The History of Yasukuni Swords — Establishment, Operation, Closure, and Postwar Legacy of the Yasukuni Kaiko Society Forging Workshop

The term "Yasukuni sword" (Yasukuni-tō) refers to Japanese swords forged at the "Yasukuni Kaiko Society Sword Forging Workshop" (later renamed the Imperial Army Commissioned Sword Forging Workshop), which was established within the grounds of Yasukuni Shrine from the early Showa period until the end of World War II. While modern Japanese sword collectors often discuss "how to identify Yasukuni swords" and "Yasukuni sword smiths," the institutional history of the forging workshop itself—why it was established, how it was operated, and what happened at war's end—remains surprisingly little known. This article traces the history of the Yasukuni Forging Workshop from its establishment to its closure.

Background to Establishment — The Military's Shift Away from Japanese Swords and the Crisis of Traditionalists

After the Meiji Restoration, the Edict on Abandonment of Swords (1876) stripped the Japanese sword of its status as a practical tool of the samurai. However, the Meiji Army established a military sword standard, and officers were required to carry swords. The problem lay in the quality of military swords.

From the Meiji to Taisho periods, Western-style saber-type military swords dominated, with Japanese sword blades often mounted in Western-style fittings (saber mounts). Machine-produced blades (so-called "military sword forging" mass production) became widespread, and hand-forged swords using traditional tamahagane steel became increasingly rare within the military. Concerned by this situation, certain Army officers, sword enthusiasts, and sword smiths launched a movement to preserve and revive traditional Japanese sword-making techniques within the military.

As a result, the Yasukuni Kaiko Society Sword Forging Workshop was established in 1933 (Showa 8) with the cooperation of Yasukuni Shrine. The primary proponents were certain Army Ministry officers, and with cooperation from Yasukuni Shrine, the forging workshop was symbolically located within the sacred shrine grounds. It was positioned not merely as a "military production facility" but as an institution bearing cultural and spiritual significance—the revival of Japanese sword spirit and technique.

Organization of the Forging Workshop and Selection of Sword Smiths

Skilled sword smiths were gathered to the Yasukuni Forging Workshop from across the nation. The selection criterion was technical skill, and master craftsmen from various regions were invited. Notable participating sword smiths included Gasssan Sadaichi, Miyairi Yukihira, and Takagi Shigetaka.

The operational structure of the forging workshop changed gradually. Initially, the Yasukuni Kaiko Society maintained primary management, but following the outbreak and expansion of the Second Sino-Japanese War in 1937 (Showa 12), it was reorganized as the Imperial Army Commissioned Sword Forging Workshop and placed under Army command.

A significant change occurred at this juncture. Once under Army control, the workshop's purpose shifted from "preservation and revival of traditional technique" toward "production of military swords as military supplies." Sword smiths were now required to meet monthly production quotas, with individual smiths expected to forge dozens of swords annually. This represented a dramatic departure from the pace of traditional Japanese sword-making, in which skilled smiths spent weeks to months on a single sword. As a result, Yasukuni Forging Workshop swords showed quality differences between mass-production-period works and those receiving full technical attention.

Characteristics of Yasukuni Sword Blades — Between Technique and Mass Production

Swords produced at the Yasukuni Forging Workshop were distinctly separate from ordinary military swords (machine-made) in terms of materials and process. They were made using traditional methods with tamahagane (or high-purity steel) and hand-forging with clay-differential hardening. Consequently, compared to industrial swords called ordinary "Showa swords," they significantly surpassed them in the quality of the steel and richness of the blade pattern.

However, due to mass production pressures, examples exist where even from the same smith, works made after leaving the workshop show more careful finishing than those made during workshop employment. Research comparing Gasssan Sadaichi's Yasukuni-period works with his non-Yasukuni works notes that appraisers have identified traces of "hurried finishing" in the Yasukuni-period pieces.

Swords made at the workshop often bear inscriptions such as "Yasukuni Forging Workshop" (or similar maker's marks) on the tang, which serves as an identification aid in modern appraisal. However, the presence, absence, and style of inscriptions vary by period and smith, making identification based on appearance alone risky.

War's End, Confiscation, and Dispersal — The Workshop's Final Chapter

With Japan's surrender in August 1945 (Showa 20), the Yasukuni Forging Workshop ceased operations. Under the disarmament orders of the GHQ (General Headquarters, Supreme Commander for the Allied Powers), military swords became subject to confiscation and destruction.

Among swords produced at the workshop, those already supplied to the military were confiscated, while those remaining in the hands of individual smiths, those sold to civilians, and unfinished pieces were dispersed in various ways. While some were destroyed, many were secretly preserved by sword enthusiasts, researchers, and former military personnel, and would later be reevaluated as "Yasukuni swords" during the postwar period of sword revival.

Following the 1951 (Showa 26) amendment to the Cultural Properties Protection Law, which reinstated traditional Japanese sword-making as "fine and decorative art," many Yasukuni Forging Workshop smiths resumed their sword-making activities. Some, like Miyairi Yukihira, remained active for many decades after the war and were designated as "Important Intangible Cultural Property holders" (Living National Treasures).

Contemporary Evaluation of Yasukuni Swords

The position of Yasukuni swords in the collector's market is complex. Because they fall into the "military sword" category, they face difficulty in receiving full recognition as "fine art swords," yet voices appreciating them as "high-quality swords produced through tamahagane hand-forging" remain strong.

Even in assessments by the Japanese Art Sword Preservation Society (NBTHK), Yasukuni swords are sometimes evaluated separately from ordinary Showa-period military swords. In particular, Yasukuni-period works by renowned smiths such as Gasssan and Miyairi have received certifications as "Specially Preserved Swords" and "Preserved Swords."

From an international perspective, some voices express caution regarding the collection and study of Yasukuni swords due to the historical and political context of the Yasukuni Forging Workshop (its associations with Yasukuni Shrine and the military). Conversely, an increasing number of scholars conduct purely technical and craft-historical evaluations, viewing the workshop as "a preservation site for Japanese sword technique in the early Showa period."

Conclusion — What the Workshop's Brief History Reveals

The Yasukuni Forging Workshop existed for merely 12 years, from its establishment in 1933 until Japan's surrender in 1945. Yet in this brief period, it occupies an important place in sword history as the only modern institution to attempt systematic preservation of traditional Japanese sword-making technique.

At the same time, it embodied the problem of "contradiction between military demand and tradition"—the collision between pure technical ideals and production quotas. This contradiction offers lessons for contemporary sword culture: the institutionalization and organization of traditional technique does not necessarily lead to technical improvement.

When appreciating Yasukuni swords, a deeper understanding is gained by keeping in mind this complex historical background alongside the sword's inherent beauty.