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* Image is for illustrative purposes only.The Nanboku-chō period (1336–1392) was an era when the most diverse forms of large swords emerged in Japanese sword history. Prolonged civil strife and infantry-centered combat tactics generated demand for large piercing and slashing weapons, establishing three major forms: nagamaki, ōnaginata, and ōtachi. These forms overlap considerably in their characteristics, and their classification remains a subject of debate in contemporary sword research.
The ōtachi is a general term for exceptionally large tachi with blade lengths of 3 shaku (approximately 90 cm) or greater.
Characteristics:
Notable ōtachi:
The nagamaki is a long-hafted weapon in which the blade and haft are relatively equal in length, typically with a blade of 60–90 cm and a haft of 60–90 cm.
The ōnaginata is a form of naginata with a blade longer than standard naginata (60–90 cm or more), with the following key differences from the nagamaki:
| Item | Nagamaki | Ōnaginata |
|---|---|---|
| Blade form | Shinogi-zukuri (tachi-type) | Naginata-type (distinctive curve and shape) |
| Blade-to-haft ratio | Approximately equal | Haft often longer than blade |
| Cross-section | Similar to tachi | Naginata-distinctive cross-section |
In actual extant examples, the forms of nagamaki and ōnaginata often overlap, making classification frequently difficult. Contemporary sword research has advanced the systematic classification of these forms through accumulation of morphological data on surviving examples.
Classification standards for "nagamaki," "ōnaginata," and "notachi" are not unified even in NBTHK evaluations, and individual pieces are typically assessed based on their morphology, provenance, and tradition.
Recent research employs:
A multi-factor analytical approach combining these three elements has been proposed, advancing objective classification of morphological types.
Extant examples of ōtachi, nagamaki, and ōnaginata are dispersed and held in shrines and museums throughout Japan. Notably:
Public exhibitions of these pieces provide excellent opportunities for comparative study of their forms.
← Nagasone Kotetsu — The Legendary Smith Behind the 'Kotetsu' Blades Beloved by Kondō Isami
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