NIHONTO-AUSTRALIA-LOGO-website-

Pay by

paypal_logo

Credit Card

or

Direct Deposit

Katana Made for theEmperor by Akihide in Tachi Koshirae with NBTHK Hozon Certificate. 

Every now and then something really special comes along.  Here we have a very historically important sword published in the Shinshinto Taikan,  as the mei  reads - carefully made by Kurihara Hikosabura Minamoto Akihide, bearer of the fourth court rank, as a prayer for the achievement of the Emperors work. This is an excellent example by Akihide with some of the finest  horimono by Akitada I have seen on a showa sword. Mounted in a superb tachi koshirae, with the imperial Kikumon and Kirimon. All of the metalwork is of the finest quality and detail of which one would expect of a tachi made for the Emperor of Japan.

The following info is from The Yoshihara Tradition & The traditional craft of Japanese sword making, with thanks - 

As Dr. Sato Kanzan is known to the sword world as the saviour of Japanese swords from destruction by the allied forces, so Kurihara Hikosaburo (Akihide) is known as the
saviour of Japanese swordmaking. Born in Kanma, Tochigi prefecture in 1879, Kuriharas interest in Japanese swords stemmed from his childhood.

His father, a keen sword enthusiast, invited a prominent member of the Inagaki family of swordsmiths to the forge he had built on his estate.

During his adolescent life, through a politician friend of his father, he went to live in Tokyo with Okuma Shigenobu (a future Japanese Prime Minister) whilst he attended
Aoyama Gakuin, a famous Tokyo English school. He later went on to become a member of the national diet (parliament).

As a politician, he had a reputation for being quite  flamboyant. He once brought a live snake into parliament and threw it at a member of the opposition during a heated debate. Like his father, Kurihara, concerned that the traditional craft of Japanese sword making was being lost, was eager to remedy the situation.

The craft had suffered somewhat since the hatorei decree during the Meiji period, which banned the wearing of swords by samurai in public. The demand for swords had steadily decreased since that time and the number of swordsmiths had decreased along with it.

In 1933 the Japanese government realised the craft was endangered. The Prime Minister, Saito Makoto, aware of Kuraharas knowledge and enthusiasm for Japanese sword making, asked him to undertake a project devoted to increasing the number of Japanese swordsmiths.

Kuriharas answer was to open the Nipponto Tanren Denshu Jo(Japanese Sword Forging Institute) on the grounds of his estate in Akasaka, Tokyo on the 5th of July 1933.

Kurihara had no real formal training as a swordsmith, but enjoyed the yaki-ire process of quenching the blade. As a result, he became quite specialized in this aspect of sword making. Despite the fact that he lacked formal training, Kurihara, took the art name of Akihide, and placed himself in the position of Head Chief Instructor of the Denshujo.

He employed another swordsmith, Beppu Kiyoyuki, as Chief Instructor. Kiyoyukis time at the Denshujo was quite short, as he too was not a fully-fledged swordsmith. He’d had some training, and was accustomed to working with tamahagane(the type of steel produced for Japanese making), but this was mainly due to his formal training as a
toolmaker.

In 1934, Kurihara invited one of the most famous smiths of the period, Ikkansai Kasama Shigetsugu, to become the chief instructor of the Denshujo. This was perhaps the most influential smith to teach there in its entire history. He also had the greatest impact on the students and teachers alike. Shigetsugu, born Kasama Yoshikazu on April 1, 1886 in

Shizuoka, started his apprenticeship under his uncle Miyaguchi Shigetoshi in 1899. In 1903 he entered the Tokiwamatsu Token Kenkyujo, on the estate of Toyama Mitsuru, to study under Morioka Masayosh. Later he went on to study metallurgy whilst collaborating with Dr. Tawara Kuniichi in formal research on the composition of
Japanese swords.

Tazawa built a special laboratory in Tokyo University for the project.

The results were published in a book called Nihonto no Kagakuteki Kenkyu(Scientific Research of the Japanese Sword), which remains to this day a definitive scientific work on the subject. First Graduating class of the Denshujo.

Shigetsugu worked mainly in the Bizen and Soshu traditions of swordmaking, which influenced many of the Denshujos students later work. It is recorded that full-time students of the Denshujo received the character Aki from Kurihara
(Akihide) to use as part of their Denshujo art names, whereas some direct students of Shigetsugu have been allowed to use Ikkansai gu.

This may not be a clear definition of terms as many of the AkiÇŁ smiths also would have learned their skills from Shigetsugu during his term as chief instructor.

As well as a master swordsmith, Shigetsugu was also a very skilled carver of horimono (decorative blade carving). He often made swords on the estate of Toyama Mitsuru, a right-wing nationalist and founder of the Black Dragon Society. A recently rediscovered blade made by Shigetsugu on Mitsurus estate had been commissioned by Nagamatsubara Hiroshi of Nihon University.

This sword was a gift for the Governor General of Germany Adolf Hitler and was inscribed accordingly. The sword also had one of Shigetsugus wonderful horimono, one of the five Buddhist Kings of Light from esoteric Buddhism Fudo Myo-O (Acala). Fudo Myo-O, The Immovable, is the patron deity of Japanese swordsmen.

He has a fierce expression whilst clutching his sword in his right hand and a rope in his left and is surrounded by a halo of flames. The rope is to bind the enemies of enlightenment, while his sword, with a three-pronged Buddhist ritual instrument called a vajraas the handle, is to cut through the illusionary world to the ultimate reality.

Below this fierce exterior is an immovable nature, to which swordsmen wish to aspire. Ikkansai Kasama Shigetsugu was only to work at the Denshujo for two years. It would seem there was some kind of disagreement between Shigetsugu and Kurihara.

This could have been for a number of reasons. Shigetsugu was an accomplished prominent contemporary swordsmith. Kurihara, on the other hand, had never been fully trained in the craft. However, as is traditional within Japanese crafts, teachers have licence to sign students works. As Kurihara was the leader of the Denshujo, it was probable that he performed yaki-ire on his students swords and signed them as his own work.

Therefore, it is likely this was also the case with some of Shigetsugus swords. This was probably a thorn in the side of a smith of Shigetsugus expertise. There are also indications of a cash flow problem, which included Shigetsugus wages. The Denshujo was a self-financed organisation, which was initially started through sponsorship.

Kurihara, at times, had to sell some of his own belongings to continue the project.

As the rift between these two very strong characters grew, Shigetsugu taught at the Denshujo less, until in 1935, he stopped attending completely. This did not favor at all well with Kurihara, who was a very prominent figure in the sword world and as an expolitician, was extremely well connected in high society.

He used his influence to try to keep Shigetsugu out of the spotlight by not including him in his monthly publication that he produced called Nihonto Oyobi Nihon Shumi (Japanese Swords and Japanese Hobbies). This was a current events publication for sword enthusiasts.

The publication started a year after the initial split and continued through to 1945, so it is very surprising to see one of the periods greatest smiths and former Chief Instructor of the Denshujo rarely mentioned within the publication.

In response, Shigetsugu boycotted any sword events arranged by Kurihara. This doesnt seem to have affected Shigetsugu too adversely, as he still made swords for members of the imperial family and on the estate of one of Kuriharas good friends, Toyama Mitsuru, with whom he went on to co-found the Tokyo Swordsmiths Association.

Shigetsugu died in 1966. He was 80 years old.

At the end of the allied occupation Kurihara once again was an important factor in the revival of swordmaking, successfully petitioning the government for the resumption of sword manufacture. You will find that most of the smiths today would be able to trace their lineage through Kurihara or his work to keep swordmaking alive in the early and mid parts of the 20 th century.

Living National Treasures Miyairi Akihira and Amata Akitsugu are only two of the post-war swordsmiths who have been touched by Kuriharas efforts. Many other makers we also influenced by Akihide.
 

kantei-sho (鑑定書)         No 3006052
 
katana, mei: Tengy˘-tassei kigan no tame (為祈願天業達成)   Kun-yont˘ Kurihara Hikosabur˘ Minamoto Akihide kore o kinsaku   (勲四等栗原彦三郎昭秀謹作之)   Monjin Akitada ch˘koku onshi eishin ka’i  (門人昭忠彫刻恩師咏進歌意)   Sh˘wa dai-jűroku shintaisei gannen sh˘gatsu kichijitsu  (昭和第十六新体制元年正月吉日) nagasa 2 shaku 3 sun 1 bu
 
Migi wa t˘-ky˘kai ni oite shinsa no kekka, hozon-t˘ken to kantei-shi kore o sh˘-suru. (右は當協會に於て審査の結果保存刀剣と鑑定しこれを証する)
 
Heisei nijűrokunen shichigatsu kokonoka (平成二十六年七月九日)
 
k˘eki-zaidan-h˘jin (公益財團法人): Nihon Bijutsu T˘ken Hozon Ky˘kai (日本美術刀劍保存協會)
 
Appraisal
 
katana, signed: Carefully made by Kurihara Hikosabur˘ Minamoto Akihide, bearer of the fourth court rank, as a prayer for the achievement of the Emperor’s work. Engravings by Akitada which are a poem of my master [Akihide] dedicated to the Emperor. On a lucky day of January of the first year of the 16th New Structure Movement [1940].
 
nagasa ~ 70.0 cm
 
 According to the result of the shinsa committee of our society we judged this work as authentic and designate it as hozon-t˘ken.
 
July 9th 2014
 
[Foundation] NBTHK

akihide 10
akihide 12
akihide 14
akihide 18
akihide 19
akihide 21
akihide 23
akihide 24
akihide 25
akihide 26
akihide 27
akihide 28
akihide 29
akihide 30
akihide 31
akihide 34
akihide 39
akihide 36
akihide 64
akihide 53
akihide 75
akihide 77
akihide 76
akihide 85 akihide 94 akihide 96
akihide 8
akihide 55
CERTIFICATE
akihide 66
akihide 67
akihide 68
akihide 63
akihide 61
akihide 1
akihide 2
akihide 4
akihide 3
akihide 6
akihide 5
akihide 9
akihide 7
akihide 10 (2)
akihide 11
akihide pic 2
akihide pic 3
akihide pic 5
akihide pic 4
akihide pic 7
akihide pic 6
akihide pic 8
akihide pic
akihide pic 9
Denshujo

Front Row far left: Kasama Ikkansai Shigetsugu; 3rd from left: Toyama Mitsuru, 4 th from the left: Kurihara Hikosaburo (Akihide); far right: Kiyoyuki Beppu; 2 nd
from right: Dr Tazawa Kuniichi. Back row far right: Yoshihara Kuniie; 2 nd from right: Yoshihara Masahiro; 6th from right: Yoshihara Kuninobu.

Iimura, Shinshint˘ Taikan Volume 1, page 675: Translation by Markus Sesko
 
Signature:
 
Tengy˘-tassei kigan no tame (為祈願天業達成) Kun-yont˘ Kurihara Hikosabur˘ Minamoto Akihide kore o kinsaku (勲四等栗原彦三郎昭秀謹作之) Monjin Akitada ch˘koku onshi eishin ka’i  (門人昭忠彫刻恩師咏進歌意) Sh˘wa dai-jűroku shintaisei gannen sh˘gatsu kichijitsu (昭和第十六新体制元年正月吉日)
 
Translation of signature:
 
Carefully made by Kurihara Hikosabur˘ Minamoto Akihide, bearer of the fourth court rank, as a prayer for the achievement of the Emperor’s work. Engravings by Akitada which are a poem of my master [Akihide] dedicated to the Emperor. On a lucky day of January of the first year of the 16th New Structure Movement [1940].
 
Nagasa 2 shaku 3 sun 1 bu (70 cm), sori 6 bu (1.8 cm), motohaba 1 sun 5 ri (3.1 cm), sakihaba 7 bu 5 ri (2.3 cm), moto-kasane 2 bu 5 ri (0,75 cm), weight 210 monme (787 g), nagakago-nagasa 7 sun (21.2 cm), shinogi-zukuri, iori-mune, chű-kissaki, nakago with sujikai yasurime with kesh˘, angular nakago-mune, kurijiri. The jigane is a dense and excellenly forged itame with beautiful ji-nie. The hamon is a uniform gunome-ch˘ji with long nioi-ashi. The b˘shi is sugu with a ko-maru-kaeri with some hakikake. The omote side shows in a hitsu the engraving of a boy waiting for the arrival of a fisherman’s ship and the ura side shows, also in a hitsu and also in sukidashi-nikubori, a water dragon. Above of the hitsu there is a b˘hi with soebi engraved on both sides and the ura side of the nakago notes that the magnificent horimono were done by Akihide’s student Abe Akitada, with the inscription being a poem of Akihide dedicated to the Emperor.
 
Iimura, Shinshint˘ Taikan Volume 2, page 232f:
 
Explanation:
 
The horimono were done by Akihide’s student Abe Akitada who lived in Sanj˘ (三条) in Echigo province, present-day Niigata Prefecture. We know that Akihide had his horimono almost exclusively engraved by Akitada. Often the forging itself was carried out for example by Kasama Ikkansai Shigetsugu (笠間一貫斎繁継) or Konno Akimune (今野昭宗), or by Kasama’s students at their facility, but here we have one of the greatest masterworks made by Akihide himself.

BuiltWithNOF

Copyright 2006