NihontoWatchSummary This blade is attributed to Den Bishū Osafune Kanemitsu (伝備州長船兼光), a prominent swordsmith of the Osafune school who was active during the Genkō era of the late Kamakura period (1331–1334). Kanemitsu (active roughly 1328–1360) was the son of Kagemitsu. In his early work, from the late Kamakura period, his style was close to his father’s. The blade patterns often show tight, orderly lines and a “clove-shaped” temper pattern called chōji-ba. When the Nanboku-chō period began, his style changed. He started using a bolder temper pattern inspired by the Masamune tradition, which was extremely influential at the time. These later blades often have a notare-midare (a gentle wave-like pattern mixed with irregular movement) made in nie-deki, meaning the hardened edge shows bright, visible crystals. Because of this, his later works are strongly associated with the Sōshū tradition, a famous group of swordsmiths based in Sagami Province (modern-day Kanagawa). There is also debate about who “Kanemitsu” actually refers to. Some researchers think the name may have been used by more than one smith. In many cases, “Kanemitsu” means either the first-generation maker known as “Ō-Kanemitsu” (Great Kanemitsu) or the later smith often called “Enbun Kanemitsu.” During the Edo period, the one-person theory was common, and even today many scholars still support it, so there is no single accepted conclusion. This History of Bizen Osafune School It is said that Osafune school was founded by Mitsutada (光忠), who was active during the mid-Kamakura period. Bizen Osafune school was the biggest one of all other schools in Bizen province, and they received many orders from feudal lords or renowned Samurai. They were called Osafunemono and were beloved by Samurai warriors. Among the swordsmiths who belonged to this school, Nagamitsu, Sanenaga, and Kagemitsu are known as Osafune Sansaku, the three renowned Osafune swordsmiths. There are also four other prominent swordsmiths who were from Bizen Osafune school. They are called Osafune Shiten-no, the four masters of Osafune school. Their names are Nagamitsu, Kanemitsu, Nagayoshi, and Motoshige. BIZEN is located near the Chugoku Mountains, where iron sands, one of the essential materials for making Japanese swords, were abundant. Furthermore, BIZEN swordsmiths had close access to the Yoshi River, where they could find water and charcoal. This geological location contributed to the swordsmiths forging high-quality refined blades. We presume BIZEN was quite active in sword-forging from ancient times. It is said that BIZEN DEN was created by groups of swordsmiths there during the late Heian era (Late 12th century). These ancient swordsmiths in Bizen province are called Ko-Bizen (Old Bizen) swordsmiths. By inheriting the sword forging techniques from Ko-Bizen swordsmiths, the Bizen Osafune school flourished from the mid-Kamakura period. Horimono A Bonji character is carved in to this blade. Bonji are Sanskrit seed syllables that represent Buddhist deities and serve as sacred symbols for invoking divine protection. Among them, the character “Kān” (カーン) symbolizes Fudō Myō-ō, one of the most revered guardian deities among samurai warriors. Another Sanskrit character, “Kanmān” (カンマーン), combines with “Man” to form a sacred mantra. During the age of the samurai, warriors often incorporated such religious motifs into their armor, helmets, and swords as expressions of faith and spiritual strength in battle. Tachi Koshirae This blade is stored in Tachi(太刀) Koshirae. Tachi was mainly used by an armored Samurai with one hand on horseback from the Heian period (794-1185 A.D.) until the early Muromachi period. TACHI was suspended loosely on the left waist with its edge facing the ground so that you could draw it faster to cut down soldiers on the ground. Because of its gorgeous looking, having a Tachi-style sword mounting became a social status among Samurai. Yushu Saku Appraisal This blade has successfully passed the Yūshū-tō (Excellent Sword) examination conducted by the NPO Tōken Hozonkai, a respected Japanese sword preservation organization. The Yūshū-tō certification is not easily obtained. During the appraisal process, swords are subjected to strict and detailed evaluation by qualified judges with deep knowledge of traditional Japanese sword craftsmanship. Factors such as forging quality, hamon activity, balance, preservation state, and historical importance are thoroughly examined. Only swords that meet these demanding standards are awarded this distinction. As a result, the Yūshū-tō paper is regarded as strong evidence of both authenticity and superior artistic and historical merit. *Please keep in mind that there is a couple of Kitae Kizu on this blade. Koshirae This blade is stored in Tachi(太刀) Koshirae. Tachi was mainly used by an armored Samurai with one hand on horseback from the Heian period (794-1185 A.D.) until the early Muromachi period. TACHI was suspended loosely on the left waist with its edge facing the ground so that you could draw it faster to cut down soldiers on the ground. Because of its gorgeous looking, having a Tachi-style sword mounting became a social status among Samurai. Fuchi-Kashira This Fuchi-Kashira has a reddish-brown base with a rough hammered texture, and several rounded openings arranged to form a flower-like shape. Tsuka and Menuki This Menuki appears to depict a citrus fruit, such as tachibana or a mandarin orange, shown with small leaves. Tsuba and Habaki This is a mokkō-gata (木瓜, four-lobed) iron tsuba with a dark, well-aged patina. The design is carved in shallow lines and arranged in an asymmetrical way: most of the surface is filled with a kikkō (拮抗, tortoiseshell) pattern of small hexagons, while the upper right area is left more open and decorated with flowing karakusa vine scrolls and small flower motifs. There is an oval hitsu-ana on the right side for a kozuka accessory, and the overall contrast between the dense geometric pattern and the light, curling vines gives the guard a calm but lively look. Saya This saya is finished in glossy black lacquer and decorated with raden (螺鈿), small pieces of mother of pearl inlay, arranged in a chain of diamond shapes running down the center. The fittings are in a warm brown material with a rough, hammered texture, and several of them are pierced with rounded openings that form a simple flower-like pattern, matching the design seen on the other mounts. The kurigata, the knob for the cord, features an inome (猪目) cutout, which can resemble a heart shape and is traditionally associated with warding off evil. Authentication Paper NTHK, also known as NPO Nihon Touken Hozon Kai, is the oldest organization for sword authentication of Japanese swords in modern times. It was established in 1910 during the post-Samurai era. They authenticated the blade on December 21st in the 7th year of Reiwa (2025). They appraised it as Yushu-Saku To (優秀作刀): an outstanding sword considered especially worthy of preservation for Japanese society.
Offered by Samurai Museum
3 on the market
Osafune (Bizen) · Bizen · around 1323-1370
Fujishiro Sai-jo saku
3 pieces on the market now
The published sources open their account of Kanemitsu with one fixed sentence: he is "the mainline heir of the Osafune school, following Kagemitsu"[[c:1]]. Son of Kagemitsu and fourth master of the line that runs from Mitsutada through Nagamitsu and Kagemitsu, he stands as the leading Bizen smith of the Nanbokucho period. His dated works span what the NBTHK calls an unusually long period, roughly forty-five years from Genko 1 (1321) at the close of the Kamakura period through the Joji era (1362-1368), and some designations carry the span to Oan and read it as fully fifty years. So long a working life raises, in the sources' own framing, the question of a first and a second generation, with no settled view as to where the division should fall; the later master is known to the record as "Enbun Kanemitsu"[[c:2]].
His hand divides at a watershed the published sources place in the Jowa and Kan'o eras (1345-1352). Until around Koei both tachi and tanto keep standard proportions, tempered either in a suguha tone mixed with gunome or in the kataochi-gunome he inherited from his father, work that in the recurring judgment of the designations "wholly follows the father Kagemitsu's manner"[[c:3]]. From Jowa and Kan'o the build turns grand, and the sentence nearly every later designation repeats takes over: "a notare-dominant hamon that had not existed before appears, and is met most often around Bunna and Enbun"[[c:4]]. The broad, unhurried notare and the angular kaku-gunome are alike singled out as "what Kanemitsu excelled in"[[c:5]], and one Tokubetsu Juyo description calls the angular gunome "the construction he favored from first to last"[[c:6]]. Against the rounder returns of the earlier mainline, his boshi runs in midare, often thrusting up before a pointed tip.
Even at the grand scale the forging holds. The jigane is itame mixed with mokume, and the NBTHK remarks of one Tokubetsu Juyo katana that it shows not the slightest loosening or coarseness of the surface pattern from base through tip. Fine ji-nie adheres thickly, fine chikei enter, and a midare-utsuri stands out, often called vivid, the steel bright; on the early ubu-signed pieces the reflection is rather a sugu-utsuri or bo-utsuri over a tight ko-itame. The temper is for the most part nioi-dominant with ko-nie. Kinsuji and sunagashi gather toward the koshimoto, small tobiyaki and yubashiri-like effects appear in places, and ashi and yo enter freely. To this he adds a distinctive program of carving: bonji, gomabashi and suken, and above all the cursive grass-style kurikara[[c:7]], a composition the sources note recurs on works of Kanemitsu and Tomomitsu, and at times Chikakage.
Most of what survives from the late phase is the o-suriage mumei katana of the Enbun-Joji build: wide in mihaba with little taper from base to tip, the kissaki large, the sori shallow or moderately deep. Beside it stand the sunnobi hira-zukuri tanto and ko-wakizashi, broad and thin with shallow sori, and the long hira-zukuri blades signed on the sashi-omote, made as uchigatana from the outset, of which the Uesugi "Suijin-giri"[[c:8]] is the recorded example. Signed work is plentiful for so heavily shortened an oeuvre, one hundred seven signed against ninety-five unsigned among the blades gathered here, the long signatures reading Bizen no Kuni Osafune-ju Kanemitsu[[c:9]] or Bishu Osafune-ju Kanemitsu[[c:10]], many with dates. The strengthened nie of the late manner the sources read with their own hedge, "possibly under the influence of the Soshu tradition"[[c:11]], adding that "since the nie also is emphasized, the work is known in the world as Soden-Bizen"[[c:12]]. The older designations go further only as a question: one Juyo note finds in the turn to notare "the relation to Soshu Masamune, together with the succession of a first and second generation"[[c:13]], the Masamune-pupil tradition held open, never asserted. Honma's inventory of the Imperial collection frames the same question from dated work: a Koei tanto reads almost like Kagemitsu, while a Bunna wakizashi is already a grand hira-zukuri in a notare suggesting the Soshu tradition, so that where to divide a first and second generation remains a problem[[c:14]], since such work exists with a Bunna date. The many shortened mumei blades carry kinzogan attributions of the Honami line, Kotoku and Koson among them, which the NBTHK in case after case upholds.
Within Bizen his place is fixed by what he carried and what he introduced. The kataochi-gunome descends to him through Kagemitsu alone within the school's mainline, and the notare is his own addition, the broad, unforced midare that, in the words of one Tokubetsu Juyo description, this smith pioneered among Bizen craftsmen. His grand manner passes into late Osafune through his circle: the published sources read related blades as work of the sphere surrounding Kanemitsu, and the cursive kurikara he favored recurs in Tomomitsu.
Fujishiro grades him Sai-jo saku, and two hundred thirty-five designated works stand on record, four of them recorded in Honma's inventory of the Imperial collection. No National Treasure is among them, but thirteen blades hold the rank of Important Cultural Property, and the named swords cluster there: the meibutsu O-Kanemitsu (大兼光) and the tachi of Uesugi Kagekatsu's hand-picked thirty-five, both cited in the record as Important Cultural Properties, and the meibutsu Nami-oyogi Kanemitsu (波游兼光), whose gold inlay records the ownership of Hashiba Okayama Chunagon Hideakira, identified as Kobayakawa Hideaki. Forty of his blades hold the Tokubetsu Juyo rank, the most of any swordsmith, and with the Juyo blades the two tiers carry two hundred two. The provenance roll is deep, sixty-four blades with recorded histories: Ashikaga Takauji, Uesugi Kenshin and Uesugi Kagekatsu, Toyotomi Hideyoshi, Todo Takatora, and the Kuroda, Date, Hosokawa, Maeda and Owari Tokugawa houses; one Juyo katana went to Tokugawa Iemitsu as the bequest of Sugihara Hoki no Kami Shigenaga, and another descended in the Masuda family, hereditary elders of the Choshu domain, and a Kanno tanto of the Honma inventory was formerly held at Danzan Shrine. The Important Cultural Property and Juyo Bijutsuhin pieces rest as patrimony in shrines, museums and long-held collections, the Tokugawa Art Museum, the Sano Art Museum and Eisei Bunko among recorded holders. For the collector the field is less closed than with most names of this rank: blades of the Tokubetsu Juyo and Juyo tiers, many of recorded private whereabouts, appear from time to time. Yet most are held rather than traded, and a signed and dated piece of either phase is a landmark when it comes.
Where Kanemitsu 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
186 pieces on the market now
No single workshop in the history of Japanese swordmaking grew larger or lasted longer than Osafune, the riverside village in Bizen Province whose name became, across three centuries, a byword for the province's mainline. Its de facto founder was Mitsutada (光忠), working at Osafune in the middle Kamakura period; tradition makes him the son of Chikatada, and the genealogies derive his line from the Ko-Bizen Masatsune group already settled in the village. His blades, bold and imposing with a jigane so refined the sources say it can at a glance suggest Kyoto work, were treasured from old as the swords of commanders, and from his hand the school spread immediately: his sons Nagamitsu (長光) and Sanenaga (眞長), his grandson Kagemitsu (景光), and outward through pupils and collaterals until, by the late Kamakura years, Osafune was less a family than an industry. The line is conventionally read as a three-generation spine, Mitsutada founding it, Nagamitsu setting its classical standard, Kagemitsu bringing both temper and forging to their finished form before handing the manner to his pupil Chikakage (近景), whose echo of the master is so close that signed Kagemitsu blades are sometimes read as Chikakage daimei. What binds the membership is a shared steel before any shared temper. The forging is itame mixed with mokume, tightening on the finest blades into a dense ko-itame; fine ji-nie adheres, chikei enter, and over all of it stands the midare-utsuri that anchors even the most Kyoto-like jigane back to Bizen. On that floor the founding generation tempers a flamboyant choji-midare mixed with gunome: Mitsutada's tadpole-headed kawazuko-choji, Nagamitsu's round-topped plump choji, the deep nioi with ko-nie, the bright nioiguchi. From here the school divides by hand and by era. Sanenaga draws the calm pole, a gentle chu-suguha of tightened nioiguchi; Kagemitsu completes the slanting, square-shouldered kataochi-gunome over a suguha base, the family's last great Kamakura invention, carried on by his close kinsman Kagemasa (景政). The Nanbokucho generation then turns toward Soshu-den: Kanemitsu (兼光), fourth master of the mainline, pioneers a broad notare and is read, with Chogi (長義), as the head of Soden-Bizen, the Bizen wing that worked Soshu nie into a jigane that still throws a Bizen utsuri.
Chogi is called the most un-Bizen of Bizen smiths, his ear-shaped mimigata his tell; around him Nagashige (長重), Yoshikage (義景), Tomomitsu (倫光) and Kanenaga (兼長) press the Soshu side by degrees, while Motoshige (元重), of a separate Hatakeda descent, carries an Aoe-tinged squared, slanting ha. Two generations later the Oei revival returns to Kamakura: Yasumitsu (康光) and Morimitsu (盛光), the twin pillars of Oei-Bizen, revive the tachi shape and the choji temper over a wide-waisted koshibiraki-gunome, both finishing in the pointed rosoku-no-shin (candle-wick) boshi that gives the late date away. For the collector the school is a school of discriminations, and to kantei it is to read those fine partitions. The constant midare-utsuri over a bright ko-itame fixes the province; the boshi then sorts the maker, Mitsutada's pointed midare-komi against Nagamitsu's composed ko-maru Sansaku turn, Kagemitsu's contained return, the candle-wick tongue of Oei. Within a single phase the calls turn on a half-step: Nagamitsu's plump crests against Sanenaga's cooler nioiguchi, Kagemasa's freer play against Kagemitsu's tighter order, Nagashige read out of Chogi by a nie that surpasses his brother's. The standing of the best is matched by their patrimony. Mitsutada, Nagamitsu and Kagemitsu each hold National Treasures and stand at the head of Fujishiro's Sai-jo saku; their named blades, the Daihannya Nagamitsu, the Kogaryu Kagemitsu, the O-Kanemitsu, passed through Nobunaga, Ieyasu, Uesugi Kenshin and the great daimyo houses. Because Nagamitsu and the Nanbokucho masters signed and survived in number, Osafune offers what most peerage names cannot, a deep field of Tokubetsu Juyo and Juyo work that a patient collector may still realistically hold. Through every register the same hand declares itself: the bright steel, the vivid reflection, and a temper that runs, across three centuries, as the spine of Bizen. Learn more →
| Smith | Era | Designated |
|---|---|---|
| Mitsutada光忠 | 1238-1239 | 60 |
| Nagamitsu長光 | 1274-1304 | 254 |
| Kagemitsu景光 | 1303-1336 | 142 |
| Sanenaga眞長 | 1299-1309 | 68 |
| Kanemitsu兼光 | 1323-1370 | 235 |
Bizen in the Nanbokuchō period
Sixty years of war between two courts drove blades long and broad, and Osafune met the demand: Kanemitsu and Chōgi led forges serving the provincial warriors who did the fighting, while Sōshū influence arrived with the armies to create Sōden-Bizen.
The NTHK’s highest distinction, awarded at its once-a-year examination to a blade of outstanding artistry, condition, and academic importance. It ranks above the standard Kanteishō.
The NTHK (Nihon Tōken Hozon Kai, the Society for the Preservation of the Japanese Sword) is the oldest of Japan’s sword-appraisal bodies, founded in 1910, decades before the NBTHK. After the death of its long-serving head it divided into two successor societies, the NTHK and the NTHK-NPO, both of which continue to hold shinsa. NTHK blade certificates are known for a detailed worksheet that records a numerical point score alongside the judges’ written opinion (fitting papers carry the judges’ opinion without a point score), and the society is especially respected for its attribution of unsigned (mumei) work.
Returns/exchanges limited to defects caused by shipping (except willful misconduct or gross negligence by the company); customers must contact within 72 hours of receiving the product.
¥4,050,000