0円 (税込)
NihontoWatchOsafune · Bunmei (1469-1487) · nagasa 62.5cm · sori 1.3cm
Bizen-den · Bizen · around 1462-1487
Fujishiro Jo-jo saku
5 pieces on the market now
Norimitsu belongs to the Osafune lineage of Bizen Province and is traditionally identified as a student of Osafune Nagamitsu. The earliest extant works bearing the Norimitsu signature date to the Kagen era of the late Kamakura period, and the name was transmitted through numerous generations down to the close of the Muromachi period — a span encompassing perhaps more than ten successive smiths. The most celebrated works are those dated to the Kansho era, and the smith active in the Bunmei era occupies a position of particular scholarly interest, as the NBTHK notes there "remains room for research as to whether it was made by the same individual as Kansho Norimitsu or by the next generation." Critically, the Kansho-to-Bunmei-era Norimitsu stands between the Oei-era masters Morimitsu and Yasumitsu on one hand, and the later Sue-Bizen smiths Katsumitsu and Sukesada on the other, displaying an intermediate style that bridges these two periods.
Norimitsu's sword work characteristically employs itame-hada with midare-utsuri standing out in the jihada, and his hamon alternates between two principal modes: a koshi-biraki gunome-midare showing a fukushiki-like double-structured tendency with ashi and yo entering freely, and a chu-suguha with a tightened nioiguchi and frequent ko-choji ashi. The bosshi typically enters midare-komi, often with asymmetrical treatments between omote and ura. His forging in masame-hada on spear works, with nie-laden suguha and hotsure, follows the long-established convention for older spears and is acknowledged as distinct from his characteristic Osafune manner. His blades frequently display bo-utsuri or midare-utsuri, and bo-hi with soe-hi or kaku-dome terminations are regularly encountered.
The NBTHK repeatedly characterizes Norimitsu's productions as displaying "good workmanship in both ji and ha" and as "orthodox and straightforward." His signed, ubu examples are valued as material that "conspicuously reveals distinctive features in both the jihada and the tempered edge," and his work constitutes, in the Board's assessment, "valuable source material for the study of Bizen smiths of this period." His yari, among the earliest bearing Bunmei-era dates, are commended as "orderly and well made" and recognized as representative spears of the Muromachi period. Across all forms — tachi, katana, tanto, and yari — Norimitsu's oeuvre documents the evolving character of mid-Muromachi Bizen craftsmanship with scholarly precision.
Where Norimitsu stands among comparable artisans: across all of nihontō, and within tradition, era, and period. The tiers (Foremost · Leading · Major · Notable) weigh official designations from the NBTHK and Japan's Agency for Cultural Affairs, together with historical honors of lasting repute such as the Sansaku and Meibutsu-chō.
Select a lens to see how it's measured.
Years he was demonstrably active, proven by signed-and-dated blades
Bizen-den · Bizen
Phase: Ōei-Bizen応永備前· 1390–1441
17 pieces on the market now
The Oei-Bizen and Eikyo-Bizen smiths represent the resurgence of the Osafune school in Bizen Province during the early Muromachi period, an era in which a conscious revival of Kamakura-period aesthetics transformed the character of Bizen swordmaking after the bold, expansive forms of the Nanbokucho period. The school's foremost representatives are Yasumitsu and Morimitsu, described by the NBTHK as the "twin pillars" of Oei-Bizen, both active around the Oei era (1394--1428). Learn more →
| Smith | Era | Designated |
|---|---|---|
| Yasumitsu康光 | 1394-1428 | 49 |
| Morimitsu盛光 | 1394-1428 | 60 |
| Yasumitsu康光 | 1424-1443 | 6 |
| Sanemitsu實光 | 1394-1428 | 4 |
| Koremitsu是光 | 1394-1428 | 1 |
Certifies a genuine blade worth preserving: a signature confirmed correct, or, if unsigned, an era, province, and school that the NBTHK can reliably identify.
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 sitePlease notify us of your intention to return, by email or fax, no later than the day after the item's arrival. Return shipping, insurance, and refund transfer fees are the customer's responsibility.
0円 (税込)
NihontoWatchOsafune · Bunmei (1469-1487) · nagasa 62.5cm · sori 1.3cm
Bizen-den · Bizen · around 1462-1487
Fujishiro Jo-jo saku
5 pieces on the market now
Norimitsu belongs to the Osafune lineage of Bizen Province and is traditionally identified as a student of Osafune Nagamitsu. The earliest extant works bearing the Norimitsu signature date to the Kagen era of the late Kamakura period, and the name was transmitted through numerous generations down to the close of the Muromachi period — a span encompassing perhaps more than ten successive smiths. The most celebrated works are those dated to the Kansho era, and the smith active in the Bunmei era occupies a position of particular scholarly interest, as the NBTHK notes there "remains room for research as to whether it was made by the same individual as Kansho Norimitsu or by the next generation." Critically, the Kansho-to-Bunmei-era Norimitsu stands between the Oei-era masters Morimitsu and Yasumitsu on one hand, and the later Sue-Bizen smiths Katsumitsu and Sukesada on the other, displaying an intermediate style that bridges these two periods.
Norimitsu's sword work characteristically employs itame-hada with midare-utsuri standing out in the jihada, and his hamon alternates between two principal modes: a koshi-biraki gunome-midare showing a fukushiki-like double-structured tendency with ashi and yo entering freely, and a chu-suguha with a tightened nioiguchi and frequent ko-choji ashi. The bosshi typically enters midare-komi, often with asymmetrical treatments between omote and ura. His forging in masame-hada on spear works, with nie-laden suguha and hotsure, follows the long-established convention for older spears and is acknowledged as distinct from his characteristic Osafune manner. His blades frequently display bo-utsuri or midare-utsuri, and bo-hi with soe-hi or kaku-dome terminations are regularly encountered.
The NBTHK repeatedly characterizes Norimitsu's productions as displaying "good workmanship in both ji and ha" and as "orthodox and straightforward." His signed, ubu examples are valued as material that "conspicuously reveals distinctive features in both the jihada and the tempered edge," and his work constitutes, in the Board's assessment, "valuable source material for the study of Bizen smiths of this period." His yari, among the earliest bearing Bunmei-era dates, are commended as "orderly and well made" and recognized as representative spears of the Muromachi period. Across all forms — tachi, katana, tanto, and yari — Norimitsu's oeuvre documents the evolving character of mid-Muromachi Bizen craftsmanship with scholarly precision.
Where Norimitsu stands among comparable artisans: across all of nihontō, and within tradition, era, and period. The tiers (Foremost · Leading · Major · Notable) weigh official designations from the NBTHK and Japan's Agency for Cultural Affairs, together with historical honors of lasting repute such as the Sansaku and Meibutsu-chō.
Select a lens to see how it's measured.
Years he was demonstrably active, proven by signed-and-dated blades
Bizen-den · Bizen
Phase: Ōei-Bizen応永備前· 1390–1441
17 pieces on the market now
The Oei-Bizen and Eikyo-Bizen smiths represent the resurgence of the Osafune school in Bizen Province during the early Muromachi period, an era in which a conscious revival of Kamakura-period aesthetics transformed the character of Bizen swordmaking after the bold, expansive forms of the Nanbokucho period. The school's foremost representatives are Yasumitsu and Morimitsu, described by the NBTHK as the "twin pillars" of Oei-Bizen, both active around the Oei era (1394--1428). Learn more →
| Smith | Era | Designated |
|---|---|---|
| Yasumitsu康光 | 1394-1428 | 49 |
| Morimitsu盛光 | 1394-1428 | 60 |
| Yasumitsu康光 | 1424-1443 | 6 |
| Sanemitsu實光 | 1394-1428 | 4 |
| Koremitsu是光 | 1394-1428 | 1 |
Certifies a genuine blade worth preserving: a signature confirmed correct, or, if unsigned, an era, province, and school that the NBTHK can reliably identify.
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 sitePlease notify us of your intention to return, by email or fax, no later than the day after the item's arrival. Return shipping, insurance, and refund transfer fees are the customer's responsibility.
