NihontoWatchNihontoWatchThis blade is attributed to Enju/Enjyu (延寿) is the prestigious school’s name that flourished during the late Kamakura period-Nanbokucho period (Late 13th-Early 14th century) in Higo province (today’s Kumamoto prefecture). Enju school was founded by Kunimura (国村), who is said to have been the grandson of Rai Kuniyuki from Yamashiro province (today’s Kyoto prefecture). Kunimura and his apprentices moved from Yamashiro province to Higo province (today’s Kumamoto prefecture in Kyushu island) after being invited by the Kikuchi clan, who had an influential power in that region. It is said that the 10th head of the Kikuchi clan, Kikuchi Takefusa (菊池武房), had to find skilled swordsmiths who could forge strong swords to combat the Mongolian army. Back then, Japan was targeted by the Mongolian emperor, and Kyushu island is where the battle was taking place twice (1274 and 1281). To prepare for the second attack from the Mongols, Kikuchi Takefusa brought Kunimura and his apprentices from Kyoto. Since then, Kunimura and his sons served as Okakaekaji for this clan, exclusively forging swords for the Kikuchi clan, which ruled the Higo province back then. All the swordsmiths from Enju school used the letter “国” (Kuni) for their maker’s name. The descendant of this school founded the famous sword school named Dotanuki (同田貫). And there are descendants of the Enjyu school’s swordsmiths throughout the Edo period. That means Enju school had over 500 years of its history. When Enju school flourished in the Nanbokucho period, Japan was tumultuous because the imperial court was split into two sides (south and north). There were many conflicts, and many Samurai were deployed. And Enju school must have dedicated themselves to forging high-quality blades for those Samurai who fought in battles. The name “Enju/Enjyu” is written as 延寿 in Japanese. If you translate the word literally, it means extending life span, which was construed as good luck among feudal lords. Therefore, the swords were presented among Samurai as good gifts.+ Appraisal This Katana blade was appraised as a Tokubetsu Hozon Token (特別保存刀剣) and the Koshirae was appraised as a Hozon Token. They were issued by NBTHK (Nihon Bijutsu Touken Hozon Kyokai:日本美術刀剣保存協会). These authentication papers were only given to authentic Japanese swords, well preserved and high quality with artistic value. *Please keep in mind that there are a couple of small Kitae Kizu on the blade. Fuchi-Kashira The theme of this Fuchi-Kashira is Shippo pattern (七宝紋, Shippo-mon) . It is a traditional Japanese design made of repeating, overlapping circles. Shippo means “seven treasures,” a Buddhist expression referring to precious things, so the pattern is associated with good fortune, harmony, and prosperity. The connected circular shapes create a sense of continuity, symbolizing harmonious relationships and lasting bonds between people. Influenced by designs that came to Japan via the Silk Road, the Shippo pattern became especially popular during the Edo period. It has been widely used in kimono, textiles, ceramics, and architecture, and it is still valued today for both its elegant geometry and its positive meaning. Arabesque (唐草, Karakusa) pattern is also depicted on this Fuchi-Kashira. It is a pattern in which stems and leaves of vines are twined and make curves. Since ivy has a strong vitality and grows up without interruption, people regarded this design as a symbol of prosperity and longevity. Vine is called Tsuru (蔓) in Japanese, and it has another pronunciation; “Man.” There is a word 万 (it is also read Man), which means ten thousand. In the Karakusa pattern, leaves and vines are connected like Obi (帯, belt). The word “帯” can also be read “Tai.” Due to its pronunciation, the term “代 (Tai)” is associated. From this word-association game, an idiom 万代 is associated, and it means a thousand generations. In other words, we could imagine that people used this design wishing prosperity and longevity for their clans for a long time. Tsuka and Menuki This Tsuka is coated with polished black lacquer, fitted with samegawa (ray skin), and tightly wrapped with black silk cord using the formal morotsumami-maki technique. The theme of this Menuki is the Asarum caulescens (葵, Aoi) and Misu (御簾). It is a traditional Japanese screen made of thin bamboo slats woven together with thread and often decorated with fabric borders. It was commonly used in classical Japanese architecture, especially in aristocratic residences, shrines, and temples, to divide spaces or gently block sunlight and views. Unlike solid walls, a misu allows light and air to pass through while still providing privacy. In the Heian period, noblewomen would stay behind misu to remain unseen, which gave the screen an elegant and refined cultural image. Today, misu are mainly seen in historical buildings and Shinto shrines, where they convey a sense of tradition, formality, and quiet beauty. Asarum caulescensis a plant pattern in which each stem branches and has characteristic heart-shaped leaves. Today, the Aoi-Domoe / Mitsuba-Aoi-no Mon (葵巴/三つ葉葵の紋) is known as the family crest of Tokugawa Shogunate family led by Tokugawa Ieyasu, a famous military commander of the Warring States period. This plant pattern has also been used for the crest of the Kamo shrine in Kyoto prefecture. As mentioned above, the famous Shogunate family, the Tokugawa family, had their family crest with three leaves of Aoi due to the relationship with the Kamo shrine. As its leaves have a habit of always facing the sun, and the word “Aoi” is taken as “Aogu (仰ぐ, looking up)” for the sun, people thought the Aoi pattern would bring good fortune. Tsuba and Habaki The motif of this Tsuba is Kuyō-mon Karakusa (九曜紋唐草). It is a traditional Japanese decorative motif that combines two symbolic designs: the Kuyō-mon and Karakusa. The Kuyō-mon, meaning “nine stars,” is based on a cosmological symbol linked to celestial bodies and was historically used as a protective emblem, believed to ward off evil and bring spiritual balance. It was often associated with warriors and esoteric Buddhist thought. Kuyō-mon Karakusa has been used on family crests, armor, textiles, and crafts, and it is admired for blending strong spiritual meaning with graceful, organic movement. Saya This saya features raden(螺鈿) craftsmanship, a traditional Japanese decorative technique. Raden involves inlaying or embedding thin pieces of shell, such as mother-of-pearl or abalone, into lacquer or other materials. The shimmering, iridescent quality of the shells creates a striking visual effect, reflecting light in a play of colors that range from soft pastels to vivid hues. This technique has been used in Japan for centuries, adorning everything from furniture to accessories and weapons, showcasing the skill and artistry of the craftsman. Authentication Paper NBTHK Tokubetsu Hozon Certificate for the blade (No. 1015573) and NBTHK Hozon Certificate for the Koshirae (No. 4019705) NBTHK,, also known as Nihon Bijutsu Touken Hozon Kyokai (the Society for the Preservation of the Japan Art Sword), is one of the oldest Japanese sword appraising organizations in modern-day Japan. They authenticated the Katana blade on May 24th in the 3rd year of the Reiwa (2021) and Koshirae on December 24th in the 3rd year of Reiwa (2021). They appraised the Katana blade as Tokubetsu Hozon Touken and Koshirae as Hozon Tosogu, blade/Koshirae worth preserving for Japanese society. Registration Number The Board of Education in Kōchi prefecture issued a registration paper for the Katana blade and Nagasaki prefecture issued a registration paper for the Wakizashi sword .
Enju School延寿派
Offered by Samurai Museum
15 on the market
Yamashiro-den · Higo
15 pieces on the market now
Among the provincial lines that carried the Kyoto manner beyond Yamashiro, the Enju (延寿) school of Higo province grew up at Kumafu in the Kikuchi District, working from the close of the Kamakura period through the Nanbokuchō era. Its founder, Tarō Kunimura, is transmitted in the prevailing account as the son of Hiromura of the Yamato Senjuin line, who married a daughter of Rai Kuniyuki of Yamashiro; by that marriage Kunimura is held to be Kuniyuki's grandson in the female line and a pupil of the Rai workshop (one early text instead places him in the gate of Rai Kunitoshi). The school name reads on the same characters as the Rai line itself, and from that double descent, Yamashiro through the Rai marriage and Yamato through the Senjuin side, the family took its character. Around the founder a cluster of named smiths arose almost at once, Kuniyoshi, Kunitoki, Kuniyasu, Kunitomo, Kunisuke, Kuninobu and Kunitsuna among them, the Enju line attached to the Kikuchi clan and loyal to the Southern Court, so that the dated blades carry that history in their Southern-Court eras. The published sources describe Enju work as one that broadly resembles the Rai school[[c:1]], refined in suguha yet cooler and whiter than its Kyoto parent, and they name the provincial accents by which the two are separated. The forging is an itame or closely packed ko-itame that flows toward the edge into masame, the grain standing a little, with fine ji-nie laid on and delicate chikei entering; over it rises a whitish shirake-utsuri, the surest single Enju tell, the cool reflection of a Kyushu steel that is not quite the bright Rai jigane. The temper is a chū-suguha or narrower hoso-suguha, the nioiguchi carried somewhat shizumi (sunken and quiet), often breaking into nijūba, the doubled line that recurs across the line; ko-ashi, yō, ko-nie, fine sunagashi and kinsuji play within it, the activity gentler than the brighter Rai suguha. The bōshi turns back on a larger radius than Rai's tight ko-maru, a shallow ō-maru with a short kaeri.
The signature is a tool of attribution: across the line the right half within the kuni (国) enclosure is cut in an ear-shaped form, a calligraphic habit the sources say cannot be confused with another school. Against true Rai, the school is read by its masame-lean, its whitish utsuri, its sinking nioiguchi and its quieter internal work, the ji and ha running a degree softer than the Yamashiro line. To kantei an Enju blade is to weigh those provincial accents against the Rai air it carries: a wheel-like wa-zori and Kyoto refinement may recall the parent at a glance, but the nagare in the ji, the shirake-utsuri, the subdued nioiguchi and the ear-shaped kuni settle the attribution, and the level of the work then narrows it to a hand. The founder Kunimura sets the quiet register and signs the slender, sharply tapering tachi the sources call distinctive even within the school; among the later smiths, Kunitoki survives in relative number and runs his suguha the busiest with ko-gunome and kinsuji, Kuniyasu is the most nie-laden and brightest, Kunisuke cuts the boldest chisel and hardens a unique flaming bōshi on his wide pieces, while Kuniyoshi, Kuninobu and the various other Kuni- smiths work the same vocabulary, the best of them refining the steel to a clarity that escapes the school's whitish thinness. The corpus runs mostly to slender signed tachi and to ō-suriage mumei katana attributed on appraisal, with broad sunobi tantō in the Nanbokuchō phase, the work confined to long blades in the founder's case. Provenance is unusually grand for a provincial line: blades pass through Toyotomi Hideyoshi and Tokugawa Ieyasu and rest in the Hosokawa, Date, Uesugi, Owari and Mito Tokugawa houses, with examples held today by the Sano, Tokugawa, Seikadō and other institutions. A signed ubu Enju tachi is among the rarer encounters in Higo work; most survive as the mumei attribution, held as heritage rather than offered. Learn more →
| Smith | Era | Designated |
|---|---|---|
| Kunimura國村 | 1275-1278 | 15 |
| Kunitoki國時 | 1317-1353 | 32 |
| Kunisuke國資 | 1346-1370 | 22 |
| Kuniyasu國泰 | 1329-1331 | 16 |
| Kunitoki國時 | 1275-1278 | 7 |
A Hozon-certified blade judged to show notably superior workmanship and a better state of preservation. The bar is higher: re-tempered blades and most unsigned Muromachi/Edo works are excluded.
The NBTHK (Nihon Bijutsu Tōken Hozon Kyōkai, the Society for the Preservation of Japanese Art Swords) is a public-interest incorporated foundation founded in 1948 and supervised by Japan’s Agency for Cultural Affairs (Bunkachō); it is based at the Japanese Sword Museum in Tokyo. Its expert panels physically examine each submitted work (shinsa) and issue a certificate (kanteishō) ranking it by artistic and historical merit. NBTHK papers are the most widely recognized standard of authentication for Japanese swords and fittings.
NBTHK official siteReturns/exchanges limited to defects caused by shipping (except willful misconduct or gross negligence by the company); customers must contact within 72 hours of receiving the product.
¥2,080,000
Certificate reading — 無銘（延寿）