* Image is for illustrative purposes only.Showa-to (Military Saber Period)
昭和刀（軍刀期）
An era of upheaval when vast numbers of military sabers were manufactured alongside the rise of militarism. Quality ranged extremely widely, from industrial mass-produced sabers to authentic nihonto forged by Yasukuni smiths and government-designated smiths using traditional methods. Following the birth of Living National Treasure designations and postwar sword confiscations, nihonto began a new path as fine art.
Description
The Rise of Militarism
In the early Showa period, interest in nihonto revived alongside the rise of militarism. Within the movement celebrating "Japanese spirit" that continued from the Taisho era, nihonto was reappraised as a spiritual symbol transcending mere weaponry, fostering momentum for military saber revival. In 1933 (Showa 8), the Japan Sword Forging Society was established within the Yasukuni Shrine grounds, seeking to preserve traditional sword-forging techniques while simultaneously producing military sabers.
Military Saber Production
From the outbreak of the Second Sino-Japanese War (1937) through the end of the Pacific War (1945), vast numbers of military sabers were produced for Japanese army and navy officers and non-commissioned officers. Army officers were obliged to procure sabers at their own expense, as were naval officers, so demand for military sabers never ceased during wartime. Military sabers produced in this era can be broadly classified into three categories based on quality and forging method.
Emphasis on Practicality
The first category consists of mass-produced sabers using modern industrial steel such as spring steel (automotive suspension material) and stainless steel. These are called sunobeato or zoheito, formed by press-working and mechanical stretching. They did not undergo traditional folding and forging or heat-tempering processes, and strictly speaking are industrial products rather than true nihonto. However, they served a practical function on the battlefield and were produced at a scale of hundreds of thousands.
The Work of Sword Smiths
The second category comprises sabers of semi-traditional forging method, exemplified by Mantetsu-to and Gunsui-to. Mantetsu-to were produced by the South Manchuria Railway Company using metallurgical techniques from Manchuria (northeastern China), employing modern steel while undergoing certain forging processes. Gunsui-to were made using Gunsui steel electrically smelted by Gumma Hydroelectric. These occupy an intermediate position between fully mass-produced products and traditional nihonto, with quality varying considerably.
Quality Decline
The third category is authentic nihonto forged by certified smiths known as Yasukuni smiths and government-designated smiths, using traditional tamahagane and the ancient folding and forging method. Yasukuni smiths were swordsmiths who belonged to the Japan Sword Forging Society at Yasukuni Shrine and engaged in swordmaking, with notable examples including Ikeda Yasumitsu, Kasama Shigetsugu, and Kajiyama Michikaze. Their works were forged in faithful adherence to traditional methods and are formally recognized as art-grade nihonto in modern appraisals. They are often housed in military saber fittings (such as Type 98 and Type 3 military saber mountings), but the blades themselves are of high quality, and many pieces possess appreciative value comparable to koto and shinto.
Impact of War
Outstanding among Showa-era master smiths were those later recognized as Living National Treasures (Important Intangible Cultural Property holders). Gassan Sadaichi II, grandson of the first Gassan Sadaichi, faithfully preserved the ayasugi-hada tradition while creating distinguished works of refined elegance. Recognized as a Living National Treasure in 1971 (Showa 46), he opened the path for the Gassan school's ayasugi-hada to be protected at the national level. Takahashi Sadatsugi demonstrated exceptional skill in recreating the old Bizen tradition, and was recognized as a Living National Treasure in 1955 (Showa 30) for his advanced technique of reproducing the nie within the choji-midare hamon of nioi-deki blades. Miyairi Shohei (later Miyairi Yukihira) devoted himself to reviving the Soshu tradition in Sakashiro, Shinano Province (Nagano Prefecture), and was later recognized as a Living National Treasure.
Following the end of the war on August 15, 1945 (Showa 20), the Supreme Commander for the Allied Powers (GHQ) implemented a large-scale sword confiscation as part of Japan's disarmament. This confiscation resulted in the recovery and destruction of swords numbering in the millions. However, through the earnest negotiations of Japanese stakeholders (particularly the pioneers of the Japan Art Sword Preservation Society), swords of artistic and historical value were protected as "fine art." This decision was pivotal to the survival of nihonto, and modern sword culture rests upon the success of this negotiation.
The military saber period is the era most demanding of knowledge and connoisseurship for collectors. Quality ranges extremely widely, from industrial mass-produced items to Living National Treasure-caliber artworks, and blade quality cannot be judged by fittings alone. Verification of provenance, detailed examination of forging pattern and hamon, authentication of signatures, and other multifaceted investigation are necessary, and consultation with trusted experts is recommended.
Characteristics of This Era
- Industrial mass-produced sabers using spring steel and stainless steel (sunobeato and zoheito) were produced at a scale of hundreds of thousands. Formed by press-working and mechanical stretching, they are industrial products that did not undergo traditional forging processes.
- Authentic nihonto using traditional tamahagane and folding-and-forging methods were also produced by Yasukuni smiths and government-designated smiths. Works by smiths belonging to the Japan Sword Forging Society at Yasukuni Shrine are formally recognized as art-grade nihonto even today.
- Semi-traditional forging method sabers also existed, such as Mantetsu-to (South Manchuria Railway production) and Gunsui-to (naval forging workshop production). Using modern steel while undergoing certain forging processes, they occupy an intermediate position between fully mass-produced products and traditional nihonto.
- Distinctive military fittings such as Type 98 and Type 3 military saber mountings. Evolution occurred from saber-style to nihonto-style, with fitting type serving as a clue to production date.
- Following the war's end, a massive GHQ sword confiscation resulted in the seizure and destruction of millions of swords. Through earnest negotiation by Japanese stakeholders, swords were protected as fine art, a decision that proved decisive for the survival of modern sword culture.
- Establishment of the Living National Treasure (Important Intangible Cultural Property holder) system based on the Cultural Properties Protection Law (1950). Gassan Sadaichi II, Takahashi Sadatsugi, and Miyairi Yukihira were designated, marking the beginning of national-level protection of traditional sword-forging techniques.
- The range of quality is the broadest in nihonto history, with industrial mass-produced items and Living National Treasure-caliber artworks coexisting in the same era. Collectors require highly developed connoisseurship to discern provenance and quality.
- Army officers sometimes procured family heirloom blades or newly commissioned sabers at their own expense and had them mounted in military saber fittings for wear. The possibility exists that masterpieces of koto blades are housed within military saber mounts, necessitating careful examination.