For more than 70 years since our founding, we have cherished the transmission of Japanese sword culture and trustworthy sword transactions.
Through appraisal, sales, and purchase services, we connect customers with their ties to Japanese swords.
On this official account, we will share a wide range of information, from the appeal of the swords and fittings handled by Wakeido to appraisal and purchase details and trivia about Japanese swords.
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Wakeido was featured in an article by COOL JAPAN VIDEOS.
As a sword specialty store, it introduces the history and allure of Japanese swords, the consultations available at Wakeido, and various services in the languages of over 100 countries.
We will continue to promote the charm of Japanese swords and strive to provide attractive products.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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...
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