Two courts, sixty years of war, and the most dramatic silhouettes in the sword’s history: broad blades, extended points, true ōdachi later cut down into the majestic katana collectors prize. The Sōshū manner was the style of the age.
NihontoWatchNihontoWatchThis blade is attributed to Ko Naminohira (古波平). Naminohira (波平) was one of the most influential schools in the Satsuma domain, founded by a YAMATO-DEN swordsmith, Masakuni (正國), during the late-Heian period (Late 12th century). They were known for having their smith name with one of these letters, 行 (Yuki) or 安 (Yasu). The Naminohira swords were cherished among Samurais in the marine army, mainly because the name Naminohira (波平) means “Tides are quiet” in Japanese. Blades forged by members of the Naminohira school have strong characteristics of YAMATO-DEN (大和伝), one of the five Japanese sword-forging traditions. The origin of the name Naminohira dates back to the school’s foundation. It is said that the founder, Masakuni, was able to calm the waves by dedicating his sword to the sea when his school from Yamato sailed to live in the Satsuma domain. Since then, he began to use the title “Naminohira Yukiyasu (波平行安)” – “Tides are quiet, ’tis an easy way.” From the late Heian period until the end of Samurai times (Late 19th century), the Naminohira school maintained mastership for a thousand years. Ko Naminohira refers to works from the late Kamakura to the early Nanbokucho period (Early 14th century) of the Naminohira school. The swords forged in the YAMATO-DEN tradition are famous for their beautiful Jigane, steel surface, and straight tempering line (Suguha). Tachi Sword Based on the characteristic of the blade, NBTHK authenticated it a Tachi blade. 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 one could draw it faster to cut down soldiers on the ground. It is appraised as a Tokubetsu Hozon Token (特別保存刀剣) issued by NBTHK (Nihon Bijutsu Touken Hozon Kyokai:日本美術刀剣保存協会). *Please keep in mind that there are a couple of Kitae Kizu and black rust on the blade. Fuchi-Kashira You would find something similar to a turtle in the waves. It is the Minogame (蓑亀). The name Mino (蓑) means a straw raincoat and Kame (亀) means a turtle. In real life, turtles called Minogame usually grow the seaweed and algae on their shell. The Minogames depicted on this Fuchi Kashira have tails resembling a farmer’s straw coat. According to a theory, it is said that the Minogame lives long enough to have seaweed attached to its tail, which becomes like a straw raincoat. Also, this kind of Minogame’s design was brought to Japan from the continent in the Heian period. Then, it is regarded as a auspicious creature and believed as a symbol of longevity and wisdom in Japan. Also, as waves’ movements continue endlessly, the wave pattern represents eternity, immortality, longevity, birth, etcetera. Also, since tides repeatedly change the shape and terrain of rocks, some people hoped for a strong will by using this motif. People used this pattern wishing for an indomitable spirit to rechallenge time and time without giving up. Thanks to its dynamic design, this motif has been appreciated, especially for men’s Kimono (traditional Japanese costume). Tsuka and Menuki We estimate the motif of this Menuki is the Ebisu (恵比寿) or Ebisuten (恵比寿天), who is a member of the Shichifukujin (七福神, the Seven Gods of Good Fortune) and has been one of the familiar beliefs for Japanese people since ancient times. The Ebisu God usually has a fishing pole and a sea bream, so initially, he was the God of fishing. In addition, Ebisu God is famous as the God of business, and is worshipped as the God of good match or wealth in several areas. Sea bream is also a good-luck bringer, so it has often been used for celebrations. Tsuba and Habaki This circle-shaped Tsuba has a design of six flower petals engraved with Sukashi Bori (透かし彫り, openwork) technique. Saya The surface of this Saya is decorated with the Ishime-Ji (石目地). Its base was hit by Tagane (鏨, chisel for metalworking), and it makes a rough surface that seems stone. Authentication Paper They authenticated the blade on June 13th in the 30th year of Heisei (2018). They appraised it as Tokubetsu Hozon Touken, the blade especially worth preserving for Japanese society.
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The Naminohira school traces its origins to the late Heian period, when a swordsmith named Masakuni migrated from Yamato Province and established himself at Naminohira in Taniyama District, Satsuma Province. His son Yukiyasu succeeded him, and the lineage continued unbroken into the late Edo shinshintō era. The collective term Ko-Naminohira designates smiths and works dating no later than the Nanbokuchō period, distinguishing the school's formative generations from later practitioners. This geographic isolation in southern Kyushu allowed the development of a distinctive regional aesthetic that balanced mainland influences with local forging traditions. The school's technical identity reveals a pronounced Yamato character in both construction and tempering, yet the forging exhibits a characteristic density and slight tenacity (nebari) that distinguishes Naminohira work from its Yamato antecedents. The jigane typically shows strongly flowing itame-hada, often with a whitish cast and well-adhering ji-nie, while thick chikei appear throughout the ground. In the hamon, a fine hoso-suguha or narrow suguha-based temper predominates, with the nioiguchi displaying a distinctive urumi tendency—a moist, soft quality that creates a subdued, somewhat shizumi-inclined appearance.
A diagnostic feature appears at the hamachi, where slight yaki-otoshi marks the transition from untempered to tempered steel. The school's Nanbokuchō-period works often present extended ō-kissaki and deep koshizori, embodying the martial aesthetic of that turbulent age. The Naminohira tradition experienced a renaissance during the Edo period, producing masters such as Ichi Heian Yasushiro, who in Kyōhō 6 (1721) was summoned to forge for Shōgun Tokugawa Yoshimune. His exceptional skill earned him the privilege of engraving the ichiyō aoi crest on his nakago and the court appointment of Shume no Suke. His work and that of his contemporary Masakiyo represent the apex of Satsuma shintō, demonstrating how provincial schools could achieve recognition at the highest levels of Tokugawa society. The scarcity of early signed works, particularly from the Kamakura and Nanbokuchō periods, renders extant examples invaluable for understanding the school's development and its role in transmitting Yamato forging methods to Japan's southern frontier. Learn more →
| Smith | Era | Designated |
|---|---|---|
| Yukiyasu行安 | 1308-1311 | 9 |
| Yasutsuna安綱 | 1288-1333 | 0 |
| Yasutsugu安次 | 1224-1225 | 0 |
| Yasutsugu安次 | 1375-1381 | 0 |
| Haruyuki治行 | 1394-1428 | 1 |
The Nanbokuchō period (1333 to 1392)
Two courts, sixty years of war, and the most dramatic silhouettes in the sword’s history: broad blades, extended points, true ōdachi later cut down into the majestic katana collectors prize. The Sōshū manner was the style of the age.
A Hozon-certified blade judged to show notably superior workmanship and a better state of preservation. The bar is higher: re-tempered blades and most unsigned Muromachi/Edo works are excluded.
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 siteReturns/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.