erratically. The nioiguchi is on the whole soft and gentle.
This tachi is a recreation of an Ichimonji sword given to Okudaira Nobumasa by Oda
Nobunaga at the battle of Nagashino in 1575 for his patience in enduring long hardships.
With only a few troops under his command, Nobumasa had withstood a long siege at his
castle by Takeda Katsuyori’s army. This recreation is a little lacking in the power of theoriginal. This can be seen in places where it has been exchanged with the gentleness of
Ono san’s personality.

4.
Katana(Long sword)

Inscription:
Front:
Araiso (ni) Narau Ono Yoshimitsu saku
(Replica of Araiso Made by Ono Yoshimitsu)

Mune:

Shiraishi Nosei judai Yorishomo Noshu Ogakijo henju(Made for heirs of the Shiraishi Nosei, of Yorishomo, Gifu prefecture in the vicinity of Ogaki
castle)Back:Showa goju san nen haru
(Spring 1978)

Length:70.1cm (2 Shaku, 3 sun, 1 bu)

Curvature: 1.5cm (5 bu)
This blade received the Award for Effort at the 14th Shinsaku-meitoten
This blade is a recreation of a Nanbokucho period Bitchu Aoe katana called Araiso (reefy
shore). It has the shape of an o-suriage blade, a wide haba with a thin kasane and ashallow curvature. The hada is a tightly forged ko-itame. The hamon is a large nioi-deki,
saka choji-midare, with gunome mixed in and plenty of saka-ashi and some yo. The
boshi is gunome with saki-togari and a turn-back. A bo-hi has been carved on both sides.
This katana faithfully recreates the characteristic flamboyant saka-choji midare of the
Nanbokucho Aoe smiths.
5.
Tachi

(Long sword)

Inscription:
Front:
Etchigo (no) kuni ju Ono Yoshimitsu kore (wo) tsukuru(Ono Yoshimitsu, Resident of Etchigo-Niigata, made this)Showa goju go nen haru
(Spring 1980)

Back:

Takaki Shigeo judai Yorishomo Noshu Okachiyama suso henju(Made for the heirs of Takaki Shigeo of Yorishomo, Gifu Prefecture at the foot of Okachi Mountain)

Length:77.2cm (2 Shaku, 5 sun, 5 bu)

Curvature: 2.8cm (9 bu)

This blade received the Award for Effort at the 16th Shinsaku-meitoten
The workmanship of the mid-Kamakura Ichimonji school has many blades that are
magnificiently constructed. With a wide haba and grandiose choji-themed hamon they
have lots of personality.
This tachi has a wide mihaba and a thick kasane in a strong koshi-zori. The hada is quite
prominent. The hamon is like a range of mountains composed of large and small gunomeand choji with plenty of ashi and yo mixed in. The nioi-guchi is very tight and clear. The
boshi is midare-komi that almost comes to a point with a turn-back.
This is not the workmanship of a particular smith of the school, but it can be said to be asound recreation of Ichimonji work of the period.
6.
Katana(Long sword)

Inscription:
Front:
Etchigo (no) Kuni Ono Yoshimitsu hori dõ saku(Ono Yoshimitsu of Etchigo-Niigata, made this and carved the horimono)

Back:

Showa goju roku nen haru
(Spring 1981)

Kawabata Terutaka shi motome (ni) ojiru(Special order by Mr. Terutaka Kawabata)

Length:69.5cm (2 Shaku, 2 sun, 9 bu, 5 rin)

Curvature: 2.5cm (8 bu)
This blade received the Award for Excellence at the 17th Shinsaku-meitoten
The original sword, called the ‘Suijingiri’, belonged to the Uesugi family. It was
inscribed Bishu Osafune Ju Kanemitsu and dated a day in November, 2nd year of Kanei(1343). During this period not many long, hira-zukuri uchigatana were made. This sword
is among the 35 choice swords as listed by Uesugi Kagekatsu.
This katana has a wide mihaba, the kasane is quite thick and it has a strong saki-zori
shape. It has an itame-hada with ji-nie and a feeling of utsuri. The hamon, whilst basedon suguha, is gunome with some saka-gunome. The nioi-guchi is tight with ko-nie inplaces and plenty of ko-ashi. The boshi is an almost pointed ko-maru. On the omote there
is a conifident carving of a sankozuka-ken, whilst on the ura there is a bonji. On thewhole, it adheres the original well. The ji-testu looks old, and the hamon is splendid. The
ji and the ha also have the flavor of the original.

7.
Tachi

(Long sword)

Inscription:
Front:
Takamatsu (no) Miya sho, Etchigo (no) kuni Ono Yoshimitsu saku
(Prince Takamatsu Award, Made by Ono Yoshimitsu of Etchigo-Niigata)

Back:

Showa goju shichi nen haru
(Spring 1982)

Length:75.9cm (2 Shaku, 5 sun, 5 rin)

Curvature: 3.1cm (1 sun)This blade received the Prince Takamatsu Award at the 18th Shinsaku-meitoten
This tachi was Ono Yoshimitsu’s first blade to win the Prince Takamatsu Award. It has awide haba. The mihaba, of the upper part of the blade, is also wide displaying a splendid
tachi sugata. The hada is prominent with ji-nie and utsuri. The hamon is made up of lotsof large mountain ranges of choji mixed with juka-choji in a smokey nioi-deki with konie and plenty of nioi-ashi giving it a splendorous appearance. The boshi is a gentle
midare-komi.
This tachi is not a copy of a Bizen meito, but a sincere effort by the smith to recreate thefeeling of the Kamakura Bizen Ichimonji school that bloomed into this splendid blade.
8.
Tachi

(Long sword)

Inscription:
Front:
Etchigo (no) kuni Ono Yoshimitsu tsukuru(Made by Ono Yoshimitsu of Etchigo-Niigata)

Mune:

Bunkacho-Chokanshõ Jushõsaku Kondo Shigeru shi (no) tame (ni)(Director of Cultural Affairs Award winning sword - Made for Mr. Kondo Shigeru)

Back:Showa goju hachi nen haru
(Spring 1983)

Length:75.5cm (2 Shaku, 4 sun, 9 bu)

Curvature: 3.2cm (1 sun, 5 rin)This blade received the Director of Cultural Affairs Award at the 19th Shinsakumeitoten.

This blade has a wide haba and a thick kasane and is stout in appearance. The forging isvery fine, with fine ji-nie. The hamon is a deep nioi mix of choji and juka-choji with lotsof ashi and yo sprinkled throughout. The nioi-guchi is very clear and bright. The boshi is
ko-gunome that nearly comes to a point before turning back.
This tachi is somewhat similar to the previous blade, however, there is a wealth ofactivity going on with lots of exchange of larger and smaller choji within this flamboyant
choji-midare. In addition to this, the beauty of this choji-midare is said to be of thehighest quality and flows along the blade like poetry.
9.
Tachi

(Long sword)

Inscription:
Front:
Etchigo (no) kuni Ono Yoshimitsu kore (wo) tsukuru(Ono Yoshimitsu of Etchigo made this)

Back:
haru

Takamatsu (no) Miya sho jushõsaku Showa goju (hachi-ichi) kyunen(The Prince Takamatsu Award Winning sword

Spring 1984)

Saito Ke judai (no) Tame (ni)(Made for the Successive generations of the Saito family)

Length:80.1cm (2 Shaku, 6 sun, 4 bu, 5 rin)

Curvature: 3.1cm (1 sun)This blade received the Prince Takamatsu Award at the 20th Shinsaku-meitoten
This blade is a recreation of the National Treasure sword in the collection of the Uesugi
family called the ‘Yamatorige’ (also known as ‘Sanchomo’). The original is an unsigned
tachi still in its original length. However, I think the maker may have taken lessons fromthe smiths who were signing only with the ‘ichi’ character during this period. Thismagnificient tachi is extremely long at 78.9cm and the depth of the curvature is 3.2cm.
This tachi is listed among the 35 choice swords of Uesugi Kagekatsu, who wassomething of a connoisseur. It is recorded in his own handwriting as ‘Yama-teu-mau’. It
is called ‘Yamatorige’, because the hamon resembles the feathers of a mountain pheasant.
It can be said that this tachi is Ono Yoshimitsu’s triumph after much hardship. This longtachi has a magnificient shape with a thick kasane and a large commanding kissaki. The
hada is very fine and the hamon is a mix of juka-choji with choji-midare and has lots ofashi and yo. The nioi-guchi is bright and clear. The boshi on the omote is midare-komi,
almost coming to a point, whilst the ura is ko-maru in style with a turn-back.

It can be said that Ono Yoshimitsu’s endeavour to produce juka-choji had come to an
end. The flamboyance in this hamon has lots of charm. The hamon breathes life and canbe called a thing of purity and clear beauty, Ono Yoshimitsu is the only smith in theworld who displays such an accomplishment.
10.
Tachi

(Long sword)

Inscription:
Front:
Etchigo (no) kuni Ono Yoshimitsu Saku
(Made by Ono Yoshimitsu of Etchigo-Niigata)

Back:

Takamatsu (no) Miya sho jushõ sakuhin Showa rokuju nen haru
(The Prince Takamatsu Award Winning sword—Spring 1985)

Length:80.6cm (2 Shaku, 6 sun, 6 bu)

Curvature: 2.6cm (8 bu, 8 rin)This blade received the Prince Takamatsu Award at the 21st Shinsaku-meitoten
Following the previous year’s Prince Takamatsu Award winning sword, this blade has afree flowing flamboyant choji-midare, and has a nobleness that could be called theultimate juka-choji.
With a wide haba, this blade is magnificently constructed: the kissaki is large, the forging
is very fine and the hamon is a mix of choji and juka-choji with plenty of ashi and yo.
The tight nioi-guchi is bright and clear. The boshi is midare-komi almost coming to apoint before turning back. There is a bo-hi on both sides of the blade.
If this blade had a name it would be called ‘Gosokare’ (Magnificient elegance). The
overlapping layers of choji form into juka-choji. One can see the smith’s confidence andmastery of choji-midare in the poetic breath of the juka-choji.
11.
Tachi

(Long sword)

Inscription:
Front:
Etchigo (no) kuni Ono Yoshimitsu saku
(Made by Ono Yoshimitsu of Etchigo-Niigata)

Back:

Takamatsu (no) Miya sho jushõsaku Showa rokuju ichi nen haru
(The Prince Takamatsu Award Winning sword—Spring 1987)

Length:79.2cm (2 Shaku, 6 sun, 1 bu, 5 rin)

Curvature: 3.3cm (1 sun, 1 bu)
This blade received the Prince Takamatsu Award at the 22nd Shinsaku-meitoten.
This blade has a wide haba, deep curvature with pronounced fumbari and an ikubikissaki. The hada is very tight, with fine ji-nie. The hamon is choji-midare mixed withjuka-choji, with ashi and yo sprinkled liberally throughout and tobi-yaki in places. The
nioi-guchi is tight and clear. The boshi is midare-komi that rises to a point and then turns
back.
This splendid tachi, with its flamboyant juka-choji, is a lovely piece. The beauty of thiswork can be seen in the excellent match of his skill and character. Although a juka-chojihamon is complicated and flamboyant by nature, the humbleness of the smith shines
through and the hamon has leisurely feel to it.
12.
Tachi

(Long sword)

Inscription:
Front:
Etchigo (no) kuni Ono Yoshimitsu kore (wo) tsukuru(Made by Ono Yoshimitsu of Etchigo-Niigata)

Back:

Takamatsu (no) Miya sho jushõsaku Showa goju rokuju ni nen haru
(The Prince Takamatsu Award Winning Sword

Spring 1984)

Watanabe Ke judai(Made for the Successive Generations of the Watanabe family)

Length:80.1cm (2 Shaku, 6 sun, 4 bu, 5 rin)

Curvature: 3.1cm (1 sun)This blade received the Prince Takamatsu Award at the 23rd Shinsaku-meitoten.
This is another recreation of the ‘Yamatorige’. It can be said that no two ‘Yamatorige’ areidentical. The smith’s target in this case is to recreate a blade of a common nature. Thistachi has a wide mihaba and a thick kasane, with an ikubi-kissaki. This long blade has asplendid shape with a ko-itame hada. The hamon is a mix of o-choji and choji becomingjuka-choji with plenty of ashi, yo and tobi-yaki. The nioi-guchi is tight and and clear. The
boshi is midare-komi coming almost to a point before turning back. There is a bo-hi
carved on both sides.
Among the many copies of the ‘Yamatorige’, this tachi is of the highest quality andexhuberance. The heads of the hamon come right up to the shinogi along with thetobiyaki. There are nioi-ashi and yo liberally sprinkled throughout adding to theflamboyance. You can see the delightful expression of the hamon at the time of theexcellent union of the clay, fire and steel.
13.
Tachi

(Long sword)

Inscription:
Front:
Etchigo (no) Kuni Ono Yoshimitsu kore (wo) tsukuru(Made by Ono Yoshimitsu of Etchigo-Niigata prefecture)

Back:

Showa rokuju san nen haru
(Spring 1988)

Length:79.1cm (2 Shaku, 6 sun, 1 bu)

Curvature: 3.3cm (1 sun, 1 bu)
This blade was displayed in the mukansa category at the 24th Shinsaku-meitoten
This blade was Ono Yoshimitsu’s first entry as a member of the mukansa category.
Among the works of the Ichimonji, the blades with the largest choji-midare are seen
signed with the single ‘ichi’ character. Whilst the Yamatorige is an unsigned blade, I
believe it is akin to this kind of Ichimonji work. On first inspection of this tachi, whilst
having an unrestrained look about it, is a result of Ono Yoshimitsu’s pursuit for aprevailing sense of beauty.
It has a wide mihaba, a typical deep koshi-zori tachi sugata with fumbari ending with an
ikubi-kissaki. The hada is well forged. The hamon is an o-choji-midare, turning into
juka-choji with plenty of ashi and yo. The nioi-guchi is tight and clear. The boshi is komaru with a turn-back. There is also a bo-hi carved on both sides of the blade.
Ono Yoshimitsu san has produced several copies of the Yamatorige. However, the choji
of this tachi are unrestricted and have been quenched with complete confidence.

14.
Katana(Long sword)

Inscription:
Front:
Etchigo (no) kuni (ni) oite Ono Yoshimitsu kore (wo) tsukuru(Ono Yoshimitsu made this in Etchigo-Niigata)Back:

Heisei gannen haru
(Spring 1989)

Length:73.8cm (2 Shaku, 4 sun, 3 bu, 5 rin)

Curvature: 2.2cm (7 bu)
This blade was displayed in the mukansa category at the 25th Shinsaku-meitoten.
This sword has a splendid shape with a wide mihaba the full length of the blade. It has atightly forged ko-itame hada, and displays utsuri. The hamon is a mix of o-choji andjuka-choji midare, with lots of ashi and yo. There is also a very small amount ofsunagashi and the nioi-guchi is clear. The boshi is midare-komi that almost comes to apoint before turning back. There is a bo-hi carved on both sides of the blade.
This is Ono Yoshimitsu’s forte—recreating the flamboyant works of the Ichimonji. The
hada is a fine, elaborate ko-itame with a pale but defined utsuri. The hamon is a mix ofjuka-choji and grandiose o-choji midare with lots of ashi and yo. The nioi-guchi is brightand clear. As an Ichimonji work, this blade shows Ono’s high level of skill in displaying
the ultimate poetic characteristics of the school.
15.
Tachi

(Long sword)

Inscription:
Front:
Etchigo (no) kuni (ni) oite Ono Yoshimitsu kore (wo) tsukuru(Ono Yoshimitsu made this in Etchigo-Niigata)

Back:

Heisei ni nen haru
(Spring 1990)

Length:79.7cm (2 Shaku, 6 sun, 3 bu)

Curvature: 3.2cm (1 sun, 5 rin)This blade was displayed in the mukansa category at the 26th Shinsaku-meitoten.
This long blade has a wide mihaba and a thick kasane. It has a splendid shape with koshizori and fumbari. The hada, which is hidden by the hamon, is tightly forged. The hamonis an o-choji-midare that becomes a juka-choji reaching right up to the shinogi with lotsof yo and ashi. The nioi-guchi is bright and clear. The boshi is a deep midare-komi,
almost ichmai on the omote, whilst on the ura it is almost pointed with a turn-back.
This is another recreation of the Uesugi family’s Ichimonji Yamatorige. It has thetrademark koshi-ba pattern, while the ha-saki is close to the shinogi with lots of ashi andyo. The nioi-guchi is clear and bright with a tight feeling. Whilst flamboyant in nature, anelement of power can be seen.
Through his continuous efforts at forging this recreation of the Ichimonji Yamatorige,
Ono Yoshimitsu has resurrected the Ichimonji into the present day.
16.
O-dachi(Very long sword)

Inscription:
Front:
Etchigo (no) kuni (ni) oite Ono Yoshimitsu kore (wo) tsukuru(Ono Yoshimitsu made this in Etchigo-Niigata)

Back:

Heisei san nen haru
(Spring 1991)

Length:73.8cm (3 shaku, 2 sun, 1 bu, 8 rin)

Curvature: 3.5cm (1 sun, 1 bu, 5 rin)This blade was displayed in the mukansa category at the 27th Shinsaku-meitoten
The mihaba is wide, the kasane is standard thickness, and the point section is large. Thistachi has a splendid koshi-zori shape. The forging is a very tight itame hada. The hamon
is a nioi-deki juka-choji with lots of ashi and yo. The nioi-guchi is tight and very clear.
The boshi is choji-midare that almost comes to a point before turning back. There is a bohi on both sides of the blade that ends in kaki-nagashi.
This splendid tachi is quite a long example. It has the shape of an unshortened
Nanbokucho o-dachi. The juka-choji hamon is magnificent and the activities within the
ha are also excellent. This o-dachi displays the Ichimonji style of choji-midare well.