NihontoWatchThis blade is attributed to Hokke (法華) by NBTHK, one of Japan’s most reputable Japanese sword appraising organizations. Hokke is a prestigious school name that flourished during the late Kamakura-Nanbokucho era (Late 13th-14th century). The school was located in Ashida area in Bingo province (today’s Hiroshima prefecture). It is said that those who lived in Ashida area were followers of the Nichiren sect, and Hokke swordsmiths often forged blades for the politically powerful Buddhist priests. They needed many weapons as there were many political rivalries between influential temples. They required strong weapons like swords to protect themselves. Hokke swordsmiths met their requests and made excellent quality blades. It is believed that the school was founded by Kokubunji Sukekuni (国分寺助国) in the late Kamakura period (Approx. 1329). Sukekuni was originally from Bizen province (today’s Okayama prefecture) and belonged to Bizen Ichimonji school, one of the most prestigious schools during the Kamakura period. Sukekuni was the father of Mihara Masaie (三原正家). Masaie was the founder of Mihara school, another prestigious school in the region. This blade has a beautiful Jigane (steel surface pattern) and a groove enhancing its aesthetics. It comes with gorgeous sword mountings whose motif is a traditional Japanese tea ceremony. It is appraised as a Tokubetsu Hozon Token (特別保存刀剣) issued by NBTHK (Nihon Bijutsu Touken Hozon Kyokai:日本美術刀剣保存協会). *Please keep in mind that there are a couple of Kitae Kizu on the blade. Fuchi-Kashira The theme of this Fuchi Kashira is the Hatou Zu (波涛図), which depicts large undulating and splashing waves. As waves’ movements continue endlessly, the wave pattern represents eternity, immortality, longevity, birth, etcetera. Also, since tides repeatedly change the shape and terrain of rocks, some people hoped for a strong will by using this motif. People used this pattern wishing for an indomitable spirit to rechallenge time and time without giving up. Thanks to its dynamic design, this motif has been appreciated, especially for men’s Kimono (traditional Japanese costume). It is also said that warlords used wave patterns on their banners and armors, comparing the movement of battle to that of waves coming and going. Tsuka and Menuki The theme of this Menuki is most likely the Semi (蝉, cicada). In Japanese culture, the cicada symbolizes immortality and life after death. Cicadas spend many years underground as nymphs before transforming into adults; when they emerge, they grow wings and take flight. This natural cycle was compared to people who transcend the ordinary world, becoming mountain hermits and ascending to a higher spiritual realm. Because of this association, the cicada motif was admired as a noble and auspicious design. Tsuba and Habaki This Tsuba seems to depict a charming scene of two women, one holding a broom and the other carrying bamboo, seemingly engaged in friendly conversation. Sword guards were created with a wide variety of designs, and many of them portrayed everyday life of the time. Such motifs not only served as decoration but also provide us with valuable insights into the daily lives and culture of people in that era. Saya This scabbard is finished in a style known as Tsui-shu-nuri (堆朱塗, carved red lacquer). This is a traditional Japanese lacquering technique in which multiple layers of red lacquer are built up and then carefully carved to create patterns or textures. It is considered one of the most refined and decorative lacquer finishes, admired both for its durability and its rich, elegant appearance. Authentication Paper They authenticated the blade on May 28th in the 7th year of Reiwa (2016). They appraised it as Hozon Touken, the blade worth preserving for Japanese society.
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Yamato-den · Bingo
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Bingo province, in the late Kamakura into the Nanbokuchō and Muromachi periods, hosted a cluster of workshops that the setsumei repeatedly set apart from the better-known Mihara line. The reference work Kokon Meizukushi Taizen is cited again and again as locating the Hokke (法華) line among the makers of Ashida District (葦田郡), a genealogy presented as distinct from the so-called Mihara tradition, with Sukekuni (助國) named as its founding progenitor. The fuller designation is Hokke Ichijō[[c:1]], and several setsumei record that the smiths styled themselves with the surname-like "Ichijō," signing variously "Hokke Ichijō," "Hokke saku," "Ichijō saku," or simply the single character "Ichi"[[c:2]]. One account traces the founder Ichijō to a son of Mihara Masaiye, framing the group as a branch of the Mihara or Kokubunji sphere even as the workshop record treats it as its own hand. The setsumei name a roster of these makers: Ichijō, who left a kodachi signed "Ichijō saku" and a joint tachi by Ichijō Morie and Ichijō Moriyuki dated Chōroku 3 (1459); Kaneyasu, Yukiyoshi, Shigeie, and Nobukane, whose Ōei-era tantō survives signed; Shigeyasu (重安, and the homophone 重康), Shigeyoshi (重吉), Suetsugu (季次), Yoshitsugu (吉次), Kanetsugu (金次) of the Kusado settlement, and Chikatsugu (親次), several of whom the appraisers assign to Bingo on the strength of a "Bishū-jū" residence and a Nanbokuchō date. Read across the corpus, a shared manner emerges. The kitae is itame mixed with mokume, frequently running into nagare or tending toward masame near the edge, with conspicuous hada-dachi (standing grain); ji-nie and chikei gather, and a shirake-utsuri or whitish utsuri-like cast stands out, the steel often described as somewhat blackish. The hamon is a low, restrained suguha or suguha-chō carrying connected ko-gunome and gunome, with ashi and yō, nioi-dominant temper with ko-nie, and a nioiguchi that inclines toward shizumi (a sinking, subdued quality), at times softening to urumi; hotsure, uchi-noke, kuichigai-ba, kinsuji, and sunagashi recur within the ha. The bōshi divides into two recognized manners the setsumei themselves contrast: a yakizume finish that reads as a Yamato-den temperament, and a tip that grows slightly togari and turns back with a long kaeri.
Within this vocabulary the hands diverge. The signed Ichijō kodachi and the Chikatsugu tachi lean to a ko-midare with ko-chōji that the appraisers liken to neighbouring Aoe and Bizen-den work, while Shigeyasu and Shigeyoshi run to wider sun-nobi hira-zukuri with aligned yakigashira and abundant nie, so the group is presented as distinct hands sharing a province rather than one unified workshop. For kantei the setsumei offer concrete separators. The Yamato temperament, the shirake ground, the standing grain, and the shizumi nioiguchi mark the work off from mainline Bizen-den, whose chōji and clear utsuri the Hokke blades only echo through the Aoe-flavoured examples. Against Mihara, the appraisers note that the Hokke jiba evokes Mihara but the nie in both ji and ha runs one step stronger, and the bōshi turns back more deeply; the "Ichijō" surname usage and the linked ko-gunome of the midsection further fix the attribution. Provenance and documentary weight cluster around dated, signed pieces: the Chōroku 3 Ichijō Morie and Moriyuki tachi of unusual length, made for a commemorative demand; Shigeyasu's Ōan and Sadaji dates and the naginata-naoshi recording Jōji 4, Ōan 1, and Ōan 2; the Meitoku Kanetsugu associated with Kusado Sengen (草戸千軒), the buried medieval town excavated near the Kusado smiths. A mumei Ichijō katana carries a Hon'ami Kōchū origami. The standing of the school in the register rests on this evidentiary spine: a Bingo line, Yamato-inflected and Mihara-adjacent, whose signed and dated survivals let the appraisers read a coherent provincial character without collapsing its several smiths into a single lineage. Learn more →
| Smith | Era | Designated |
|---|---|---|
| Shigeyasu重安 | 1362-1373 | 4 |
| Hokke Ichijo法華一乗 | 1394-1573 | 4 |
| Nobutsugu信次 | 987-1596 | 0 |
| Chikatsugu親次 | 1352-1356 | 1 |
| Suetsugu李次 | 1352-1356 | 0 |
Yamato in the Nanbokuchō period
When the Southern Court made its capital at Yoshino, in Yamato itself, the province’s schools were at their height: the late Tegai line, Shikkake Norinaga, and the pure masame of Hōshō. Their technique was already spreading across the provinces.
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.
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