Pursuing Koto Bizen
By
Kashima Susumu
The Japanese sword is one of the fine art objects created by the Japanese people. There
are not many objects as inherently beautiful as the Japanese sword. The sensitivities ofthe swordsmiths, growing up in the Japanese climate rich with the change of the four
seasons, can be seen reflected in the Japanese sword. However, we should be mindful notto forget that the Japanese sword, although it was developed as a weapon, is a pure andbeautiful object. As Japanese people it is very natural for us to be able to accept suchseeming contradictions.
Heian PeriodThis exhibition is divided into two parts. The first half is entitled Pursuing Koto Bizen,
and takes a look at the shape of the perfected Japanese sword (swords with curvature)from the end of the Heian period (794-1184) through to the end of the Muromachi period(1333-1596). This introductory exhibition by modern swordsmith Ono Yoshimitsu is anattempt to revive the sword production techniques of the Koto-Bizen smiths.
Ko-Bizen
The work of Heian period Bizen smiths is called Ko-Bizen. During this time there weregenerally many thin tachi sugata blades made. They have funbari and a deep curvature.
However, there is no curvature between the monouchi and the small point section; it isquite straight. The forging of the ji is itame and displays utsuri. The hamon is a ko-nie
deki mix of ko-midare ko-choji, with some ko-ashi and yo. In places kinsuji can also beseen. There are many blades between 76cm-79cm in length. The smiths of the Ko-Bizen
school were Tomonari (友成), Sukehira (助平), Kanehira (包平), Masatsune (正恒) andNobufusa (信房). There are two famous swords which are almost 3 shaku (90cm) inlength. One is called Okanehira and is from the Ikeda family collection, and the other iscalled Kunozan Toshogu no Sanetsune—久能山東照宮真恒 in the Tokugawa Kunozan
Toshogu shrine, Shizuoka City. Okanehira was listed among a sword ranking list printed
during the Edo period. However, the ‘O’ does not only imply that it is a big sword, butalso a great sword.
(Swords No.s 1, 2, 3.)
The Kamakura Period
This period begins in 1186, when Minamoto no Yoritomo became the Commander inChief of the 66 provinces of Japan, and it ends with the dissolution of the Hojoji bakufu
in 1333.
Ichimonji (Fukuoka Ichimonji)

The swordsmiths selected by retired emperor Gotoba Joko were collectively known as theGoban kaji. Selected smiths from Bizen prefecture were: Norimune (則宗), Nobufusa(延房), Muneyoshi (宗吉), Sukemune (助宗), Yukikuni (行国), Sukenari (助成), andSukenobu (助延). However, in addition to these Bizen smiths, Nobufusa (信房) was also
employed as a swordsmith instructor to Gotoba. The Goban Kaji was also made up frommembers from the Bitchu and Yamashiro Awataguchi schools. It is said that Norimune
was authorized by Gotoba Joko to sign his blades with an ichi stroke, and these members
were to become known as the Ichimonji school. Among the early Kamakura period
Ichimonji who would also sign the ichi character along with their own names wereNorimune, Sukemune, Narimune (成宗), Nobufusa, and Muneyoshi. There were manysmiths during the mid-kamakura period signing with the ‘ichi’ character. During thisperiod the blades have a slender shape and the hamon is almost an o-busa choji-midare.
However, whilst these blades are constructed in nioi-deki they do have lots of ko-nie
giving them an old flavour, which is an advantage that they have over the later Ichimonji
works.
(Sword No.4)
The Peak of the Ichimonji
By the middle of the Kamakura period, during the pinnacle of the samurai’s influence, wecan see a leap in the progress of sword making, exhibiting a magnificent and elegant
workmanship.
This period’s tachi have a wide moto and saki-haba. The kasane is thick and the kissaki
has become ikubi. The ji is very clear and displays a prominent utsuri. The nioi-dekihamon has a rich, undulating o-choji midare, which can be described as absolutely
dazzling. Among the ichi signed works are a flamboyant Nanbokucho blade that wasworn by the military commander Sasaki Dõyõ and consequently called Dõyõ Ichimonji,
and a blade given to Okudaira Nobumasa by Oda Nobunaga at the battle of Nagashino.
Also there are typical mumei blades that are thought to be part of the same ichi signingschool, such as the Yamatorige of the Uesugi family collection, the Nikko Ichimonji ofthe Kuroda family collection and so forth.
(Sword No.s 5, 6, 7.)
The Fukuoka Ichimonji School Sansaku
The Ichimonji smiths of the mid-kamakura period who would sign with the ichi character
along with their own names were Yoshifusa (吉房), Norifusa (則房) and Sukezane (助真).
Among these Yoshifusa is the one with the most extant works. As for Sukezane andKunimune (国宗), they went to Kamakura to pioneer the Soshu group of smiths, and arereferred to as the Kamakura Ichimonji. Yoshifusa has five of his blades assigned asnational treasures. Sukezane’s national treasure work is the sword that was loved by theShogun Tokugawa Ieyasu, called Nikko Sukezane, which is enshrined at the Tokugawa
shrine in Nikko. This blade has been shortened somewhat, but the Sukezane signatureremains. It has a wide haba, an elegantly forged prominent hada with lots of ji-nie andprominent utsuri. The hamon is an undulating, deep nioi based o-choji midare with konie. Among the magnificent sparkling blades of the Ichimonji, this one is also verypowerful.
(Sword No.8)
At the end of the Kamakura period the Fukuoka Ichimonji were in decline. Schools
signing with the ichi character opened up further down the Yoshii river in Iwato andYoshioka. The Yoshioka school also began inscribing below the ichi character thelocation of the school and the maker’s name (Bizen no Kuni Yoshioka Ju Sakonshokanki
Sukemitsu—備前國吉岡住左近将監紀助光). Some of the smiths signing in this way during
the late Kamakura period between 1319 to about 1333 were Sukeyoshi （助吉）,Sukemitsu（助光）and Sukeyoshi（助義）. There are many works in o-choji midare, kochoji mixed with togariba, and suguha-based ko-choji with togariba. However, they are
not quite as skilful as the works of the Fukuoka Ichimonji.
(Sword No.9)
Kamakura Period Osafune School
Besides the Ichimonji there was another big group in Osafune. When one thinks ofJapanese swords, one must think of Osafune blades. The founder of the Osafune school
was Mitsutada (光忠). It is said that his workmanship was represented in the book kokonmeijin (古今銘尽). Mitsutada has lots of two character signed blades but he also has somelong inscriptions on tachi: Bizen Kuni Ju Osafune Mitsutada (Imperial collection). This isconclusive evidence that Mitsutada lived in Osafune . His workmanship is a gentle deepnioi choji-midare with kawazu-no-ko choji mixed in. The ji is wet and lustrous looking;the quality of the steel is unique. His vibrant hamon is recorded in old documents as
resembling a row of four or five overlapping cherry blossoms in bloom.
It is said that Nagamitsu (長光) was Mitsutada’s son, and that his workmanship was noless skilful than his father’s. Nagamitsu’s many extant works from the Kamakura period
are of substantial quality. When compared to his teacher’s work it is not as relaxed andhas a much sharper feeling. The first generation Nagamitsu was to pass his crown to thesecond generation Nagamitsu, who was given the imperial ranking of Sakonshokan. It isthought that the second generation Nagamitsu (the first generation Nagamitsu’s son)worked between the years 1293-1302. Also within this school were Nagamoto (長元) andSanenaga (真長). Each of their works has distinctive characteristics.
(Sword No.10)

Kagemitsu (景光) was a third generation Osafune smith, and worked for about thirty years
between the Enkyo and Kenmu periods (1308-1335). His workmanship does not containmany splendorous choji-midare works like that of his teacher. Kagemitsu’s works weresuguha based choji and he originated the kataochi-gunome hamon. His later works would
include many tanto. He produced tachi and tanto among which are some very precise
Fudo-myo and Kurikara horimono. He would also accept custom orders from clients, asseen on the tanto carved with the characters for Chichibu Daibosatsu. Among hismasterworks are national treasures blades: Koryu Kagemitsu, and a tanto said to havebeen worn by Uesugi Kenshin called Kenshin Kagemitsu.
It is said that Kagemasa (景政) was Kagemitsu’s younger brother. There are very few
extant works of Kagemasa. However, among these are two gasaku tachi that he madewith Kagemitsu. Other members of the Kagemitsu school include Chikakage (近景), who
successfully carried the school into the Nanbokucho period.
(Sword No.s 11, 12)
Other eminent smiths of the Kamakura period include Hatakeda Moriie (畠田守家) andSanemori (真守). Also among the Naomune school (直宗) of Bizen was the famous smith
known as Saburõ Kunimune (三郎国宗). Kunimune, Ichimonji Sukezane and Awataguchi
Kunitsuna (国綱) all moved to Sagami province and opened schools.
Of the many Bizen smiths residing along the Yoshii river, the Ukai school were locatedin Inishi no Ukangõ (Modern day Mizugun, Mizumachi). Members of the school includeUnshõ (雲生), Unji (雲次) and Unju (雲重), who also worked in the Nanbokucho period
Bizen Smiths of the Nanbokucho period
Continuing from the Kamakura period into the Nanbokucho period, there were still manysmiths in Osafune. The name of Osafune had become very famous for sword production
and had absorbed many local schools. Within the group there was much competition
between the old school of Osafune (the Kanemitsu school) and the newcomers like theChogi school.
During this period extremely long blades, extending to more than 3 shaku (90cm) began
to appear, along with the production of long naginata. Sunobi-tanto with a wide mihaba
known as ko-wakizashi came into existence at this time.
Osafune Kanemitsu
It is said that Kanemitsu (兼光) was the son and apprentice of Kagemitsu. He produced
blades for a period of about thirty or so years: from the end of the Kamakura period
through to the Nanbokucho period. It is thought that during this period, some of theworks are by the second generation Kanemitsu. At first, the workmanship is similar to hisfather Kagemitsu’s Kamakura period blades. However, the works of the Kan’õ, Bunna(1352-55) and Enbun periods (1356-1360) take on a notare theme mixed with gunome.
Kanemitsu’s pupils were: Motomitsu (基光), Tomomitsu (倫光), Masamitsu (政光) andShigemitsu (重光). It is thought that Yoshimitsu (義光) was Kanemitsu’s younger brother.
(Sword No.s 13, 14)
Osafune Chogi
The Chogi school, along with the Kanemitsu school, were the Nanbokucho period
representatives of Bizen works. Contrary to the typical Bizen characteristics, there werenie-deki works being made. This kind of workmanship is called Soden-Bizen. This kindof Soden-Bizen work produced by Chogi (長義) also maintained a splendid traditionaltachi shape. The special characteristic of the Chogi school is a nie based notare-gunome
hamon. Many of the extant works have been shortened and the inscriptions have beenlost. Even though Bizen-to are generally inscribed with the date inscriptions of thenorthern court, the Chogi school often inscribed with the date inscriptions of the southerncourt. However, they later changed to the northern court date inscriptions. This is due tothe local Daimyo Yamana originally being a supporter of the southern court while thebakufu of the southern court were more powerful. The Chogi school were not the only
school to change date inscriptions. There are many extant Kyushu works inscribed withsouthern court date inscriptions. This is a very interesting display of how close therelationship between the smiths and the warrior class was. The members of the Chogi
school include Nagamori (長守), Kanenaga (兼長), Morinaga (守長) and so forth. They all
follow the workmanship of Chogi well.
Other Osafune smiths include the Motoshige school (元重), Morikage (盛景) andYoshikage (義景). At the end of the Nabokucho period there were many small groups
making blades called ko-zori mono.
(Sword No.15)
Osafune smiths of the Muromachi Period
The problematic Nanbokucho period lasted about 60 years. This chapter of Japanese
history was brought to a close when Shogun Ashikaga Yoshimitsu reunited the country.
Yoshimitsu had previously set up a bakufu in Muromachi in Kyoto to protect the court
nobles who were longing for the prosperity of trade with China. This climate is reflectedin the large changes in swordmaking from around this time. Tachi have a wide moto-hawith a regular mihaba and kissaki. The hamon is a mix of choji and gunome and theshape is reminiscent of early Kamakura blades. Also from this period (Oei 1394-1412)
just prior to the Muromachi period, are hira-zukuri, sunobi, muzori tanto and wakizashi.
Many of them display bo-utsuri, and all are in the typical shape known as Oei-Bizen.

During this period there were many smiths who used the Oei nengo: Morimitsu (盛光)
Yasumitsu (康光), Moromitsu (師光), Iesuke (家助), Tsuneie (経家) and so on.
The Oei-Bizen workmanship continued until about Eikyo (1429-1440), until gradually it
became the Sue-Bizen workmanship. It would seem that the Onin incident is the point
when the smiths were making both kinds of blades. The smiths working at this time were
Norimitsu (則光), Sukemitsu (助光) and Morishige (盛重).
(Sword No.17, 18, 19)
Shogun Ashikaga Yoshimasa’s successor’s first problem was the Onin disturbance thatdeveloped into civil war. This resulted in an urgent demand for swords with many of thesword production centres churning out mass-produced swords (kazu-uchi) for practicaluse. These swords are vastly inferior to the higher quality artistic swords. However,during this period there were many special order swords made called chumon-uchi ofexcellent quality. For instance, there were many produced for the commanders of theUragami family and the Ukida family. I believe it may have been some kind of special
ranking or privilege for the smiths. As the warfare tactics had changed to infantry footsoldiers, so had the shape of the blade changed from a tachi style to a one handed sakizori blade for infantrymen called an uchigatana. In addition to the uchigatana, there weretanto with a thick kasane called yoroi-doshi (armor piercing) for close-quarter fighting.
Also uchi-zori tanto with a long nakago and moroha-zukuri tanto appeared in this period.
These Bizen-to had no utsuri, and there was much nie in the jigane. In addition to suguha
and notare there are hamon with double gunome, kani no tsume and a complicatedmidare; on the whole they have strong nie feeling. There were also many horimono on
the koshi-moto, such as kurikara, bonji and the names of religious deities. The smiths of
the Sue-Bizen period include Sukesada (祐定), Katsumitsu (勝光), Munemitsu (宗光),Tadamitsu (忠光), Kiyomitsu (清光) and so forth. There were many smiths using the same
name working during this period. Yosozaemon no jo Sukesada (与三左衛門尉祐定) was thebest of these. There was also Genbei no jo Sukesada (源兵衛尉祐定) and Hikobei no joSukesada (彦兵衛尉祐定). Other skilled smiths include: Ukyo no suke Katsumitsu(右京亮勝光), Jirousaemon no jo Katsumitsu (次郎左衛門尉勝光), Sakyoshin Munemitsu(左京進宗光), Hikobei no jo Tadamitsu (彦兵衛尉忠光), Gorozaemon no jo Kiyomitsu(五郎左衛門尉清光), and Magouemon no jo Kiyomitsu (孫右衛門尉清光).
The Sue-Bizen smiths, at the invitation of wealthy customers, also made swords in thenearby Harima, Mimasaka and Bitchu provinces.
(Sword No.s 20, 21, 22, 23, 24, 25, 26)