This is a tachi by Nagamitsu, the 2nd generation master of the Osafune school, active during the Kamakura period. Nagamitsu is renowned as one of the highest-ranking smiths in Japanese sword history, with numerous works designated as National Treasures and Important Cultural Properties. This particular sword has a clear mei with a date and was formerly owned by the Tokugawa Shogunate family, retaining its original family scabbard.
長光は、長船派の祖である光忠の子で、 長船二代目であり、現存する在銘の作品は鎌倉時代の刀工の中でも最も多いが、何れも出来にむら がなく、技術の充実していたことが知られる。 その作風は大別して、父光忠風を継承した感のある豪壮な造込みに華やかな丁子主調の乱れを焼 いたものと、身幅が尋常か細身の姿に直刃調に丁子足の入った比較的穏和な出来口の二様が見られる。 この太刀は、身幅はやや細めで、元先の幅差ややつき、磨り上げながらも踏ん張りごころがあり、反り高く、優美な姿態を呈している。鍛え は、小板目がつみ、乱れ映りが鮮明に立ち、刃文は中直刃基調に、互の目・小互の目が交じり、匂口の締まった出来となる。 長光の穏和な出来 口を示す作の一口で、その特色が顕著な優品である。また銘文はその銘振りから推して、真近の代銘と鑑せられるものであり、御家流の暢達な 書体で認められた古鞘が附帯している。
NihontoWatchmei · Osafune · Kamakura · nagasa 69.7cm · sori 1.9cm
Bizen-den · Bizen · around 1278-1299
Where Nagamitsu 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: Ko-Osafune古長船· 1238–1335
235 pieces on the market now
Three smiths working at the village of Osafune across the second half of the thirteenth century set the terms for every Bizen blade that followed: Mitsutada the founder, his son Nagamitsu, and the closely related Sanenaga, the Sansaku triumvirate whose work opens this phase. Their window runs from the mid-Kamakura period into the early fourteenth century, when leadership passed to Nagamitsu's son Kagemitsu, the third-generation head whose dated tachi, naginata, and tanto carry the phase to its close around the Kenmu years. The setsumei repeatedly fix Kagemitsu by genealogy and date, citing pieces inscribed from Gen'o 1 (1319) and Genko 1 (1321) through Shochu and Kenmu (1325 to 1334); these ubu or lightly shortened, date-bearing blades are what give the founding chapter its firm chronological spine and separate it from the workshop-broad output of the later Nanbokucho and Oei generations. This is the orthodox mainline before the school fanned out: the generation that built the standard, not the ones that later reinterpreted it. The constructional signature of the phase is a tightly packed ko-itame, at times mixed with mokume, carrying fine ji-nie in dense particles, fine chikei, and a vivid midare-utsuri that the examiners single out again and again; one Kagemitsu tachi even pushes the utsuri toward a striped, Aoe-like dan-utsuri with reverse-slanting dark bands. Against the Ko-Bizen root, with its standing jifu-utsuri and thicker ha-nie, this phase reads as more refined and more tightly controlled in the ji. The temper marks the phase's internal turn.
Where Nagamitsu and Mitsutada favored flamboyant choji-midare, Kagemitsu pulls the hand inward to a suguha-based temper carrying ko-gunome, ko-choji, and angular elements, often with a reverse (saka-gakari) tendency, in a nioi-dominant, bright nioiguchi; the setsumei credit him specifically with perfecting kata-ochi gunome, the dropped-shoulder pattern repeatedly named as his completion. The boshi is the gentle sansaku-boshi, a shallow midare-komi or notare turning back in ko-maru. None of this is the powerful nie, scattered tobiyaki, and Soshu-den drama of the later Soden-Bizen, nor the open gunome and pointed candlewick boshi of the Oei revival; it is calmer, nioi-bound, and date-anchored. A collector separates this phase by its named masters and the kantei points the setsumei make explicit: kata-ochi gunome and the sansaku-boshi read Kagemitsu, while reverse-slanting jihan-utsuri and certain boshi forms let the examiners assign proxy daimei hands such as Chikakage and the collaborator Kagemasa, the latter named in a Shochu 2 (1325) joint tachi dedicated to Chichibu Shrine. Tanto are a discriminator in their own right, surviving in number for Kagemitsu where they are scarce for Nagamitsu, including the kanmuri-otoshi and hira-zukuri pieces with devotional bonji and kurikara carvings. Provenance present in the sample carries weight: a Kagemitsu tachi transmitted in the Chikuzen Kuroda family with its old scabbard, an orikaeshi-mei katana recorded in the Shimazu line, and tanto and tachi held in the Imperial collection where Kagemitsu is ranked beside Yoshimitsu, Shintogo Kunishige, and Samonji. These are the works that define the founding core against everything Osafune later became. Learn more →
| Smith | Era | Designated |
|---|---|---|
| Mitsutada光忠 | 1238-1239 | 60 |
| Nagamitsu長光 | 1274-1304 | 244 |
| Kagemitsu景光 | 1303-1336 | 143 |
| Kanemitsu兼光 | 1323-1370 | 231 |
| Sanenaga眞長 | 1299-1309 | 64 |
Kamakura was Bizen’s summit. Tradition places Ichimonji smiths among Go-Toba’s goban kaji, Mitsutada founded the Osafune line at mid-century, and orders flowed from the court and the warrior government alike. No province holds more National Treasure blades.
A blade of top-grade workmanship and condition, formally judged to rank with a nationally recognized Important Art Object (Jūyō Bijutsuhin). Awarded only at the NBTHK’s competitive annual examination.
Of Japan’s roughly 2.5 million registered swords, only 12,307 (about 1 in 203) have ever attained Jūyō.
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 siteCustomer-initiated returns accepted within two days of arrival; return shipping paid by customer and fees non-refundable. Returns/refunds unavailable for overseas deliveries.
This is a tachi by Nagamitsu, the 2nd generation master of the Osafune school, active during the Kamakura period. Nagamitsu is renowned as one of the highest-ranking smiths in Japanese sword history, with numerous works designated as National Treasures and Important Cultural Properties. This particular sword has a clear mei with a date and was formerly owned by the Tokugawa Shogunate family, retaining its original family scabbard.
長光は、長船派の祖である光忠の子で、 長船二代目であり、現存する在銘の作品は鎌倉時代の刀工の中でも最も多いが、何れも出来にむら がなく、技術の充実していたことが知られる。 その作風は大別して、父光忠風を継承した感のある豪壮な造込みに華やかな丁子主調の乱れを焼 いたものと、身幅が尋常か細身の姿に直刃調に丁子足の入った比較的穏和な出来口の二様が見られる。 この太刀は、身幅はやや細めで、元先の幅差ややつき、磨り上げながらも踏ん張りごころがあり、反り高く、優美な姿態を呈している。鍛え は、小板目がつみ、乱れ映りが鮮明に立ち、刃文は中直刃基調に、互の目・小互の目が交じり、匂口の締まった出来となる。 長光の穏和な出来 口を示す作の一口で、その特色が顕著な優品である。また銘文はその銘振りから推して、真近の代銘と鑑せられるものであり、御家流の暢達な 書体で認められた古鞘が附帯している。
NihontoWatchmei · Osafune · Kamakura · nagasa 69.7cm · sori 1.9cm
Bizen-den · Bizen · around 1278-1299
Where Nagamitsu 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: Ko-Osafune古長船· 1238–1335
235 pieces on the market now
Three smiths working at the village of Osafune across the second half of the thirteenth century set the terms for every Bizen blade that followed: Mitsutada the founder, his son Nagamitsu, and the closely related Sanenaga, the Sansaku triumvirate whose work opens this phase. Their window runs from the mid-Kamakura period into the early fourteenth century, when leadership passed to Nagamitsu's son Kagemitsu, the third-generation head whose dated tachi, naginata, and tanto carry the phase to its close around the Kenmu years. The setsumei repeatedly fix Kagemitsu by genealogy and date, citing pieces inscribed from Gen'o 1 (1319) and Genko 1 (1321) through Shochu and Kenmu (1325 to 1334); these ubu or lightly shortened, date-bearing blades are what give the founding chapter its firm chronological spine and separate it from the workshop-broad output of the later Nanbokucho and Oei generations. This is the orthodox mainline before the school fanned out: the generation that built the standard, not the ones that later reinterpreted it. The constructional signature of the phase is a tightly packed ko-itame, at times mixed with mokume, carrying fine ji-nie in dense particles, fine chikei, and a vivid midare-utsuri that the examiners single out again and again; one Kagemitsu tachi even pushes the utsuri toward a striped, Aoe-like dan-utsuri with reverse-slanting dark bands. Against the Ko-Bizen root, with its standing jifu-utsuri and thicker ha-nie, this phase reads as more refined and more tightly controlled in the ji. The temper marks the phase's internal turn.
Where Nagamitsu and Mitsutada favored flamboyant choji-midare, Kagemitsu pulls the hand inward to a suguha-based temper carrying ko-gunome, ko-choji, and angular elements, often with a reverse (saka-gakari) tendency, in a nioi-dominant, bright nioiguchi; the setsumei credit him specifically with perfecting kata-ochi gunome, the dropped-shoulder pattern repeatedly named as his completion. The boshi is the gentle sansaku-boshi, a shallow midare-komi or notare turning back in ko-maru. None of this is the powerful nie, scattered tobiyaki, and Soshu-den drama of the later Soden-Bizen, nor the open gunome and pointed candlewick boshi of the Oei revival; it is calmer, nioi-bound, and date-anchored. A collector separates this phase by its named masters and the kantei points the setsumei make explicit: kata-ochi gunome and the sansaku-boshi read Kagemitsu, while reverse-slanting jihan-utsuri and certain boshi forms let the examiners assign proxy daimei hands such as Chikakage and the collaborator Kagemasa, the latter named in a Shochu 2 (1325) joint tachi dedicated to Chichibu Shrine. Tanto are a discriminator in their own right, surviving in number for Kagemitsu where they are scarce for Nagamitsu, including the kanmuri-otoshi and hira-zukuri pieces with devotional bonji and kurikara carvings. Provenance present in the sample carries weight: a Kagemitsu tachi transmitted in the Chikuzen Kuroda family with its old scabbard, an orikaeshi-mei katana recorded in the Shimazu line, and tanto and tachi held in the Imperial collection where Kagemitsu is ranked beside Yoshimitsu, Shintogo Kunishige, and Samonji. These are the works that define the founding core against everything Osafune later became. Learn more →
| Smith | Era | Designated |
|---|---|---|
| Mitsutada光忠 | 1238-1239 | 60 |
| Nagamitsu長光 | 1274-1304 | 244 |
| Kagemitsu景光 | 1303-1336 | 143 |
| Kanemitsu兼光 | 1323-1370 | 231 |
| Sanenaga眞長 | 1299-1309 | 64 |
Kamakura was Bizen’s summit. Tradition places Ichimonji smiths among Go-Toba’s goban kaji, Mitsutada founded the Osafune line at mid-century, and orders flowed from the court and the warrior government alike. No province holds more National Treasure blades.
A blade of top-grade workmanship and condition, formally judged to rank with a nationally recognized Important Art Object (Jūyō Bijutsuhin). Awarded only at the NBTHK’s competitive annual examination.
Of Japan’s roughly 2.5 million registered swords, only 12,307 (about 1 in 203) have ever attained Jūyō.
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 siteCustomer-initiated returns accepted within two days of arrival; return shipping paid by customer and fees non-refundable. Returns/refunds unavailable for overseas deliveries.
