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.
It has arrived, it has arrived—a masterpiece by Yamashiro Kyo Rai Kuniyasu has arrived. This sword was originally a magnificent *o-tachi* of approximately 2 *shaku* 8 *sun*, which was *suriage* in later generations; because it became *mumei*, it was given the *kiwame* of Rai Kuniyasu. Rai Kuniyasu was the son of the ultra-famous swordsmith Yamashiro Rai Kunitoshi, or perhaps the son-in-law of Rai Kunitoshi. Because a work exists with a date of Gentoku 2nd year (1330) (693 years ago) of the late Kamakura period, his production era can be confirmed. Among the *zaimei* *tachi* of Rai Kuniyasu, the 3 *shaku* 5 *sun* *o-tachi* located at Yusuhara Hachimangu in Oita Prefecture is famous. He is a master smith of the era spanning the Kamakura period to the Nanbokucho period, contemporary with Soshu Sadamune, Yamashiro Rai Kunitsugu, and Bizen Osafune O-Kanemitsu. He later moved from Yamashiro Kyo to Nakajimasho, Awaji in Settsu. As you can see, this sword exhibits a magnificent *sugata* with a wide *motohaba*, wide *sakihaba*, and an extended *kissaki*. The *jigane* is a well-packed *itame-hada* with abundant *ji-nie*, forging a superb steel. The *hamon* is a *suguha* style with *ko-nie*, containing *choji* and *ko-ashi*, firing a wonderfully spirited blade. A magnificent Rai *tachi* such as this is a masterpiece with a very exciting future for *shusse*. As this is the first time it has appeared "raw" in the world, we are offering it at a special bargain price. Please enjoy this masterpiece by Rai Kuniyasu.
NihontoWatchmumei · Kamakura · nagasa 73.5cm · sori 1.5cm
Yamashiro-den · Settsu
8 pieces on the market now
The Nakajima Rai designation identifies swordmaking traditions established when Rai Kuninaga, a disciple of the Kyōto master Rai Kunitoshi, relocated to the Nakajima district of Settsu Province during the late Kamakura period. This move represented both geographical expansion of Rai school influence beyond the imperial capital and the deliberate transplantation of technically sophisticated Kyōto nie-based forging practices into a provincial setting. According to historical sword compendia, smiths using this designation are traditionally counted as two generations: the first active during the Gentoku era (1329–1331), and the second working through the middle decades of the fourteenth century, spanning the Shōhei and Ōan eras. Signed examples are exceedingly rare, and most attributions rest on stylistic analysis of unsigned blades greatly shortened from their original dimensions. Nakajima Rai workmanship faithfully perpetuates the core technical vocabulary of the main Rai school while exhibiting slightly more restrained execution. The forging typically shows compact ko-itame-hada or itame mixed with mokume and nagare-hada, frequently with a tendency toward standing grain; the surface is heavily laden with fine ji-nie that forms in thick, crystalline masses, producing a bright, clear appearance. Chikei enter actively and repeatedly, and faint nie-utsuri often appears along the shinogi side. The hamon follows a characteristic broad suguha-based pattern, into which are mixed ko-gunome, ko-chōji, and small midare elements; within this foundation, ashi and yō enter abundantly, and the nioiguchi is uniformly described as bright and clear.
Internal activities—kinsuji, sunagashi, yubashiri, hotsure, kuichigai-ba, nijūba, and uchi-noke—appear frequently along the habuchi, creating rich variation within the temper line. The bōshi typically forms ko-maru with hakikake, often showing vigorous activity. The overall impression is one of technically accomplished nie-deki work in which the foundational suguha serves as a vehicle for highly active crystalline formations and internal dynamics, closely resembling the style of Rai Kunimitsu but yielding slightly in artistic rank. Extant Nakajima Rai blades almost invariably preserve the bold proportions characteristic of Nanbokuchō-period production: wide mihaba with little taper from base to tip, shallow or deep sori (often retaining koshizori or wazori despite shortening), and extended chū-kissaki or ō-kissaki. Even when greatly shortened, these blades retain an imposing, martial presence that pairs well with the vigorous, nie-laden forging and temper. The technical consistency across designated examples—tight itame with thick ji-nie, broad suguha with active nie, and bright nioiguchi—establishes a coherent stylistic profile that clearly descends from Kyōto Rai traditions while expressing a distinctive provincial character. The combination of robust construction, excellent preservation in surviving examples, and flavorful hataraki within both ji and ha renders Nakajima Rai an important regional expression of late Kamakura and Nanbokuchō swordmaking, preserving the technical sophistication of the capital school in a relocated context. Learn more →
| Smith | Era | Designated |
|---|---|---|
| Kuninaga國長 | 1329-1331 | 58 |
| Kuninaga國長 | 1345-1350 | 11 |
| Tomotsuna友綱 | 1394-1428 | 0 |
| Kuniyasu國安 | 1329-1331 | 1 |
| Kuninaga國長 | 1331-1336 | 2 |
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.
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 siteFor 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.
It has arrived, it has arrived—a masterpiece by Yamashiro Kyo Rai Kuniyasu has arrived. This sword was originally a magnificent *o-tachi* of approximately 2 *shaku* 8 *sun*, which was *suriage* in later generations; because it became *mumei*, it was given the *kiwame* of Rai Kuniyasu. Rai Kuniyasu was the son of the ultra-famous swordsmith Yamashiro Rai Kunitoshi, or perhaps the son-in-law of Rai Kunitoshi. Because a work exists with a date of Gentoku 2nd year (1330) (693 years ago) of the late Kamakura period, his production era can be confirmed. Among the *zaimei* *tachi* of Rai Kuniyasu, the 3 *shaku* 5 *sun* *o-tachi* located at Yusuhara Hachimangu in Oita Prefecture is famous. He is a master smith of the era spanning the Kamakura period to the Nanbokucho period, contemporary with Soshu Sadamune, Yamashiro Rai Kunitsugu, and Bizen Osafune O-Kanemitsu. He later moved from Yamashiro Kyo to Nakajimasho, Awaji in Settsu. As you can see, this sword exhibits a magnificent *sugata* with a wide *motohaba*, wide *sakihaba*, and an extended *kissaki*. The *jigane* is a well-packed *itame-hada* with abundant *ji-nie*, forging a superb steel. The *hamon* is a *suguha* style with *ko-nie*, containing *choji* and *ko-ashi*, firing a wonderfully spirited blade. A magnificent Rai *tachi* such as this is a masterpiece with a very exciting future for *shusse*. As this is the first time it has appeared "raw" in the world, we are offering it at a special bargain price. Please enjoy this masterpiece by Rai Kuniyasu.
NihontoWatchmumei · Kamakura · nagasa 73.5cm · sori 1.5cm
Yamashiro-den · Settsu
8 pieces on the market now
The Nakajima Rai designation identifies swordmaking traditions established when Rai Kuninaga, a disciple of the Kyōto master Rai Kunitoshi, relocated to the Nakajima district of Settsu Province during the late Kamakura period. This move represented both geographical expansion of Rai school influence beyond the imperial capital and the deliberate transplantation of technically sophisticated Kyōto nie-based forging practices into a provincial setting. According to historical sword compendia, smiths using this designation are traditionally counted as two generations: the first active during the Gentoku era (1329–1331), and the second working through the middle decades of the fourteenth century, spanning the Shōhei and Ōan eras. Signed examples are exceedingly rare, and most attributions rest on stylistic analysis of unsigned blades greatly shortened from their original dimensions. Nakajima Rai workmanship faithfully perpetuates the core technical vocabulary of the main Rai school while exhibiting slightly more restrained execution. The forging typically shows compact ko-itame-hada or itame mixed with mokume and nagare-hada, frequently with a tendency toward standing grain; the surface is heavily laden with fine ji-nie that forms in thick, crystalline masses, producing a bright, clear appearance. Chikei enter actively and repeatedly, and faint nie-utsuri often appears along the shinogi side. The hamon follows a characteristic broad suguha-based pattern, into which are mixed ko-gunome, ko-chōji, and small midare elements; within this foundation, ashi and yō enter abundantly, and the nioiguchi is uniformly described as bright and clear.
Internal activities—kinsuji, sunagashi, yubashiri, hotsure, kuichigai-ba, nijūba, and uchi-noke—appear frequently along the habuchi, creating rich variation within the temper line. The bōshi typically forms ko-maru with hakikake, often showing vigorous activity. The overall impression is one of technically accomplished nie-deki work in which the foundational suguha serves as a vehicle for highly active crystalline formations and internal dynamics, closely resembling the style of Rai Kunimitsu but yielding slightly in artistic rank. Extant Nakajima Rai blades almost invariably preserve the bold proportions characteristic of Nanbokuchō-period production: wide mihaba with little taper from base to tip, shallow or deep sori (often retaining koshizori or wazori despite shortening), and extended chū-kissaki or ō-kissaki. Even when greatly shortened, these blades retain an imposing, martial presence that pairs well with the vigorous, nie-laden forging and temper. The technical consistency across designated examples—tight itame with thick ji-nie, broad suguha with active nie, and bright nioiguchi—establishes a coherent stylistic profile that clearly descends from Kyōto Rai traditions while expressing a distinctive provincial character. The combination of robust construction, excellent preservation in surviving examples, and flavorful hataraki within both ji and ha renders Nakajima Rai an important regional expression of late Kamakura and Nanbokuchō swordmaking, preserving the technical sophistication of the capital school in a relocated context. Learn more →
| Smith | Era | Designated |
|---|---|---|
| Kuninaga國長 | 1329-1331 | 58 |
| Kuninaga國長 | 1345-1350 | 11 |
| Tomotsuna友綱 | 1394-1428 | 0 |
| Kuniyasu國安 | 1329-1331 | 1 |
| Kuninaga國長 | 1331-1336 | 2 |
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.
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 siteFor 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.
