Individual Sword Essays
Below you will find a selection of interesting essays submitted by members of our shibu. These essays highlight particular blades that come from one's personal collection. They are meant to help educate us all and serve as a good point of introduction to the variety of beautiful blades members care for. Members of the shibu are encouraged to submit as many essays on their blades! Our Suio family has a variety of blades that have a huge range of historical reference and value. It's also not uncommon for them to been seen regularly in person since they're frequently used. Please enjoy!
Yosozaemon Sukesada
From the collection of Haiwen Chu
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Yosozaemon Sukesada was born in 1467 in what today is the Okayama prefecture, home to the Bizen tradition of sword-making. His father was named Hikobei and they collaborated on a number of famous works, including Date Masamune’s katateuchi, a sword made for single-handed striking. Most of Yosozaemon’s extant works are uchigatana and tanto, dozens of which have been awarded Juyo. Yosozaemon continued to produce works until his death in 1542 and is considered the stylistic leader of the late of Sue-Bizen, which ended in the late 16th century after a flood destroyed the forges. All told, more than 80 smiths have signed as “Sukesada”. |
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Nakago with Yosozaemon Sukesada's signature
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Blade
The blade’s overall geometry is that of an uchigatana, a sword that is shorter than a tachi and intended for one-handed striking. As such, although the total cutting length of the blade is 72.3 cm with a depth of curvature of 1.7 cm, the tang (nakago) is significantly shorter than would be expected for a katana (about 1/3 being the usual rule of thumb). The forging pattern (hada) is flat-grained and the edge pattern (hamon) includes the famous “crab claw” motif. The edge pattern extends into the tip with a rounded return in the pattern. The blade itself has a deep groove (bohi) cut into it, rounded at the base of the blade (marudome).
Fittings
The fittings are an older set, including a green-speckled saya. The fuchi-kashira are made of a gold-copper alloy with a floral motif. The menuki depict Heian period umbreall attendants in shakudo, gold, and copper The tsuba is round and made of iron with a theme of flowers and clouds executed by being carved out of the blade.
The fittings are an older set, including a green-speckled saya. The fuchi-kashira are made of a gold-copper alloy with a floral motif. The menuki depict Heian period umbreall attendants in shakudo, gold, and copper The tsuba is round and made of iron with a theme of flowers and clouds executed by being carved out of the blade.
Nidai Masahiro
From the collection of Haiwen Chu
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Hizen was on the far western end of Kyushu in what is now Saga prefecture. The Hizen school was founded in the late Warring States period by Hashimoto Shinzaemon Tadayoshi who had studied with Umetada Myoju. The school was favored by the Nabeshima clan that ruled Hizen at the time. Tadayoshi eventually adopted his biological grandson, who initially signed his swords “Masanaga”. He was told by the Nabeshima that given his skill he should sign “Masahiro”, and so became the first generation of that name. Masahiro’s son was born in 1627 and initially signed “Masanaga” as well. Over the second generation Masahiro’s career, he was awarded imperial court titles including Musashi no Daijo (1660), Musashi no Kami (1661), and Kawachi no Kami (1665). Masahiro lived to the age of 73 and died in 1700. |
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Blade
The sword is of the typical cross-section for a katana (shinogi-zukuri) that includes a ridge on the side. The length (nagasa) of the blade portion is 71.1 centimeters (2.347 shaku) and its curve (torii-sori) is deepest in the middle of the blade, with a depth of 2.2 centimeters (0.73 sun). The blade tapers from a depth (motohaba) of 31 millimeters at its base to 21 millimeters at the beginning of the tip (sakihaba), while its thickness (kasane) tapers from 7.2 to 5.0 millimeters. The tip (kissaki) measures 34 millimeters in length and is round in shape (maru). The bare blade weighs 787 grams. The temper-line (hamon) has irregular, rounded peaks (gunome-midari). The forging pattern (hada) resembles the tight wood-grain of planks (koitame). The sword has double grooves (futatsuji-hi) carved on both sides of the blade. The signature consists of ten characters (肥前国河内守藤原正廣) and dates the blade to between 1665 and 1700. The last character in the signature is executed with strokes typical of the second-generation Masahiro. As is characteristic of Hizen swords, this signature is executed on the side that is typical for tachi (tachi mei) rather than katana, which is to say the side facing the wearer. |
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Fittings
The fittings are all modern reproductions in silver of little historical interest, with the exception of the iron tsuba. The tsuba is from the Edo period and is based upon a round shape (marugata). There are two cutouts representing cloud and waves. Carvings on the surface (omote) include waves, clouds, and a crescent moon. Both utility holes (hitsuana) are plugged with an alloy of gold and copper (shakudo). |
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Sagami no kami Fujiwara Kanetoki
From the collection of Bruce Mitchell
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Sagami no Kami Kanetoki was active during the Enpo period (1673-1681) and lived in Seki in the Mino province (now Gifu Prefecture). He worked in the Mino tradition and belongs to the Mino Shinto schools, descendants of the Sue-Seki tradition (the name Sue-Seki is applied to Mino swords produced during this period due to the prosperity of the town of Seki.) The work of the Shinto period schools is considered “dull” and not equal to swords produced during the Koto era, however the Mino smiths continued to be highly esteemed. Smiths from the Mino Shinto tradition moved throughout Japan and founded new Shinto schools in Owari, Yamashiro, Iwashiro, Kaga, Eichizen, Totomi, and Suruga provinces (The Connoisseur’s Book Of Japanese Swords by Kokan Nagayama [pg 252]). Mino province swords are famous for their sharpness, and the swords developed were noted for the emphasis on tactical use and functionality rather than aesthetic values ( The Connoisseur’s Book Of Japanese Swords by Kokan Nagayama [pg 217]). To this day Seki City remains a center of sword production. After the Meiji era (1868-1912) and the Haitorei Edict, issued by the Meiji government banning the carrying of swords, many of the Seki smiths applied their sword making skills to making objects for everyday use such as kitchen knives and scissors. These items are still produced in Seki and remain in high demand both inside and outside of Japan due to their reputation for excellence. |
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Blade
The sword is of the typical cross-section for a katana (shinogi-zukuri) that includes a ridge on the side with no bo-hi (grooves). The nagasa (length) of the blade portion is 2 shaku 5 sun 4 bu (76.9 cm). This is a beefy blade, the width at the motohaba (at the bottom of the blade) is 3.07cm, and at the yokote (line separating the body of the blade from the curved tip) is 2.42cm. The moto-kasane (thickness at the bottom of the blade) is 0.65cm, and the sakikasane (thickness at the yokote) is 0.52cm. The blade has shinogi (ridges) and has a shallow torii-sori (curve deepest at the middle of the blade), with a depth of 1.4 cm. The jihada (pattern of the surface grain of the steel) is a coarse mokume hada combined with o-hada (resembling the annual growth rings of a tree trunk). The tang of the blade (nakago) has two holes (mekugi-ana) with kengyo shape (sword shaped) to the nakagojiri (butt end of the tang). The nakago is signed Sagami no Kami Kanetoki 相模守藤原兼辰. The blade weighs 850 grams without furnishings (koshirae). The hamon is primarily o-notare.
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The nakago is signed Sagami no Kami Kanetoki -- 相模守藤原兼辰
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Details of the o-notare hamon of the blade
Fittings
The fittings are a modern set featuring peonies on the tsuba and water plants with turtle on the fuchi and kashira. The tsuka is wrapped with blue silk and has to menuki, also with peony theme. The habaki (sword collar)is silver with a simple raised pattern.
The fittings are a modern set featuring peonies on the tsuba and water plants with turtle on the fuchi and kashira. The tsuka is wrapped with blue silk and has to menuki, also with peony theme. The habaki (sword collar)is silver with a simple raised pattern.
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Muramatsu-shin Shigetsugu
From the collection of Greg T.
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The first Muramatsu-shin Shigetsugu was called Itagaki Shinnosuke. He made his swords in the province of Echigo around the late Edo period—specifically the Kaei (嘉永) between 1848–1854. He had his signatures such as: • 北越邑松臣源重次 • 村松臣重次 • 邑松臣重次謹作之 • 邑松臣重次作, etc. There are extant works dated 1830 and 1851 in addition to others. Shigetsugu II, whose name was Itagaki Zenzaemon, made his swords in Echigo around the Genji period (1864–1865). It is known from various inscription books that there is a sword with the inscription 重次. This work has a dated inscription from the first year of Keio (1865). The honesty and youthfulness of the work and inscription make it reasonable to consider it to have been made after the second generation assumed the name. If so, this work reveals that the second generation was also named Muramatsu-shin. It was registered in Niigata Prefecture in 1952 and was a local sword of the Muramatsu clan at the end of the Edo period. It was previously owned by a local sword collector in Echigo. |
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Blade
The sword form (shinogi-zukuri), with a length (nagasa) of 74.3cm (2.45 shaku). This blade width at the bottom (motohaba) is wide at 3.37cm. The spine thickness (moto-kasane) is also slightly thick at 0.74cm. The tang of the blade (nakago) has one hole (mekugi-ana). The blade has high ridges (shinogi-suji). It has an elegant taper (funbari).
The temper line (hamon) consists of small waves (ko-gunome) with orderly peaks (togari-gunome). The hamon in the tip (kissaki) of the blade (boshi) is small and round (ko-maru). There is evidence of small clove-shaped patterns (ko-choji) as well. There is also more activity in grain (jihada) of the blade, such as small “legs” (ko-ashi) and “leaves” (yo). The jihada of the blade is very active with many large crystalline structures (nie). It also fades nicely within the blade, changing to a cloudier crystalline structure (nio); a crystalline structure that resembles the Milky Way.
The nakago has signatures on both sides: omote, 慶応元年八月吉日and ura, 邑松臣重次作之.
The blade weighs 947g without furnishings (koshirae) and a whopping 1.22kg fully furnished!
The nakago has signatures on both sides: omote, 慶応元年八月吉日 and ura, 邑松臣重次作之
Details of the hamon and the activity in the steel.
Fittings
The fittings are original. The sword guard (tsuba) has two small knife openings/holes (hitsuana). There is a faint, but illegible signature on the tsuba. The tsuba is solid iron with a pine tree motif. Both hitsuana are filled with a gold-copper alloy mixture (shakudo). Unfortunately, one of the shakudo fillings is missing from it.
The sword grips (menuki) on the sword handle (tsuka) are gold and silver and are done in the motif of a lion-dog (shi-shi). The pommel (kashira) of the tsuka and top-cap (fuchi) are in the motif of a dragon. Both pieces are silver inlaid with elements of copper and gold.
The scabbard (saya) features a beautiful wood-grain pattern with a protective metal fitting on the end (kojiri).
The fittings are original. The sword guard (tsuba) has two small knife openings/holes (hitsuana). There is a faint, but illegible signature on the tsuba. The tsuba is solid iron with a pine tree motif. Both hitsuana are filled with a gold-copper alloy mixture (shakudo). Unfortunately, one of the shakudo fillings is missing from it.
The sword grips (menuki) on the sword handle (tsuka) are gold and silver and are done in the motif of a lion-dog (shi-shi). The pommel (kashira) of the tsuka and top-cap (fuchi) are in the motif of a dragon. Both pieces are silver inlaid with elements of copper and gold.
The scabbard (saya) features a beautiful wood-grain pattern with a protective metal fitting on the end (kojiri).
SUkekane
From the collection of Bruce Mitchell
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Bizen Osafune ju Yokoyama Sukekane* saku/ Keio 2 nen 2 gatsu bi Tomonari 58 generation grandchild (Keiō era, 慶応, historically 慶應, May 1865 to October 1868), also used “Sukekane Saku”, his real name was Yokoyama Kenji, adopted son of the14th generation Sukesada ( “Awa Sukesada Saku”), in the Bunkyū era (1861-1864, after Man'en era (万延) and before Genji era (元治)). *The signature is doubtful but someone, likely a pupil of Sukekane, may have handled the work. |
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Blade The sword is of the typical cross-section for a katana honzukuri, iori mune, chu kissaki and shallow torii-zori, that includes a shinogi (ridge) on the side with Marutome Hi (round, stopped grooves) appearing on both sides of the blade. The kitae (forging pattern) is itame hada (surface grain pattern resembling the annual rings of a cut tree) of jinie (Nie seen in the ji, composed of the same particles that make up the hamon.The nakago is ubu, sakikurijiri with katte sagari file marks and one hole, signed on the omote, “Bizen Osafune ju Yokoyama Sukekane” (備前長船住横山祐包). This is a beefy blade that is wide at both the base (with a motohaba 3.25 cm) and tip (with a sakihaba of 2.45 cm). The blade length is 76.4 cm (2 shaku 5 sun 2/1 rin), with a sori (curvature) of 2.0 cm (6/6 rin), The blade’s thickness tappers from the base (motokasane of 0.66 cm) to the tip (sakikasane of 0.56 cm). The bare blade weighs 830.5g. The hamon consists of choji midare and gunome with ashi, yo, copious konie, narrow bands of sunagashi, hotsure, tobiyaki and utsuri. The boshi is ko-maru (small circle) running from the yokote parallel to the kissaki. The top curves around and turns back towards the mune, describing an arc.
Fittings
Uchigatana koshirae with polished shark scabbard : Tsuba (iron base), simple iron fuchi and kashira. 
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The Japanese Sword
Please see these resources to learn more about the Japanese sword--nihonto (日本刀). It is very common for students in Suio Ryu to practice with nihonto. In addition to using nihonto, many practitioners of the tradition are avid collectors.
The Japanese Sword
Paul Martin is one of the world’s leading Japanese sword experts living in Tokyo, Japan. Paul is a former curator in the Department of Japanese Antiquities at the British Museum, London. He holds a Masters in Asian Studies from the University of California, Berkeley, and is currently a Trustee for the Nihonto Bunka Shinko Kyokai Public Foundation (NBSK). He also works closely with many sword institutions in Japan, including the Nihon Bijitsu Token Hozon Kyokai (NBTHK), providing specialist translations for books and exhibitions. He is a recognized specialist by the Japanese Ministry of Land, Infrastructure, Transport and Tourism (MLIT:観光庁), and has his own, regular column at JAPAN-Forward (Sankei Shinbun). Don't forget to subscribe to his material!
Paul Martin is one of the world’s leading Japanese sword experts living in Tokyo, Japan. Paul is a former curator in the Department of Japanese Antiquities at the British Museum, London. He holds a Masters in Asian Studies from the University of California, Berkeley, and is currently a Trustee for the Nihonto Bunka Shinko Kyokai Public Foundation (NBSK). He also works closely with many sword institutions in Japan, including the Nihon Bijitsu Token Hozon Kyokai (NBTHK), providing specialist translations for books and exhibitions. He is a recognized specialist by the Japanese Ministry of Land, Infrastructure, Transport and Tourism (MLIT:観光庁), and has his own, regular column at JAPAN-Forward (Sankei Shinbun). Don't forget to subscribe to his material!
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Other ways to engage with and learn from Paul:
• He hosts a fabulous Youtube channel that has excellent videos. Check it out! • He can also be found on Facebook: facebook.com/The.Japanese.Sword • Twitter: twitter.com/doubleosamurai • Instagram: instagram.com/thejapanesesword |
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The Northern California Japanese Sword Club (NCJSC)
The NCJSC is an all volunteer educational organization founded by John M. Yumoto (among others) in the early 1960's, and was incorporated as a nonprofit educational organization in June of 1976. Though based in California's San Francisco Bay Area, membership spans the United States and the world. Each August NCJSC hosts the annual San Francisco Token-Kai, recognized as one of the finest "Japanese Sword Shows" in the United States. Their newsletter "To-Ron" is published monthly and mailed to members approximately one week before meetings.
The NCJSC is an all volunteer educational organization founded by John M. Yumoto (among others) in the early 1960's, and was incorporated as a nonprofit educational organization in June of 1976. Though based in California's San Francisco Bay Area, membership spans the United States and the world. Each August NCJSC hosts the annual San Francisco Token-Kai, recognized as one of the finest "Japanese Sword Shows" in the United States. Their newsletter "To-Ron" is published monthly and mailed to members approximately one week before meetings.
Nihon Bijutsu Token Hozon Kyokai (NBTHK) – American Branch
The Nihon Bijutsu Token Hozon Kyokai (NBTHK), or the Society for the Preservation of Japanese Art Swords, was founded in Japan shortly after WWII and has existed since with the approval of the Japanese government. NBTHK is dedicated to preserving Japanese Art Swords and related items through study and research, educating students and enthusiasts of Japanese swords and sword fittings, while also supporting specialist craftsman in sword restoration and conservation trades. With the support and assistance of the NBTHK Home Office, an American Branch of the NBTHK was formally established in February of 2003 with the mission of providing opportunities for similar study and education in North America.
The Nihon Bijutsu Token Hozon Kyokai (NBTHK), or the Society for the Preservation of Japanese Art Swords, was founded in Japan shortly after WWII and has existed since with the approval of the Japanese government. NBTHK is dedicated to preserving Japanese Art Swords and related items through study and research, educating students and enthusiasts of Japanese swords and sword fittings, while also supporting specialist craftsman in sword restoration and conservation trades. With the support and assistance of the NBTHK Home Office, an American Branch of the NBTHK was formally established in February of 2003 with the mission of providing opportunities for similar study and education in North America.
The Japanese Sword Society of the United States
The JSSUS is recognized by the IRS as a charitable and educational organization for the appreciation and advanced study of the Japanese art sword and related fields of interest.
The JSSUS is recognized by the IRS as a charitable and educational organization for the appreciation and advanced study of the Japanese art sword and related fields of interest.
Japan Sword Preservation Society
The Japan Sword Preservation Society began in the spring of Meiji 43 (1910) when Takase Uko published "Swords and History" at the Hazawa Bunko in Tokyo. The organization exists to promote, study, and preserve the Japanese sword and related arts. It’s head office is in Meguro in Tokyo, Japan.
The Japan Sword Preservation Society began in the spring of Meiji 43 (1910) when Takase Uko published "Swords and History" at the Hazawa Bunko in Tokyo. The organization exists to promote, study, and preserve the Japanese sword and related arts. It’s head office is in Meguro in Tokyo, Japan.
The Japanese Sword Museum
The Japanese Sword Museum or Tōken hakubutsukan (刀剣博物館) situated in Tokyo, is a small museum dedicated to the art of Japanese swordmaking. It preserves and displays swords. It is operated by Nihon Bijutsu Token Hozon Kyokai (NBTHK, The Society for Preservation of Japanese Art Swords). The association's office is located inside the museum building. It is one of the few museums in Japan that specializes in Japanese swords. Works donated by sword enthusiasts are entrusted with storage and management.
The collection has about 190 items, including swords (mainly katana), tosogu (mountings), yoroi (armor) as well as documents of metal working and metalwork materials. Some of the swords have been designated and certified by the national government as national treasures, important cultural properties, and important art objects. There is a property, and works of each age and school are stored, centering on old masterpieces of the Heian, Kamakura, and northern and southern clans.
The Japanese Sword Museum or Tōken hakubutsukan (刀剣博物館) situated in Tokyo, is a small museum dedicated to the art of Japanese swordmaking. It preserves and displays swords. It is operated by Nihon Bijutsu Token Hozon Kyokai (NBTHK, The Society for Preservation of Japanese Art Swords). The association's office is located inside the museum building. It is one of the few museums in Japan that specializes in Japanese swords. Works donated by sword enthusiasts are entrusted with storage and management.
The collection has about 190 items, including swords (mainly katana), tosogu (mountings), yoroi (armor) as well as documents of metal working and metalwork materials. Some of the swords have been designated and certified by the national government as national treasures, important cultural properties, and important art objects. There is a property, and works of each age and school are stored, centering on old masterpieces of the Heian, Kamakura, and northern and southern clans.