Those are the kind of swords people could only see through the glass display cases. The kind of swords we could study with were top quality museum swords. Mori sensei’s group was very rare and valuable kind because he could bring top quality swords as our study materials because of his position in the museum. One of his friends (Mori Sensei) who was also the main administrator, used to hold Japanese sword study group in his house. He was one of the administrators of Nihon Bijutu Token Hozon Kyokai(日本美術刀剣保存協会), that is a sword museum located in Tokyo. As his hobby, he had been collecting Japanese swords and other types of Japanese art objects. My father owned a manufacturing company related with metal. Also, I graduated from the Calfornia State University of Northridge received a degree in Economics. Graduated from Meiji University received a degree in literature and curatorship. I was born and raised in Minato-ku, Tokyo Japan, then moved to Kamakura. Mino-Den-Magoroku Kanemoto (孫六兼元) Izuminokami Knesada (和泉守兼定) Bizen-Den -Yosozaemon Sukesada (興三左衛門祐定) Norimitu (則光) Tadamitu(忠光) Yosozaemon Sukesada ( Sano Museum) 与三左衛門尉祐定(佐野美術館蔵) often shows M asame in the S hinogi area. Ji-hada ( 地肌: Area between shinogi and tempered area)- Mokume (wood burl) mixed with M asame (straght grain). Jizo-boshi (side view of a monk’s head), Ko-maru (small round), kaeri-yoru (lean) See the drawings below.īizen-Den Hamon from Sano Museum Catalogueīoshi ((鋩子: Tempered line at kissaki area)-–Turn back deep. 1-inch Sugu-ha at the bottom, followed by irregular H amon, then Chu-suguha at the top.īizen-Den -Mostly Nioi. Sanbon-sugi (pointed G unome ), O-notare, Yahazu-midare, Hako-midare (box shape), Chu-suguha with Katai-ha. On the Bizen Den swords, the bottom of the Bo-hi (single groove) shows a round end (see the last photo below) just above the Machi area ( for Machi, see the diagram in Chapter 3 Names of parts). Engraving is rare with the Mino Den swords. The width and the thickness are not too wide, not too thick. Sugata ( 姿: shape) -– Shallow curvature, low Gyo-no-mune, Chu– kissaki with Fukura. Good shape, good forging, often engraved the swordsmith’s name and the name of a person who ordered it. They were not made for permanent preservation. Kazu-uchi-mono was a sword made just good enough for one battle.Together with swordsmiths in the Mino area, Bizen Osafune swordsmiths fulfilled the high demand also During this wartime, Samurai demanded a very practical sword that wouldn’t bend or break but cut well. Thus, Mino could supply the high demand for a large number of swords. Tegai Kaneyoshi from Yamato Den moved to Mino, and many swordsmiths from Yamashiro and Yamato areas moved to Mino. Also, the Shizu Group from Yamato Den (school) moved to Mino province. It was because the Mino province was located in a convenient location from many feudal lords. Mino and Bizen areas were the active sword-making places during the Sengoku time. Sengoku Daimyo (warlord or feudal lord) needed a large number of swords from nearby. Distinguished swordsmiths in the Kyoto area were almost all gone. The red circle above indicate the time we discuss in this sectionĪfter the Onin-no-Ran, Kyoto was in a devastating condition.