* Image is for illustrative purposes only.Shintoshin
新々刀
Through the 'Revival of Ancient Swords' movement championed by Suishinshi Masahide, the technical stagnation of the Shintō period was overcome and new life was breathed into the Japanese sword. The revival of the Sagami tradition exemplified by Minamoto Kiyomaro's 'Yotsuya Masamune,' and Koyama Munetatsu's meticulous recreation of the Bizen tradition—all fruits of a spirit of creative revival using ancient masterpieces as models—marked the final golden age of Japanese sword-making.
Description
Reform Begins
Around 1781 (Tenmei era), an Edo-period bladesmith named Suishinshi Masahide presented a work to the world. This groundbreaking treatise, titled 'Practical Theories of Swords,' argued that Japanese sword-making could overcome its technical stagnation by researching and recreating the forging techniques of ancient swords that had been lost during the Shintō period. Masahide pointed out that Shintō-period steel was inferior to ancient steel, and he set the goal of recreating the characteristic nie-filled hamon and the beautiful utsuri (light reflection) seen in ancient Bizen tradition blades. This philosophy of 'Revival of Ancient Swords' made a great impact on the sword world, gathering many supporters and disciples, and marked the opening of the Shintoshin era.
Return to Ancient Swords
Masahide's own works range from straight choji hamon based on the characteristic nie-filled hamon of the Bizen tradition to gyoji-midare, and all pursued the recreation of a deep, refined jihada reminiscent of ancient swords. In addition to studying forging techniques, Masahide paid attention to steel refinement methods and repeatedly conducted experiments to obtain steel qualities close to those of ancient swords. His scholarly approach was closer to that of a researcher than a bladesmith, and profoundly influenced sword studies in later generations.
New Techniques
Among Masahide's distinguished disciples, Taikei Naotane demonstrated the most versatile talent. Naotane was a remarkably skilled craftsman capable of recreating all five major traditions—Bizen, Sagami, Yamashiro, Yamato, and Mino—at the highest level. He freely tempered everything from Bizen's choji-midare to Sagami's nie-filled hamon and Yamashiro's straight choji, and could faithfully recreate any ancient sword style according to his patron's wishes. Naotane's works showed little variation in quality and were known for maintaining consistently high standards, and remain in constant demand in the modern sword market.
Notable Smiths
Minamoto Kiyomaro stands as the undisputed pinnacle of the Shintoshin period. Kiyomaro was born into the Yamaura family of Shinano Province (modern Nagano Prefecture) and followed the bladesmith's path alongside his older brother Yamaura Masao. After moving to Edo and establishing his forge in Yotsuya, Kiyomaro thoroughly studied masterworks of the Sagami tradition, beginning with Masamune, and magnificently revived the bold, powerful nie-filled hamon. His swords demonstrated workmanship that rivaled the ancient Masamune and Sadamune in both jihada and the sharpness of the hamon, and earned him the honorific name 'Yotsuya Masamune.'
Creative Style
Kiyomaro's works are characterized by a powerful jihada mixing itame and mokume patterns, combined with a vibrant hamon in which deep nie, gyoji-midare, yubashiri, kinsuji, and sunagashi intricately interweave. The size and brilliance of the nie particles especially evoke the characteristics of Masamune, and the patterns within the hamon change dramatically depending on the viewing angle. Kiyomaro's swords represent a miraculous body of work that, though Shintoshin-period blades, possess the refinement of ancient swords, and all his surviving works are held in the highest esteem. However, Kiyomaro suffered from financial hardship throughout his life and spent his days lost to drink until, at just forty-two years old, he took his own life in 1854 (Kaei 7). His tragic end remains forever mourned by the sword world.
Influence and Development
Koyama Munetatsu was a master craftsman who recreated the Bizen choji-hamon with extreme precision. Munetatsu's choji-midare features evenly-graded nie particles and a well-defined nioi-guchi (boundary of the nie area), creating a refined hamon with elegance reminiscent of ancient Osafune Nagamitsu and Kagemistu. Munetatsu also earned renown for creating robust practical swords and received commissions from both loyalist samurai and bakufu-side warriors during the turbulent late Edo period.
Nankai Tarō Chōson was a master smith who established a distinctive style in Tosa (modern Kōchi Prefecture) and is known for creating swords owned by Takechi Hanpeita.
Chōunsai Tsunatoshi received high praise for his meticulous Bizen-tradition hamon.
Gassan Sadayoshi came from the Gassan forges of Dewa Province and, after moving to Osaka in the Tenpō era, maintained the tradition of ayasugi jihada, a distinctive forge pattern resembling cedar wood grain. He became the founder of the Osaka Gassan school, passing his techniques to succeeding generations.
Sa Yukihide was a skilled craftsman in Tosa who forged large, bold swords and is regarded as a recreator of Sagami-tradition blades on par with Kiyomaro.
During the Shintoshin period, various schools competed under the philosophy of reviving ancient traditions, bringing about the final golden age of Japanese sword-making. The Sword Edict of 1876 (Meiji 9) prohibited the wearing of swords, and this glorious era came to an end. However, the spirit of 'return to antiquity' and 'creative innovation' pursued by Shintoshin-period smiths continues to flow through contemporary bladesmiths, and the ideal of reviving ancient traditions endures today. Because Shintoshin swords exist in greater numbers than ancient swords and many are in excellent condition, they offer collectors an attractive and relatively accessible category through which to experience the aesthetic of ancient swords.
Characteristics of This Era
- Suishinshi Masahide's 'Revival of Ancient Swords' movement forms the ideological foundation of the Shintoshin era. It researched and recreated the forging techniques of ancient swords lost during the Shintō period, pursuing the restoration of the characteristic nie-filled hamon and utsuri. His scholarly approach profoundly influenced sword studies in later generations.
- Minamoto Kiyomaro's magnificent revival of the Sagami tradition's bold, nie-filled hamon. The hamon featuring kinsuji, sunagashi, and yubashiri intricately woven into a powerful jihada mixing itame and mokume—evoking Masamune's character—stands as the highest achievement of the Shintoshin period with enduring prestige.
- Koyama Munetatsu's extraordinarily precise recreation of the Bizen choji-midare. His refined hamon with evenly-graded nie particles and a well-defined nioi-guchi demonstrates the elegance of Osafune Nagamitsu and Kagemistu. As practical combat blades, his works were also robust and beloved by late Edo period loyalist samurai.
- The remarkable technical mastery exemplified by Taikei Naotane, capable of recreating all five major traditions at the highest level. A parade of multi-talented masters emerged who could faithfully temper any ancient sword style according to their patrons' wishes.
- Innovation in steel refinement techniques aimed at achieving jihada approaching that of ancient swords. Masahide repeatedly conducted refinement experiments to obtain steel with qualities close to ancient swords, and his research into forging methods dramatically deepened scientific understanding of sword-making.
- A profusion of diverse styles pursuing the harmony of practical utility and artistic beauty. Schools dedicated to reviving the Bizen, Sagami, Yamashiro, and Yamato traditions competed with one another, forming the final golden age of Japanese sword-making.
- The activities of clan-retained bladesmith (han-kō) became increasingly active. Various domains such as Hizen, Satsuma, Tosa, Kaga, and Sendai each employed distinguished smiths, forging renowned blades as a matter of clan prestige.
- The Sword Edict (Meiji 9, 1876) prohibited the wearing of swords, bringing this glorious era to a close. However, the spirit of Shintoshin lives on through modern bladesmiths, and the ideal of reviving ancient traditions endures today.