Muromachi turned sword making into an industry: the uchigatana rose with massed infantry warfare, Osafune and Seki produced bundle swords beside custom orders, and the Ming trade carried Japanese blades abroad by the tens of thousands.
NihontoWatchNihontoWatchSummary This blade is attributed to Ryokai Ieyoshi (了戒家能) by NBTHK. Ryokai is the school name and he was a member of Tsukushi Ryokai school, which specialized in forging *Yamashiro DEN tradition in Bungo province (Today’s Oita prefecture). According to available records, the maker’s name, Ieyoshi, lasted a couple of generations and they were active in sword-forging during the Mid-Late Muromachi Period (mid-late 15th century). Ryokai School Ryokai was a swordsmith from the late Kamakura period in Yamashiro Province(Today’s Kyoto). It is said that he was a son of Rai Kuniyuki (来国行) and a younger brother of Rai Kunitoshi (来国俊). Both of them are renowned swordsmiths throughout Samurai history. Ryokai founded his own school, and the apprentices were allowed to use Ryokai in their maker’s names. Ryokai’s son was Ryokai Hisanobu, who took over the school. And his apprentice Ryokai Yoshisada also run the school after Hisanobu. However, Ryokai Yoshisda had to evacuate Yamashiro province during the late 14th century because the battle between the south emperor court and the north emperor court became severe. And as a result, Kyoto city was burnt(the late 1300’s). We called it the Nanbokucho war when the Japanese imperial court was separated into two. Ryokai Yoshisda managed to escape and arrive in Kyushu island at Tsukushi Province (Today’s Fukuoka prefecture), looking for better opportunities. And, Yoshisada founded Tsukushi Ryokai school there. Among Japanese sword experts, Ryokai school in Tsukushi province is called Tsukushi Ryokai to distinguish it from the Ryokai school in Yamashiro province. Since the origin of this school came from Yamashiro province, the blades forged by the Tsukushi Ryokai school have characteristics of *Yamashiro Den tradition. Among Tsukushi Ryokai school, the swordsmiths were named with 能 (Yoshi) such as 家能 (Ieyoshi). Ryokai Ieyoshi (了戒家能) is one of the most prominent figures in Tsukushi Ryokai school. There was also a record of him residing in Echizen (Fukui prefecture) and Yamashiro (Kyoto prefecture). Yamashiro Den Yamashiro province was famous for its sword-making style called YAMASHIRO-DEN. YAMASHIRO-DEN’s origin dates back to the Heian period (794 A.D) when the capital city was moved from Nara to Kyoto. The swordsmiths in Yamashiro province initially prospered by forging swords for court nobles and imperial families. Later on, they also forged swords for feudal lords after Samurai military government took control of Japan. There are so many renowned swordsmiths from this region. It is said that the founder of YAMASHIRO-DEN was Sanjo Munechika. And there were four prestigious main branches in this region. They are Sanjo, Rai, Nobukuni, and Awataguchi. 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 minor kitae kizu on this blade. Tsuka and Menuki The motif of this Menuki features a horse (馬, Uma) design. For samurai, the horse was not only an essential companion in battle but also held significant cultural meaning in Japan. The horse symbolizes strength, nobility, and loyalty, reflecting qualities that were highly valued by the samurai. In Japanese culture, the horse is also seen as a symbol of grace, freedom, and connection to nature, often appearing in various forms of art and tradition. Tsuba and Habaki The theme of this Tsuba is Sasa (笹:bamboo glass). Bamboos grow neatly towards the sky, and it is vital so that this motif represents nobility and strength. Besides, the bamboo breaks straight, but its content is hollow; people thought it showed innocence. According to a foreign legend, the Houhou (鳳凰, Fenghuang) eats bamboo fruits; therefore, bamboo has been considered a sacred plant. Also, as it keeps its green color even in cold winter, people thought the bamboo pattern represented eternity and longevity. Kozuka The design of this kozuka also features horse (馬, Uma) design, matching the motif of the menuki. Saya This scabbard is covered with black lacquer. Due to its high waterproof effect, lacquer has been used since ancient times in Asia. The blade of a Japanese sword is made of iron, and moisture is the greatest enemy of iron. For the purpose of carrying the blade without degrading it, people devised a method of coating the scabbard with lacquer. To prevent not only moisture but also rain and snow from penetrating the inside of the scabbard, it was necessary to apply multiple layers of lacquer. The Nushi (塗師, lacquerers) was born precisely because advanced techniques were required to handle the complicated processes. *Please keep in mind that there are a few scratches on this Saya due to its age. Authentication Paper They authenticated the blade on May 28th in the 7th year of Reiwa (2025). They appraised it as Tokubetsu Hozon Touken, the blade especially worth preserving for Japanese society.
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Yamashiro-den · Bungo · around 1469-1487
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Yamashiro-den · Yamashiro
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The Ryokai school (了戒) took shape in the late-Kamakura capital of Kyoto, in Yamashiro Province, around the smith Ryokai, who worked through the era names Shoo, Einin, Kagen, Enkyo and Ocho at the turn of the fourteenth century. The old account makes him a son or a pupil of Rai Kunitoshi, and one version has him adopted into Kunitoshi's house; because his dated blades place him almost level with Kunitoshi, however, the NBTHK reads him more naturally as a contemporary (an aitedeshi, a fellow disciple) who formed his own line within the wider Rai circle. Whichever account one follows, his is the Rai Yamashiro hand softened by a degree, and from him the Ryokai name descended for several generations, his son Ryo Hisanobu (久信) following as the second master, with a Kyushu branch, the Chikushi Ryokai of Bungo and Buzen, forming by the Nanbokucho and Muromachi eras. What the members hold in common is a quiet manner read against, and just apart from, the Rai parent. Over a packed itame or ko-itame that flows toward masame and stands a little open, fine ji-nie clings and faint chikei enter, while a whitish shirake-utsuri rises in the ji; this paler, drier utsuri, against the clear midare- or jifu-utsuri of Rai proper, is the first thing that separates a Ryokai blade from its source. The temper is a calm chu- or hoso-suguha, mixing here a little ko-choji, ko-gunome or ko-midare, with ko-ashi and yo entering and sometimes a Kyoto reverse ashi; kinsuji and sunagashi run within a tight nioiguchi that grows austere and, in places, clouds into urumi, the moist soft quality the published sources name again and again as a Ryokai point. The boshi closes sugu into a small ko-maru, often brushed with a touch of hakikake. The school stands so close to Rai Kunitoshi that the two are confused at sight; the attribution settles not on any single feature but on the softer ji and ha, the standing masame, the whitish utsuri and the clouding line, the judges noting that compared with Kunitoshi the activity within the temper runs lonelier and the nioiguchi one degree tighter.
Against the sister Enju school the distinction is the boshi: where Enju turns a large deep o-maru and leaves the line bright, Ryokai closes a small ko-maru and clouds into urumi. The masame and the whitish cast carry the line a step toward Yamato and Yamato-den, and downstream toward Nobukuni and the Soshu-shaded work that followed. To kantei a Ryokai blade is to recognize the Rai air of wa-zori and refined steel, then to read the tells that part it from the parent: the jihada leaning to masame and standing where Rai stays smooth, the shirake in place of bright utsuri, and the tight, clouding nioiguchi. Among the members the founder, Ryokai, holds first standing, rated Jo-saku by Fujishiro and represented by slender ubu tachi and tanto signed with a boldly cut two-character mei, several carved with bonji and suken, alongside the bulk of his attributed record in osuriage mumei katana given to him on the hand; one such tanto the published sources call altogether elegant and a representative work, the signature itself of the archetypal type. Hisanobu, the second master, rated Jo-jo saku, carried the father's suguha on with little change, his rare signed tachi and kodachi prized as documentary evidence, one dated piece establishing through his given name that an earlier nationally designated tachi once read as the father's sole work is in fact a joint work of father and son; the remaining members and the later Kyushu generations continue the manner generically. Provenance follows the founder above all: blades passing through the Isahaya, Date and Maeda families, one preserving a tradition that it was a sword worn by Miyamoto Musashi, and the finest pieces held and studied in long-standing public and private collections including the Tokyo National Museum, the Sano Art Museum and Monobe Jinja. A signed ubu Ryokai blade in particular is among the scarcer things a collector of Kyoto Kamakura work will meet, coming to hand only with patience. Learn more →
| Smith | Era | Designated |
|---|---|---|
| Ryokai了戒 | 1288-1305 | 103 |
| Nobumasa信正 | 1345-1350 | 0 |
| Nobuyoshi宣能 | 1444-1449 | 0 |
| Nobumasa信正 | 1390-1394 | 0 |
| Yoshizane能眞 | 1469-1487 | 0 |
The Muromachi period (1392 to 1573)
Muromachi turned sword making into an industry: the uchigatana rose with massed infantry warfare, Osafune and Seki produced bundle swords beside custom orders, and the Ming trade carried Japanese blades abroad by the tens of thousands.
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.
Certificate reading — 無銘（了戒家能）