Power sat in Kamakura, but taste was still made in Kyōto. The Awataguchi school’s pear-skin steel became a byword for perfection, and the Rai line supplied dignified tachi to the court, senior warriors, and the great temples alike.
NihontoWatchNihontoWatchIt has appeared, it has appeared; in order to protect the people of the Japanese nation and the Greater East Asia Co-prosperity Sphere by risking his own life, when the grandfather went to the front, he had a family heirloom sword with the mei of Rai custom-fitted into army gunzinto and went to war. Fortunately, the grandfather met the end of the war within Japan, was safely discharged, and reportedly returned home safely along with this sword. This sword is a tachi with the mei of Rai, but unfortunately, please treat it as a kibo-mei for now. The sugata of this sword shows an old tachi sugata of an early period with sori and funbari at the moto, a difference between the moto-mihaba and saki-mihaba, and a small kissaki; the jigane is ko-itame hada mixed with masame hada, and while there are ji-nie and ekubo from age-related changes in the ji, please consider those as the charm of its age. The hamon is a suguha-style blade tempered with deep nioi and is quite enjoyable. During the old Bakufu era, it likely passed as a tachi by Rai. This time, regarding this gunzinto with the mei of Rai that the grandfather had cherished, we received it because they said, "We have also grown old, so please pass it on cheaply to someone who will continue to cherish it," so for those who like swords of an old period, please enjoy it as research material; as there is also light sabi, we are offering it at an ultra-low price through the special kindness of the owner, so please by all means enjoy it.
NihontoWatchOffered by Nipponto
The dealer describes this signature as hoped-for (kibō-mei), not guaranteed. Please judge it as an unsigned piece. — Hoshi
30 on the market
As written by the shop
Machine translation from the shop's Japanese · may contain errors ·
Yamashiro-den · Yamashiro
30 pieces on the market now
A calm, lustrous steel is the first thing the connoisseur's eye is meant to settle on with the Rai school: a finely forged ko-itame (小板目) worked until it is dense and refined, over which the ji-nie lies thickly in minute particles, fine chikei (地景) enter, and a nie-utsuri rises in the ji. This bright, refined jihada, the surface the trade reads as Rai-hada when its softer, looser patches intrude, is the constant beneath every manner the house produced. The school took shape in Kyoto in the mid-Kamakura period around the workshop of Rai Kuniyuki (來國行), the de facto founder of the line, whose chronology is reckoned from the Koan 1 (1278) tachi of his transmitted son. From Kuniyuki the Yamashiro-den tradition of late Kamakura was built, carried by Niji Kunitoshi, the two-character 國俊, traditionally his son and the nearest of the house to his hand; by the three-character Rai Kunitoshi, the first to crown his name with the character Rai, a practice all who followed took from him; and onward through Rai Kunimitsu (來國光), Rai Kunitsugu (來國次) and the lesser names Kunizane, Tomokuni, Kunihide and Mitsukane into the early Nanbokucho period. Whether the two Kunitoshi are one smith or two remains the classic open question of the school, argued from a span of dated work running about forty years from Koan 1 to Genko 1 (1321). What unites the house is a temper of restraint and activity at once, its life carried in the nie rather than in the height of the pattern. Against Kuniyuki's wide, suguha-toned ha and against the refined chu- or hoso-suguha of the three-character line, the smiths mix ko-choji, ko-gunome and small midare; ashi and yo enter densely, often as the Kyoto-style kyo-sakaashi (京逆足) that slants back toward the nakago, the opposite of the Bizen direction; the nioiguchi runs deep and bright, ko-nie attaches thickly, and kinsuji and sunagashi move through the body of the ha. The boshi is the school's most misjudged trait: a ko-maru drawn out by hakikake, the brushed nie of the point continuing the work of the ji below, often falling into midare-komi with a pointing tip. Muneyaki along the back recurs often enough that the records name it a habit of the Rai hand, and carving in the groove, suken or gomabashi with an added side hi, is a practice the texts call peculiar to Rai work. The strength of the nie within the ha, the utsuri rising as a nie-utsuri, and the kyo-sakaashi are precisely the marks that part Niji Kunitoshi's choji-dominant midare, which the old books said resembles the Bizen Ichimonji, from the Ichimonji itself.
Where the early masters keep this calm Kyoto register, the late line bends toward Soshu-den: Kunitsugu, counted among the Ten Brilliant Pupils of Masamune and named Kamakura-Rai, shows the strongest nie of ji and ha in the whole school, a notare mixed with gunome the earlier Rai never had. For a collector the house style is the recognition tool. An unsigned, o-suriage katana settles to Rai when the packed ko-itame, the fine nie over it, the standing utsuri and the kyo-sakaashi read together; the named smith is then fixed by degree. Niji Kunitoshi and the three-character Kunitoshi, both graded Sai-jo saku by Fujishiro, anchor the canon, the latter unusually approachable because his signed work is abundant and roughly half of it tanto, late Yamashiro work in its purest form. Kunimitsu, the most prolific and most versatile of the house, gives the impression of surpassing his father in force; Kunitsugu, graded Jo-jo saku, is the Soshu-facing edge whose signed tachi are scarce. Mitsukane, the Chudo Rai who withdrew to forge on Mt. Hiei, stands apart as the strong pole, his ji-nie laid thicker than Kunitoshi's or Kunimitsu's and likened upward to Awataguchi Yoshimitsu; the smaller Kunizane, Tomokuni and Kunihide carry the jigane a step into the Nanbokucho. The provenance roll is of the first rank, with blades worn by Ieyasu and held beside the Honjo Masamune, meibutsu such as the Aizen Kunitoshi, the Torikai Kunitsugu and the Midare-Mitsukane, and descent through the Owari and Kishu Tokugawa, the Maeda, Uesugi and Shimazu houses. Much sits locked as National Treasure and patrimony, yet the Juyo tier of the major names, and the whole record of the minor hands, remains a goal a serious collector can actually reach. Learn more →
| Smith | Era | Designated |
|---|---|---|
| Kunitoshi國俊 | 1278-1288 | 99 |
| Kuniyuki國行 | 1259-1260 | 126 |
| Kunimitsu國光 | 1326-1351 | 262 |
| Kunitsugu國次 | 1311-1327 | 65 |
| Kunitoshi國俊 | 1288-1319 | 193 |
Yamashiro in the Kamakura period
Power sat in Kamakura, but taste was still made in Kyōto. The Awataguchi school’s pear-skin steel became a byword for perfection, and the Rai line supplied dignified tachi to the court, senior warriors, and the great temples alike.
We could not find an authenticity certificate on the seller’s listing. Japanese swords and fittings are normally papered by the NBTHK (or the NTHK). Without one, the attribution is the seller’s own assessment and has not been independently verified — treat it with caution and ask the dealer about certification before buying.
For returns due to customer circumstances, the cost is the customer's responsibility. For returns due to our mis-shipment or a defective item, we bear the cost.
¥180,000