Two courts, sixty years of war, and the most dramatic silhouettes in the sword’s history: broad blades, extended points, true ōdachi later cut down into the majestic katana collectors prize. The Sōshū manner was the style of the age.
This is a mumei wakizashi attributed to Ko-Naminohira from the Nanbokucho period, originating in Satsuma province. It features a high sori and small kissaki, with a flowing itame hada showing ayasugi-like patterns and shirake utsuri. The hamon is a fine suguha mixed with hotsture and kuichigai-ba, reflecting the distinctive characteristics of Ko-Naminohira.
NihontoWatchmumei · Naminohira · Nanbokucho · nagasa 51.2cm · sori 1.4cm
Wakimono · Satsuma
13 pieces on the market now
The Naminohira school traces its origins to the late Heian period, when a swordsmith named Masakuni migrated from Yamato Province and established himself at Naminohira in Taniyama District, Satsuma Province. His son Yukiyasu succeeded him, and the lineage continued unbroken into the late Edo shinshintō era. The collective term Ko-Naminohira designates smiths and works dating no later than the Nanbokuchō period, distinguishing the school's formative generations from later practitioners. This geographic isolation in southern Kyushu allowed the development of a distinctive regional aesthetic that balanced mainland influences with local forging traditions. The school's technical identity reveals a pronounced Yamato character in both construction and tempering, yet the forging exhibits a characteristic density and slight tenacity (nebari) that distinguishes Naminohira work from its Yamato antecedents. The jigane typically shows strongly flowing itame-hada, often with a whitish cast and well-adhering ji-nie, while thick chikei appear throughout the ground. In the hamon, a fine hoso-suguha or narrow suguha-based temper predominates, with the nioiguchi displaying a distinctive urumi tendency—a moist, soft quality that creates a subdued, somewhat shizumi-inclined appearance.
A diagnostic feature appears at the hamachi, where slight yaki-otoshi marks the transition from untempered to tempered steel. The school's Nanbokuchō-period works often present extended ō-kissaki and deep koshizori, embodying the martial aesthetic of that turbulent age. The Naminohira tradition experienced a renaissance during the Edo period, producing masters such as Ichi Heian Yasushiro, who in Kyōhō 6 (1721) was summoned to forge for Shōgun Tokugawa Yoshimune. His exceptional skill earned him the privilege of engraving the ichiyō aoi crest on his nakago and the court appointment of Shume no Suke. His work and that of his contemporary Masakiyo represent the apex of Satsuma shintō, demonstrating how provincial schools could achieve recognition at the highest levels of Tokugawa society. The scarcity of early signed works, particularly from the Kamakura and Nanbokuchō periods, renders extant examples invaluable for understanding the school's development and its role in transmitting Yamato forging methods to Japan's southern frontier. Learn more →
| Smith | Era | Designated |
|---|---|---|
| Yukiyasu行安 | 1308-1311 | 10 |
| Yasutsuna安綱 | 1288-1333 | 0 |
| Atsukura篤倉 | 1558-1574 | 1 |
| Haruyuki治行 | 1394-1428 | 1 |
| Yukiyasu行安 | 1264-1275 | 1 |
The Nanbokuchō period (1333 to 1392)
Two courts, sixty years of war, and the most dramatic silhouettes in the sword’s history: broad blades, extended points, true ōdachi later cut down into the majestic katana collectors prize. The Sōshū manner was the style of the age.
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 siteIf you judge that the condition of the delivered item differs significantly from the photos or description on our site, a return is possible. However, the return shipping cost is the customer's responsibility. To use cooling-off, please apply in writing by postal mail within one week of the item's arrival. The return shipping cost is the customer's responsibility.
¥800,000
This is a mumei wakizashi attributed to Ko-Naminohira from the Nanbokucho period, originating in Satsuma province. It features a high sori and small kissaki, with a flowing itame hada showing ayasugi-like patterns and shirake utsuri. The hamon is a fine suguha mixed with hotsture and kuichigai-ba, reflecting the distinctive characteristics of Ko-Naminohira.
NihontoWatchmumei · Naminohira · Nanbokucho · nagasa 51.2cm · sori 1.4cm
Wakimono · Satsuma
13 pieces on the market now
The Naminohira school traces its origins to the late Heian period, when a swordsmith named Masakuni migrated from Yamato Province and established himself at Naminohira in Taniyama District, Satsuma Province. His son Yukiyasu succeeded him, and the lineage continued unbroken into the late Edo shinshintō era. The collective term Ko-Naminohira designates smiths and works dating no later than the Nanbokuchō period, distinguishing the school's formative generations from later practitioners. This geographic isolation in southern Kyushu allowed the development of a distinctive regional aesthetic that balanced mainland influences with local forging traditions. The school's technical identity reveals a pronounced Yamato character in both construction and tempering, yet the forging exhibits a characteristic density and slight tenacity (nebari) that distinguishes Naminohira work from its Yamato antecedents. The jigane typically shows strongly flowing itame-hada, often with a whitish cast and well-adhering ji-nie, while thick chikei appear throughout the ground. In the hamon, a fine hoso-suguha or narrow suguha-based temper predominates, with the nioiguchi displaying a distinctive urumi tendency—a moist, soft quality that creates a subdued, somewhat shizumi-inclined appearance.
A diagnostic feature appears at the hamachi, where slight yaki-otoshi marks the transition from untempered to tempered steel. The school's Nanbokuchō-period works often present extended ō-kissaki and deep koshizori, embodying the martial aesthetic of that turbulent age. The Naminohira tradition experienced a renaissance during the Edo period, producing masters such as Ichi Heian Yasushiro, who in Kyōhō 6 (1721) was summoned to forge for Shōgun Tokugawa Yoshimune. His exceptional skill earned him the privilege of engraving the ichiyō aoi crest on his nakago and the court appointment of Shume no Suke. His work and that of his contemporary Masakiyo represent the apex of Satsuma shintō, demonstrating how provincial schools could achieve recognition at the highest levels of Tokugawa society. The scarcity of early signed works, particularly from the Kamakura and Nanbokuchō periods, renders extant examples invaluable for understanding the school's development and its role in transmitting Yamato forging methods to Japan's southern frontier. Learn more →
| Smith | Era | Designated |
|---|---|---|
| Yukiyasu行安 | 1308-1311 | 10 |
| Yasutsuna安綱 | 1288-1333 | 0 |
| Atsukura篤倉 | 1558-1574 | 1 |
| Haruyuki治行 | 1394-1428 | 1 |
| Yukiyasu行安 | 1264-1275 | 1 |
The Nanbokuchō period (1333 to 1392)
Two courts, sixty years of war, and the most dramatic silhouettes in the sword’s history: broad blades, extended points, true ōdachi later cut down into the majestic katana collectors prize. The Sōshū manner was the style of the age.
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 siteIf you judge that the condition of the delivered item differs significantly from the photos or description on our site, a return is possible. However, the return shipping cost is the customer's responsibility. To use cooling-off, please apply in writing by postal mail within one week of the item's arrival. The return shipping cost is the customer's responsibility.
¥800,000
