Introduction of the sword from Wakedō Product number: K381120 Sign: Mumei Awataguti Certif: [N.B.T.H.K] Jyuyo Touken Scabbard inscription: Written by Mr. Homma Tōzan Size: Blade length 69.5 cm, Curvature 1.4 cm, Mekugi 2 Hole Country: Yamashiro Province Period: Early Kamakura Shape: Shinogi-zukuri, anvil ridge, slender, with width at the base and tip, a bit sturdy, with waist curvature, and a small tip Forging: Itame-hada with some mokume, showing a flowing texture in places, with a slightly thick ji-nuri and ji-utsuri Hamon: Fine straight blade style, small ko-mizukuri, mixed with small irregularities, with ashi and ha, a slightly deep nioi, small tempering, and generally fine hotsure, showing a mix of uchikake and chigai-ba style, with kin-tsuke and suna-nagashi, bright nioi Tip: The omote is straight, the ura has a slight curve, and both return to a small rounded tip. Carving: A groove is carved on the omote Center: Made of shin-bu, shallow kurijiri, with a downward file pattern White scabbard: Yes, written by Mr. Kunzan Honma Explanation In Yamashiro Province, the existence of old Kyoto swords from the late Heian period to the early Kamakura period, such as the Sanjō and Gojō schools, is known, but afterward, from the early to mid-Kamakura period, the Awataguchi school rose to prominence. During the mid-Kamakura to the Nanboku-chō period, the Rai school flourished. The Awataguchi school is famously represented by the six brothers Kuniyuki, Kuniyasu, Kuniyoshi, Arikuni, Kunitsuna, and Kunisada, who were known for their exceptional skills. They continued to produce renowned craftsmen such as Norikuni, Kuniyoshi, Kunimitsu, and Yoshimitsu, and their style has long been praised as "with a blue iron color and white blade." This sword is slender with waist curvature, presenting an ancient form with a small tip. The forging shows an itame-hada with mixed mokume, a slightly thick ji-nuri, with ji-utsuri vividly standing out, and the hamon features a straight blade style mixed with small ko-mizukuri and small irregularities, showing the characteristics of the Awataguchi school. The well-tempered, high-quality steel, combined with the brightness of the ji, results in a graceful appearance, and the groove carved into the waist shows an antique quality. Furthermore, the original state of this sword from its time is very rare, with the tempering still remaining, making it highly valuable and a sight to behold.

Introduction of Tsuba from Wakeido Item Number: E381101 Title: Enso Shidare Sakura Zu Tsuba Signature: Mumei Hikozo Certification: [N.B.T.H.K.] Jyuyo Tousougu Size: Length 80mm Width 77mm Thickness 5mm Period: Last of Muromachi to First of Edo School: Higo Hirata Description During the Sengoku period in Higo Province, Hosokawa Sansai, the lord of the Hosokawa clan, was a cultured individual who excelled in arts such as tea and poetry, having a deep connection with Sen no Rikyū. Under his guidance, the Higo style and Higo tsuba emerged, shining brightly in the world of sword fittings and captivating many enthusiasts. Among Higo, the four families of Hirata, Lin, Nishigaki, and Shimizu formed four branches, all serving the lord and prospering until the end of the Edo period. The Hirata family of Higo is of the Shōami lineage, with the first Hikozo serving Hosokawa Sansai in Kyoto. Following the relocation of the family, he moved to Kumamoto, where he passed away in the twelfth year of Kaei. From his disciples, Shimizu Jingo and Nishigaki Kanshirō emerged, forming the four major schools of Higo metalwork along with Lin Matachi of the Owari lineage. Technically, they inherited much of the Shōami tradition, utilizing materials such as iron, but often favoring colored metals like Yamadō, brass, and copper, adding elegant decorative features such as inlay work and Amida rasps. This piece features a harmonious blend of rich iron and gold inlay depicting weeping cherry blossoms. Overall, it exudes a high level of elegance, combining an ancient charm with practicality, making it a prime example of Hikozo craftsmanship.

Introduction of Futatokoro from Wakeido Item Number: F381104 Title: Awaho zu Futatokoro Signature: Issai Toumei (kao) Certification: [N.B.T.H.K.] Tokubetsuhozon Tousougu Dimensions: Kozuka Length 97.5mm Width 15mm Kougai Length 167mm Width 10mm Period: Last of Edo School: Goto Ichijyo School Description: Araki Toumei is a renowned craftsman of the Goto Ichijyo school. He was born in Kyoto in the 14th year of the Bunka era. At the age of thirteen, he became a disciple of Goto Toujō, receiving the character 'Tou' and adopting the name Toumei. Later, he studied under Goto Ichijō, receiving the title of Issai and signing as Issai Toumei, also known as Ginshōtei. Toumei's depiction of millet is his most adept design and has become synonymous with his name. The sharpness of the chiseling beautifully expresses the ripened millet, showcasing a unique worldview in which his carving technique stands unparalleled.

Introduction of Kozuka from Wakedo Item Number: K381102 Title: Taketora zu Kozuka Signature: Somin (Kao) Certification: [N.B.T.H.K.] Tokubetsu Hozon Tousougu Dimensions: Length 96.3mm Width 14.5mm Period: Middle of Edo School: Yokoya school Description Yokoya Somin was a renowned craftsman representing the Edo Period and is considered the founder of a group known as Machibori, which served the Goto family. He produced many branches, including Yanagawa, Ishiguro, and Omori schools, shaping Edo metalwork. Somin was born in the 10th year of the Kanbun era, known as Nagajiro, and later changed his name to Jibei. He initially signed as Souchi but adopted the name Somin around the 7th year of Genroku after his father's death. Somin studied the painting style of the famous Kanō school and incorporated it into his metal engraving techniques. In addition to the traditional high relief style, he established a new realm known as Katakiri-bori. This engraving technique from the Yokoya school received great admiration and had a significant impact on the future of metalwork. This piece is an exquisite example of Katakiri-bori, creating a sensation akin to viewing a hanging scroll. It features Somin's specialty, the Taketora (bamboo tiger) design, characterized by the tiger's charming expression and skillful execution, all depicted through Katakiri-bori. The strength and subtlety of the chiseling are remarkable, truly showcasing a master craftsman.

Introduction of the sword from Wakedo Model Number: K381002 Sign: Satsuma Kanko Chichibu Matsuyo Taira Masayoshi Tenmei 5 nen mi 8gatsu Certif: [N.B.T.H.K] Jyuyo Touken Size: Blade length 86.5 cm, Curvature 2.1 cm, Mekugi 2 Hole Country: Satsuma Period: AD 1785 Shape: Shinogi-zukuri, An-tō, wide body, little difference between the base and tip, thick kasane, long length, deep curvature, shallow curvature in the upper half, with a delicate tip Forge: It has a grain pattern with mixed wood grain and flowing skin, with a prominent surface, thick ground, and frequent patterns in the ground Hamon: Notare style with mixed gunome and pointed gunome, well-defined, deep nioi, thick nie, prominent rough nie, and active edge with frequent kinsu, waku, and sunadashi Boshi: Irregular, tapering to a point Nakago: Unsigned, tapering towards the tip, with a rising file pattern Shira-saya: Present Explanation: 　Hōki no Kami Masayuki was the son of the second generation of Ijichi Masayoshi, born in the 18th year of Kyōhō, and took on the name Masayoshi as the third generation. In the first year of Kansei, he received the title Hōki no Kami at the same time as Oku Motohei, passing the name Masayoshi to his legitimate son and changing his own name to Masayuki. He passed away at the age of 86 in the first year of Bunkyū. Masayuki demonstrated superior skills compared to his ancestors, earning a high reputation, and along with Oku Motohei, he is regarded as a leading figure among Satsuma new swordsmiths. Masayuki's works are characterized by a wide body, long length, thick kasane, and generally sturdy construction, with a hamon featuring notare with mixed gunome and pointed gunome, deep nioi, prominent rough nie, and frequent kinsu and sunadashi, reflecting the style of the Sōshū tradition, especially emulating the Shizu school. This work features a steel body with mixed wood grain and flowing skin, resulting in a prominent surface, thick ground, and frequent patterns in the ground. The hamon is notare style with mixed gunome and pointed gunome, with active edges, well-defined, deep nioi, prominent rough nie, and frequent kinsu, nie, and sunadashi, showcasing a typical and outstanding creation of Hōki no Kami Masayuki. Satsuma new swords and new new swords are often robustly constructed with a wide body and heavy feel due to the influence of the Shigen-ryū style, and Masayuki is particularly known for his impressive works. However, there are no comparable examples of such a long and heavy work as this one, and the frequent patterns in the ground are stronger than usual, with the grandeur of the prominent rough nie being exceptional. This should be regarded as a grand work of Hōki no Kami Masayuki's lifetime.

Introduction of the sword from Wakedo Item Number: K381001 Sign: Hizennokuni Oumidaizyo Fujiwara Tadahiro dokoku jyunin Mutsunokami Tadayoshi Certif: [N.B.T.H.K] Jyuyo Touken Size: Blade length 73.9 cm Curvature 2.2 cm Mekugi 1 Hole Country: Hizen Period: First Edo Period Shape: Shinogi-zukuri, an inclined ridge, body width, thickness, with a slightly deep curvature, and a middle cut tip Forging: The surface has a fine wood grain, resulting in a steel texture referred to as 'kome-nuka', with fine ji-nuri Hamon: Straight with shallow undulations, with a small habuchi that appears bright and clear Boshi: Turns into a small maru immediately Tang: Unrefined, pointed sword shape, with a file pattern on the top Shirasaya: Present Description: Omi Daijo Tadahiro and Mutsu no Kami Tadayoshi were swordsmiths of the Hizen, Nabeshima Domain, belonging to the second and third generations of the Hizen swordsmith lineage. The second generation Omi Daijo Tadahiro was the son of the first generation Tadayoshi, and at the age of nineteen, he became the second head of the family after his father Tadayoshi passed away in the ninth year of the Kan'ei era, receiving the title of Omi Daijo in the eighteenth year of the Kan'ei era. He left behind many excellent works until his death in the sixth year of the Genroku era. The third generation Mutsu no Kami Tadayoshi was the son of Omi Daijo Tadahiro, receiving the title of Mutsu Daijo in the third year of the Manji era, and becoming Mutsu no Kami in the first year of the Kanbun era. Due to their long lives, the second generation outlived their father. The short period of sword-making and the brief time spent on works during his father's era resulted in an extremely low number of pieces. However, he was known for his exceptional handling of steel, demonstrating extraordinary talent, earning the title of the third generation Mutsu. This piece is a collaboration between the second generation Omi Daijo and the third generation Mutsu no Kami, with both the ji and ha being of excellent quality, making it a masterpiece. Although there are few works from the third generation, collaborations are even rarer and hold high documentary value.

Event Information "Exhibition of Famous Swords from the Five Traditions" Phase 2: Soshu and Mino Traditions will be held at the Honnoji Daiho-den Treasure Museum from Saturday, September 12, 2026, to Sunday, February 14, 2027. We hope you will visit. The second phase will feature the Soshu and Mino traditions, showcasing famous swords such as Kunitsuna (Awataguchi), Kunimitsu(Shintogo), Masamune, Nanatsudō Kanefusa, and Magoroku Kanemoto. "Exhibition of Famous Swords from the Five Traditions" Sword Exhibition List 【Soshu Tradition】 Tachi Kunitsuna (Awataguchi) Dagger Kunimitsu (Shintogo) Sword Kin Zōganmei Yukimitsu Dagger Masamune Sword Soshu-jū Ise Daijyō Tsunahiro Kanbun 7th Year March Good Day 【Mino Tradition】 Sword Kanefusa Kin Zōgan Nanatsudō Otoshi Enpō 9th Year February 28th Cut by Nakanishi Jūrōbe Yoshimitsu Sword Kanemoto (Magoroku) Sword Wakasa no Kami Ujifusa Genki 3rd Year February Day Sword Kanetsune saku Wakizashi Kanetsuna Venue: Honnoji Daiho-den Treasure Museum Address: 522 Shimohonnojimaecho, Teramachi Street, Nakagyo Ward, Kyoto City, Kyoto Prefecture Exhibition Period: Saturday, February 21, 2026, to Sunday, September 6, 2026 Closed: New Year holidays and exhibition change days Opening Hours: 9:00 AM to 5:00 PM (last admission by 4:30 PM) Admission Fee: General: 700 yen, Middle and High School Students: 500 yen, Elementary School Students: 300 yen School Trip Students: 300 yen, Persons with Disabilities: 300 yen Hotel Honnoji Users: 500 yen, Groups (30 or more): 600 yen https://nihontonobi.jimdosite.com//

Introduction of the sword from Wakedo Model Number K380911 Sign Mumei Naoe Shizu Certif [N.B.T.H.K] Tokubetsu Hozon Touken Scabbard Document Sato Kanzan Size Blade length 74.3 cm Curvature 1.35 cm Mekugi 1 Hole Country Mino Period Nanbokucho Shape Shinogi-zukuri, Iori-mune, body width, thickness balance, with curvature, and a lively tip. Forging It features itame-hada and o-hada, with a visible surface pattern Hamon Gunome midare with a slightly drooping pattern, featuring ashi, and a flowing grain in the hamon, with gold lines present. Boshi Irregular with a sweeping tip, resembling flames. Tang O-suriage, with a pointed end Explanation In the region of Naoe in Mino Province, Kaneuji, counted among the ten great masters of Masamune, settled and his faction flourished. Later, his disciples Kanetomo, Kanetsugu, Kaneshige, and Kanenobu relocated to Naoe, where they continued to forge swords. Thus, the group of swordsmiths from this lineage is collectively referred to as Naoe Shizu.

Introduction of the sword from Wakeido Item number K380911 Sign Wakasanokami Fujiwara Ujifusa Certification N.B.T.H.K Tokubetsu Hozon Touken(Special Preservation Sword) Size Blade length 74.3 cm Curvature 1.35 cm Mekugi hole 1 Width at the base 30.7 mm Width at the tip 23 mm Thickness at the base 7.6 mm Country Owari Province Period Late Muromachi period, around Tensho Shape Shinogi-zukuri, with an anmune, body width, and thickness slightly curved, with a rounded tip Forging Well-formed itame-hada, with bright steel and fine ji-nuri Hamon Irregular choji midare with five patterns, with a strong nioi and bright nioi-guchi Boshi Irregular, rounded tip with a sweeping curve Tang Unfinished, slightly raised at the edge, with cross-cut file marks Shirasaya Yes Explanation Wakasanokami Ujifusa, initially known as Kanefusa, was the son of Kanefusa from Seki. He was invited to the provincial capital by Imagawa Ujizane to forge swords and was permitted to use the character 'Uji' in his name, becoming Ujifusa. He received the title of Wakasanokami in the 13th year of Eiroku and was active during the Genki and Tensho periods. Later, he moved to Owari and became a central figure in Owari swordsmithing along with his eldest son, Hida no Kami Ujifusa. His style features choji blades with a nioi finish and strong nioi, as well as those with mixed patterns. This piece exemplifies the former, showcasing a beautifully forged choji blade with a nioi finish, making it a masterpiece of Wakasanokami.

Introduction of Kozuka from Wakeido Item Number K380910 Title Hai ryu zu Kozuka Signature Mumei Eijyo Certification [N.B.T.H.K.] Jyuyo Tousougu (Attached) Enkyo 2nd year, two gold coins, five ryo, Mitsutaka Origami Size Length 97mm Width 14mm Period Momoyama School Goto 6th Explanation Eijyo, the sixth generation of the Goto family, was the legitimate son of the fifth generation, Tokunori, born in the fifth year of Tensho. His childhood name was Kameichi, his common name was Genshirō, and his given name was Masahiro. At the age of eighteen, in the third year of Bunroku, he succeeded the family head and changed his name to Shirōbei Masamitsu, becoming the sixth generation of the family. He served Toyotomi Hideyoshi alongside his father and ancestors from a young age, but became a ronin after the fall of the Toyotomi clan. In the second year of Genwa, recommended by his uncle Naganori, he began serving the Tokugawa family, appointed by Shogun Hidetada to roles involving weights, large coins, and carving, and was granted 250 koku of his former territory in Yamashiro Province and a stipend for twenty retainers in Edo, but died of illness at the young age of forty-one in the following third year of Genwa. Eijyo's style is said to resemble that of Norimasa, often being somewhat larger, but the craftsmanship is generally more delicate than that of Norimasa. This piece features a flowing dragon in gold patterns over a background of goldfish. The dragon is elegant and dignified, reflecting the characteristics of the Goto family during the Momoyama period, particularly associated with Eijyo, and the attached confirmation from the thirteenth generation Mitsutaka is acknowledged. Overall, it is a splendid piece that showcases the unique charm of Eijyo.

Introduction of Menuki from Wakedo Item Number: M380905 Title: Botan zu Menuki Signature: Mumei, Mito Certification: [N.B.T.H.K.] Hozon Tousougu Dimensions: Left: Height 25.2mm, Width 22.5mm Right: Height 25.2mm, Width 22.5mm Weight: 22g (combined) Period: Late Edo School: Mito Description Mito is one of the Tokugawa Gosanke and a castle town. Here, a group known as Mito metalworkers flourished, forming the Mito carving style and producing many famous artisans such as Yuan Fu, Ichiryu Tomoyoshi, Mikawa Yoshihisa, Hiroyoshi Uchikoshi, and Hagiya Katsuhira. This piece is a menuki of peony made of pure gold, characterized by its large, three-dimensional form and excellent craftsmanship.

Introduction of Fuchikashira from Wakedo Item Number: F380904 Title: Ebi zu Fuchikashira Maker: Sominsai Tokinari (kao) Certification: N.B.T.H.K. Hozon Tousougu Dimensions: Fuchikashira Height 38.5mm, Width 22.5mm, Thickness 14mm Head Height 34mm, Width 16.5mm Period: Late Edo Period School: Omori School Description Arai Tatsujiro was a disciple of Omori Terutoki and excelled in high carving of the Yokoya-style red-copper fish. The Omori School is a prestigious lineage in the Yokoya style, alongside the Ishiguro and Yanagawa schools, founded by Eisho, who trained under Yokoya Somin, and flourished with the second generation, Omori Teruhide. Many disciples emerged from this lineage, including Tatsujiro. This piece also features a high carving of an Ise lobster on a Yokoya-style red-copper fish base, showcasing impressive power and high skill.

Introduction of Kozuka from Wakedō Item Number: K380903 Title: Oyako Kohyo Zu Kozuka Signature: Mon Teijō Mitsuyoshi (kao) Certification: [N.B.T.H.K.] Hozon Tousougu Dimensions: Length 97mm, Width 14.5mm Size: Length 97mm, Width 14.5mm Period: Early Edo Period School: Goto 9th Description Gotō Teijō Mitsumasa, the ninth generation of the Gotō family, was born in the eighth year of Keichō (1603) as the legitimate son of the seventh generation Kenjō. He was known in his youth as Toraichi and Minamoto Ichirō, later adopting the name Rihei. He served the Kaga Maeda clan and worked on both the metalwork and financial aspects of the clan, contributing to the development of the Kaga Gotō School. After the death of the eighth generation Sokujo, his son the tenth generation Renjō was still young, so Teijō became the ninth generation and served as Renjō's guardian, a position similar to that of his father Kenjō. This piece is a Kozuka with a tiger and leopard motif crafted by Teijō and perfected by the fifteenth generation Mitsuyoshi of the Gotō family. As expected from Teijō, the work on the tiger and leopard is meticulous, showcasing excellent chiseling techniques.

Introduction of Tsuba from Wakedo Model Number: T380801 Title: Ryugu Shisya zu Tsuba Signature: Syo yo ken Mitsutoshi Nobukatsu Certification: [N.B.T.H.K.] Hozon Tousougu Dimensions: Length 71mm, Width 68mm, Thickness 4.1mm Period: Late Edo School: Yagami school Description Mitsutoshi Nobukatsu of the Yagami school is the younger brother of the first Hizen Yagami Mitsuhiro. He traveled extensively and became a disciple of Nanjo Toshiyuki's family in Edo, marrying Yoshiko, the daughter of the Miyamoto family. After the death of his elder brother, he returned to Hizen Yagami, took over the family business, and adopted the name Naganosuke, becoming the second Mitsuhiro. The Yagami school specializes in iron tsuba and is known for its skill in depicting monkeys, but this piece features intricate high-relief color inlays with a design of the messenger from the Dragon Palace, showcasing meticulous craftsmanship and high skill. Nanjo Toshiyuki became part of the Hamano school, so this remarkable work can indeed be said to be a masterpiece by the second Mitsuhiro, who trained in the Hamano style in Edo.

Introduction of Fuchikashira from Wakedo Item Number: F380801 Title: Hinode Hansen zu Fuchikashira Signature: Hidetoshi (kao) Certification: N.B.T.H.K. Hozon Tousougu Dimensions: Fuchikashira - Height 38mm, Width 22.5mm, Height of Waist 13.4mm Head - Height 33mm, Width 16.5mm Period: Late Edo Period School: Omori School Explanation The Omori School is a prestigious school alongside the Ishiguro and Yanagawa schools within the Yokotani lineage, founded by Eishou who trained under Yokoya Somin, and it flourished with the second generation, Hidetoshi. Hidetoshi Omori was born in Sendai and became a disciple of Hidetoshi Omori. He was the son of Ichigyokusai Eichi and adopted the name Eichi for the second generation, but received the character 'Hidetoshi' from Hidetoshi, changing his name to Hidetoshi. He is a skilled craftsman specializing in dragon and lion motifs in the Omori style. This piece also features Yokotani-style sand inlay, showcasing the characteristic craftsmanship of the Omori School.

Introduction of the Tsuba from Wakeido Product Number: T380710 Title: Wave Tsuba Signature: Gazan Hidetsugu (kao) Certification: [N.B.T.H.K.] Hozon Tousougu Dimensions: Length 70mm, Width 65.5mm, Thickness 4.5mm Period: Late Edo School: Ohmori school Description Gazan Hidetsugu learned from Mito Kinko in the Ohmori school, with notable students such as Eino and Eiryuu. He specializes in the wave design of the Ohmori-ryu, and this piece is a typical example of his work. The waves are depicted with golden splashes, showcasing meticulous craftsmanship and high quality.

Introduction of Tsuba from Wakeido Model Number: T380709 Title: Setsurin baijyu karigane sukashi Tsuba Signature: Mumei Daigoro Certification: N.B.T.H.K. Hozon Tousougu Size: Length 84.8mm Width 84.4mm Thickness 3mm Period: Middle of Edo School: Kyo Sukashi Explanation Kyo Sukashi refers to the ground-sukashi tsuba made in Yamashiro Province, famous alongside Owari, Kanayama, and Akasaka tsuba. Similar to other sukashi tsuba, the technique is believed to have developed in the late Muromachi period, and during the Edo period, Kyo tsuba contrasts with the robust and powerful construction of Owari tsuba, being elegant and delicate. The patterns are refined and sophisticated, reflecting the culture of Kyoto. Among them, the tsuba handled by the tsuba merchant, Daimonji Gorobei, during the middle of the Edo period are particularly well-crafted and refined, collectively known as Daigoro tsuba.

Introduction of Tsuba from Wakedo Item Number: T380708 Title: Monsyosei zu Tsuba Sign: Gyoku ryu ken Nobukatsu Certification: N.B.T.H.K. Hozon Tousougu Size: Length 67.5mm, Width 61mm, Thickness 3mm Period: Late Edo School: Iwama school Explanation The Iwama school, founded by Masayoshi Iwama, has produced many skilled craftsmen such as Shinsui, Shinro, Shangluo, and Nobukatsu. Since Masayoshi Iwama studied under Naoyuki Hamano, the Iwama school left behind magnificent works characterized by the high carving of the Hamano style, producing many excellent pieces. This piece also features high relief inlay and color painting typical of the Hamano style, showcasing fine craftsmanship. The diagram of Monsyosei (also known as Bunshousei) The four stars of the ladle-shaped part formed from the first star of the Big Dipper, Kaisei, are deified as Tokai in China, revered as the god of high-ranking officials and success in the imperial examination. The character for 'kai' (demon) is composed of the characters for 'oni' and 'to' (ladle), depicted as a dancing deity holding a brush in the right hand and a ladle in the left. Bunshousei shines as the six stars next to Tokai, and together they are considered the gods of literature. These concepts were transmitted from China, and in Japan, they were regarded as deities bringing peace and prosperity, often depicted with a shachi (mythical creature).

Introduction of Tsuba from Wakeido Item Number: E380707 Title: Tsuki ni Hototogisu zu Tsuba Signature: Tokuoki (Shinoyama Tokuoki) Certification: N.B.T.H.K. Tokubetsu Hozon Tousougu Dimensions: Length 75.8mm, Width 69.7mm, Thickness 2.8mm Period: Late Edo School: Ohtsuki school Description The Ohtsuki school represents the Kyoto metalworkers and is founded by Ohtsuki Mitsukō, producing notable artisans such as Hidekō, Ōki, Hidekuni, Tokuoki, and Gessan. Shinoyama Tokuoki entered the school of Kawahara Hayashi Hidekuni, and in the second year of the Bunkyū era, he was commissioned by the House of Tokugawa to engrave the fittings of the shogun's sword. Due to his achievements, he was granted the title of Ōsumi Daijō, and the following year, in the third year of Bunkyū, he was awarded the title of Ikkyōsai for engraving the fittings of a short sword for Emperor Kōmei. He is a distinguished craftsman representing the Ohtsuki school. The tsuba depicting the cuckoo in the moon exhibits a refined use of space, showcasing remarkable inlay work with a design of hidden clouds, which is truly elegant.

Introduction of the Tsuba from Wakeido Item Number: E380705 Title: Tsuba with Design of a Dragon Over Mount Fuji Signature: Unsigned, Toryusai School Certification: The Association for the Preservation of Japanese Art Swords, Special Preservation Sword Fittings Dimensions: Height 76mm, Width 69mm, Thickness of the Seppa 2.5mm Era: Late Edo Period School: Toryusai School Description 　The Toryusai School was founded by Kiyotoshi Tanaka, who was born in the first year of the Bunka era and is known to have been connected with Haruaki Hōgen. The school developed a clever style known as Toryusai, training many disciples including Jūrō, Jūko, and Jūkei. 　This piece is distinctly Toryusai in style, showcasing a refined depiction of the dragon over Mount Fuji.

Introduction of Tsuba from Wakedo Item Number: T380703 Title: Haryu zu Tsuba Signature: Seisendo Kashino Naonobu (kao) Certification: [N.B.T.H.K.] Tokubetsu Hozon Tousougu Dimensions: Length 86.5mm, Width 81.5mm, Thickness 4.8mm Period: Late Edo School: Hamano, Oguri Yoshinao school Description Kashino Naonobu was a disciple of Oguri Yoshinao from the Hamano school. Since Kashiwazaki in Echigo Province was under the domain of Kuwana Han, he became a court goldsmith for the Matsudaira family. Known as Seisendo, he was a skilled craftsman. The raised high-relief dragon in this piece is magnificent, showcasing excellent iron quality.

Introduction of the tsuba from Wakeido Item Number: T380702 Title: Mouko zu Tsuba Signature: Kingyokudo myochin Hirosada (kao) Certification: [N.B.T.H.K.] Tokubetsu Hozon Tousougu Size: Length 72.7mm Width 65.5mm Thickness 4.5mm Period: Late Edo AD 1830–1860 School: Mito kinko Uchikoshi school Description Mito is one of the Tokugawa Gosanke and a castle town with a production of 350,000 koku. Here, a group known as Mito kinko flourished, forming the Mito carving style and producing numerous master craftsmen such as Motosuke, Ichiryu Tomoyoshi, Mikuru Tamagawa, Uchikoshi Hirosada, and Hagiya Katsuhira. Uchikoshi Hirosada is the foremost disciple of Hirosu and is known as Kingyokudo and Shugen-sai. He is skilled in high relief carvings of figures and plants, showcasing exceptional craftsmanship. This piece features a magnificent high relief of a fierce tiger on a quarter plate, and the carving of the river on the reverse side also demonstrates remarkable skill.

Introduction of Tsuba from Wakedō Item Number: E380701 Title: Ohsyukubai Tsuba Signature: Hohshinsai Toshikage Ganji koushi ki aki (kao) AD1864 Certification: [N.B.T.H.K.] Hozon Tousougu Dimensions: Length 66mm Width 58.5mm Thickness 2.5mm Period: AD1864 School: Touryusai school Explanation The Touryusai school was founded by Kiyotoshi Tanaka, who was born in the first year of the Bunka era and was known to have connections with Haruaki Hōgen. The school developed a clever style known as the Touryusai style, training many disciples, including Toshikage, Toshimune, and Toshimura. Toshikage, also known as Matsugorō Morikawa, used the names Hohshinsai and Hōmei-sai, creating animal and plant designs in the Touryusai style. His skills were high, and he was a fine craftsman of the Touryusai school. This piece is a tsuba depicting the Ohsyukubai (plum tree) in the Touryusai style, featuring a silver inlay with a carved design on the back, which is very characteristic of the Touryusai style. It showcases the craftsmanship of Toshikage and is a remarkable piece with significant age. Ohsyukubai During the reign of Emperor Murakami, the emperor ordered a magnificent plum tree from the residence of Ki no Tsurayuki's daughter because the plum tree in Seiryōden had withered. The daughter replied with a poem, saying, "If it is the emperor's command, I will gladly offer it, but what should I say if the nightingale that visits every year asks, 'Where is my home?'" The emperor was moved by this elegant response and returned the plum tree to its original garden.

Introduction to Tsuba from Wakeido Item Number E380612 Title Kabu Sukashi Tsuba Sign Mumei Yagyu Certification [N.B.T.H.K.] Hozon Tousougu Size Length 68mm Width 62mm Thickness 5.5mm Period First to middle of Edo School Yagyu Description Yagyu Tsuba is said to have been produced under the guidance of Yagyu Ren'ya Saiken, who served as the instructor to Tokugawa Mitsutomo, the second lord of the Owari domain. It is said that only those who were taught the essence of the Yagyu Shinkage-ryu received this tsuba, making it highly sought after by samurai of the Owari domain during the Edo period. The motifs often suggest martial arts, and the shape is slightly smaller with a thicker layering. The iron texture tends to be somewhat rough, featuring angular ears with patterned iron bones. This piece is also compact with thick layering, displaying layers at the ears, exemplifying the typical Yagyu Tsuba.

Introduction of Tsuba from Wakeido Item Number: T380603 Title: Musashino zu sukashi Tsuba Signature: Mumei, 2nd Akasaka Tadamasa Certification: N.B.T.H.K. Special Important Sword Fittings Dimensions: Length 80mm, Width 78mm, Thickness 5.5mm Period: Early Edo Description Akasaka Tsuba craftsmen are said to have migrated from Kyoto in the early Edo period, and the name comes from their settlement in Akasaka, Edo. They are renowned as iron tsuba craftsmen alongside those from Kyoto, Owari, and Higo, with all of the top three generations in early Edo being unsigned. This piece is attributed to the 2nd Akasaka Tadamasa, featuring a design of thick blades of susuki (pampas grass) adorned with dew and a moon, known as the Musashino design. The round shape is crafted with susuki and dew as openwork, and a crescent moon is intricately depicted on the left edge, showcasing a masterful composition of yin and yang, with a refined carving that avoids unnecessary bulk. The ironwork and rust color are excellent, and the pointed thickness at the top and the small size of the kogai hole stand out against the larger size of the other holes. The layering of iron, said to be three layers, is also well represented in the ears, highlighting the characteristics of ancient Akasaka. Important designated pieces from ancient Akasaka are scarce and precious.

Introduction of the Wakizashi from Wakedo Model Number: W380610 Inscription: Mumei Yoshioka Ichimonji Sign: Mumei Yoshioka Ichimonji Certification: Japan Sword Preservation Association, Important Sword Certif: [N.B.T.H.K] Jyuyo Touken Dimensions: Blade length 1 shaku 5 sun 8 bu (47.9 cm), Curvature 1.2 cm, 3 Mekugi holes, 2 filled, Width at the base 2.9 mm, Width at the tip 2.55 mm Size: Blade length 47.9 cm, Curvature 1.2 cm, Mekugi 3 Hole Country: Bizen Province Country: Bizen Period: Nanbokuchyo Period: Nanbokuchyo Shape: Shinogi-zukuri, Anmune, Wide body with a delicate tip. Shallow curvature Forging: Well-textured itame, flowing grain, with a lively appearance. Hamon: Choji midare, vibrant, with gunome, pointed edge, and small downward curves, with lively ashi and ha. The nioi-guchi is tight. Boshi: Irregular, slightly returning in a yakitsume style. Nakago: O-suriage, Kurijiri tip, with a file mark at an angle. Shirasaya: Yes Description This wakizashi is attributed to the Yoshioka Ichimonji school from the Nanbokuchyo period. Its wide body and delicate tip construction are characteristic of this era. The lively hada with a flowing appearance and the choji midare with gunome and pointed edges showcase the features of this school. Both the ji and ha are in good condition and well-crafted.

Introduction of a Wakizashi from Wakedo Inscription: Inoue Shinkai (Kikumon) Kanbun 13th year, August Sign: Inoue Shinkai (kikumon) Kanbun 13 nen 8 gatsuhi Certification: Special Preservation Sword by the Nihon Token Hozon Kyokai Certif [N.B.T.H.K] Tokubetsu Hozon Touken Dimensions: Length 1 shaku 5 sun 5 bu (47 cm), Curvature 1.2 cm, Mekugi hole 1, Width at the base 30.3 mm, Width at the tip 21.5 mm, Weight at the base 6.5 mm Size: Blade length 46 cm, Curvature 0.8 cm, Mekugi 1 Hole Country: Settsu Province Country: Settu Period: Mid Edo, Kanbun 13th year Period: Mid of Edo AD 1673 Shape: Shinogi-zukuri, an elevated ridge, with a slight curvature, showing a difference in width between the base and the tip. Forging: Well-packed itame-hada, slightly standing grain, with a thin layer of ji-nuri. Hamon: A wave-like straight edge with mixed gunome, featuring tobiyaki and a bright, deep nioi. Boshi: Beautifully rounded Carving: The front features a lotus pedestal and the back has a dokko sword Tsuba: Unpolished, with a raised point and a decorative file finish. Shirasaya: Yes Explanation During the Shin-to period, Inoue Shinkai was recognized as one of the top swordsmiths alongside Tsuda Echizen-no-kami Sukehira, receiving the highest accolades for new swords. The second generation Kunisada, Inoue Shinkai was the second son of the first Izumi no Kami Kunisada. Initially, he was named Izumi no Kami Kunisada like his father, and after being granted permission to use the kikumon by the court in the 4th year of Manji, he began to call himself Inoue Izumi no Kami Kunisada. Later, in the 12th year of Kanbun, he changed his name to Inoue Shinkai. Shinkai was a superior craftsman compared to his father, producing waves of nioi and displaying remarkable vitality and clarity, earning him a high reputation alongside other top swordsmiths of the new sword era, such as Tsuda Echizen-no-kami Sukehira and Nagasone Kotetsu, eventually being referred to as Osaka Masamune. This piece is a wakizashi inscribed by Shinkai in the 13th year of Kanbun, recognized as a top-quality work from the new sword era and celebrated as one of the best.

Introduction of Japanese Swords from Wakedo Inscription: Made by Akitsugu Amata (Living National Treasure) Heisei 15, Yayoi Kichijitsu Sign: Akitsugu Amata korewo tsukuru (living national treasure) Heisei 15 (AD 2003) Yayoi (March) Kichijitsu Box: With original box Dimensions: Blade length 2 shaku 4 sun 5 bu (74.5 cm), curvature 2.4 cm, mekugi hole 1 Width at the base: 32.5 mm, width at the tip: 24 mm, thickness at the base: 8 mm Size: Blade length 74.5 cm, curvature 2.4 mm, mekugi 1 hole Country: Echigo Province Period: Heisei 15 Shape: Shinogi-zukuri, an-tō, body width, thickness balance, curvature, middle cut tip, resembling a tachi from the Kamakura period Forging: Well-packed ko-itame, with chikei, and ji-nuki Hamon: Gunome-chōji midare, with ashi, some areas have tobiyaki, with bright nioi and clear nioiguchi Boshi: Midare-komi, rounded tip Nakago: Raw, kurijiri, with file marks at an angle Shirasaya: Yes Explanation Born in 1927 as the eldest son of the late Teikichi Amada in Honda Village, Niigata Prefecture. Entered the Japanese sword forging apprenticeship of Hikozaburo Kurihara in 1940. Approved for sword making in 1954. Received the Masamune Award (Yamashiro style) at the New Sword Exhibition in 1977. Designated as an intangible cultural asset of Niigata Prefecture and Toyoura Town in 1978. Received the Masamune Award (Sōshū style) for the second time at the New Sword Exhibition in 1985. Elected as the chairman of the All Japan Swordsmith Association in 1990. Received the Masamune Award (Bizen style) for the third time at the New Sword Exhibition in 1996. Designated as a holder of Important Intangible Cultural Properties (Living National Treasure) in 1997. Awarded the title of "Honorary Citizen of Toyoura Town." Received the Order of the Rising Sun, Fourth Class, in 2003. Became an honorary citizen of Niigata Prefecture, Shibata City in July 2003. Passed away on June 26, 2013. Akitsugu Amata's real name is Seichi Amata. He was recognized as a holder of Important Intangible Cultural Properties (Living National Treasure) in 1997. He is a contemporary swordsmith representing Niigata. Born in 1927 as the eldest son of Teikichi Amata in Honda Village, Niigata Prefecture, he moved to Tokyo in 1940 to study under Hikozaburo Kurihara. He then achieved notable results in various sword-making competitions and became a non-examined swordsmith in 1972. Designated as an Important Intangible Cultural Property (Living National Treasure) in 1997, he received numerous awards and honors until his passing in 2013. Akitsugu Amata is also known for selecting sand iron and creating his own steel for the blade. He mastered styles such as Bizen and Sōshū and left behind many famous swords. This work is a fine example of Akitsugu Amata's Bizen style, replicating the majestic tachi of the Kamakura period. The steel is well-packed with itame, and the hamon features gunome with chōji mixed in, with bright nioi and a clear nioiguchi, resulting in an excellent piece. It comes with an original box.

Notice of Exhibition from Wakeido Tochio Art Museum, Nagaoka City Special Project "Swords Born in the Turbulent Period of Japanese Swords" – A Comparison of Swords from the Late Muromachi Period and the End of the Edo Period – Cooperation: Nihon Bijutsu Token Hozon Kyokai Nagaoka Shibu When considering the history of Japanese swords, it is closely related to Japan's long history, and it is impossible to discuss Japanese swords without understanding this historical background. It is well known that there were significant conflicts during transitional periods throughout the more than 1,000 years since the mid-Heian period when Japanese swords were established. Therefore, upon examining the subsequent Japanese swords, one can notice that they have undergone various changes, including their appearance and form. In other words, it can be said that Japanese swords, which were tools of war, had to respond sensitively to the times and methods of combat. In this exhibition, we will showcase Japanese swords from the beginning of the Sengoku period during the late Muromachi period, which is said to have lasted the longest in history, alongside those from the late Edo period around the Boshin War, which continues to influence and be remembered in modern Japanese history. We hope you will reflect on the changes and commonalities in their shapes, colors, and hamon patterns, as well as the spirit of the Japanese artisans of that time. We warmly invite everyone to come and visit. <Address> 1-13 Uenoharamachi, Nagaoka City, Niigata Prefecture 940-0237 <Phone Number> 0258-53-6300 <Dates> April 22nd – June 21st <Opening Hours> 9:30 AM – 5:00 PM (Tickets available until 4:30 PM) <Closed in April> 27th (Monday), 28th (Tuesday) <Closed in May> 7th (Thursday), 8th (Friday), 11th (Monday), 12th (Tuesday), 18th (Monday), 19th (Tuesday), 25th (Monday), 26th (Tuesday) <Closed in June> 1st (Monday), 2nd (Tuesday), 8th (Monday), 9th (Tuesday), 15th (Monday), 16th (Tuesday) https://www.lib.city.nagaoka.niigata.jp/tochibi...

Introduction of Fuchikashira from Wakeido Title: Sakana zukushi zu Fuchikashira Signature: Katsura Sorin (kao) Certification: [N.B.T.H.K.] Tokubetsu Hozon Tousougu Dimensions: Fuchikashira: Height 38.8mm, Width 22.6mm, Thickness 13mm Head: Height 35mm, Width 17mm Period: Late Edo Period School: Katsura school Explanation Toshimasa Egawa was born in Mito in the third year of the Ansei era. He studied under Eisei Yokotani and became an adopted son of Katsura Eiju. He succeeded the Katsura family's duties and became the official metalworker for the Kurume Domain Arima family, taking the name Katsura Sorin. He excelled in high-relief color painting on red-copper fish skin, carving lions, tigers, horses, fish, and figures. This work also features his trademark high-relief color painting on red-copper fish skin, beautifully depicting lobsters and flatfish.