Ryumon Kamakura Tachi with NBTHK Tokubetsu Hozon Certificate

Ryumon Kamakura Den  Tachi with NBTHK Tokubetsu Hozon Certificate 

Kamakura Tachi Ryumon Den. Syoou Era, Kamakura period circa (1288 – 1293) Ryumon lived in Yamato now present day Nara.

Ryumon has 1 National Treasure Tachi . 2 Juyo Bijitsuhin, and about 17 Juyo Blades.

The Nihonto Koza says when Ryumon is mentioned it often means it is Nobuyoshi is the maker of the sword.

 

NOBUYOSHI (延吉), Bunpō (文保, 1317-1319), Yamato – “Nobuyoshi” (延吉), Nobuyoshi started towards the end
of the Kamakura period – i.e. around Shōō (正応, 1288-1293) – in the Ryūmon fief (龍門) between the northern
Yoshino mountains and the village of Uda (宇陀) a branch of the Senju’in school, there exists also the Ryūmonji
(龍門寺) in this area and so it is possible that Nobuyoshi worked for this temple, he made Yamato-like blades with a
calm suguha but also displayed a different deki with utsuri and midareba mixed with ko-chōji which remins rather of the
Bizen tradition, some few signed blades are extant by Ryūmon Nobuyoshi but it is assumed that many of his mumei
works were attributed to the Senju’in school, simply spoken, a blade with a typical Yamato-sugata with a jiba not later than
the Kamakura period and a workmanship which can´t be classified to one of the four Yamato-schools of Taima, Tegai,
Hoshō, or Shikkake is likely to be a work of the Senju’in school, and when this blade dates somewhat later then the
“golden age” of the four Yamato-schools – i.e. to the late Kamakura period – and shows a conspicuous amount of
midare, it is likely that it is a work of Ryūmon Nobuyoshi, anyway, we know two different signature styles of Nobuyoshi,
at one the right radical (正) of the character for “Nobu” (延) is signed in a simplified manner which reminds of the
roman letter G, at the other group this radical is signed like the grass script version of (氏) and looks like (氏), in the
Genki Gannen Tōken Mekiki Sho (元亀元年刀剣目利書) the latter signatures are grouped as urizane-mei (ウリザネ銘・
瓜実銘, lit. “melon-stone signature”), there are theories that these signatures go either back to one or to two generations
Nobuyoshi, but because there also exists a kind of intermediate “hybrid form” it is likely that the differences actually go
back to the changes over time that took place in the career of a single smith (see picture below), the most representative
work of Ryūmon Nobuyoshi is the kokuhō-tachi from the former possession of Emperor Go-Mizunoo (後水尾天皇,
1596-1680, r. 1611-1629), the hamon is a hiro-suguha-chō mixed with ko-chōji, ko-gunome, and ko-midare in combination with
thick nie and nioi, in addition there appear many ashi and a jifu-utsuri so that we can also see certain characteristics of the
Ko-Bizen school, jōjō-saku ⦿