Meiji – presentModern and Contemporary
近代刀の復興と変遷
The Revival and Evolution of Modern Swords
Following the Meiji Restoration (1868), the Haitōrei (Sword Abolition Edict) and the Haihan chiken (abolition of the han and establishment of prefectures) brought about the collapse of the swordsmith system, but a revival movement for swords as art also arose. From the Teishitsu Gigei-in (Imperial Household Artists) of the Meiji era to the military swords of the Shōwa era and present-day Living National Treasures, “modern swords” underwent transformation across multiple contexts: practical use, art, and cultural property protection. After surviving the confiscation of swords by GHQ after World War II, and with the establishment of the Law for the Protection of Cultural Properties in 1950, modern swords were redefined as craft art, forming a lineage that leads to today's Sword Renaissance.
Notable Swordsmiths:Miyairi Akihira (Miyairi Akihira, later Yukihira, 1913–1977) — the pinnacle of modern swordsmiths, certified as a Holder of Important Intangible Cultural Property (Living National Treasure) in 1963. Based in Sakaki, Nagano Prefecture, he studied the swords of Shizu Kaneuji and Yamaura Kiyomaro and left masterpieces that fused the dignity of old swords with modern techniques. His achievements became the foundation of today's swordsmith system.Gassan Sadakazu (Gassan Sadakazu, first generation, 1836–1918) — a master of the Meiji–Taishō period who revived the Dewa Gassan tradition in modern times. Appointed a Teishitsu Gigei-in in 1906, he produced swords for the imperial household and passed down the Gassan tradition's technique, known for its “ayasugi-hada” steel. His second-generation successor, Gassan Sadakazu, also became a Holder of Important Intangible Cultural Property, and the pair are regarded as a model of traditional succession in the modern era.Sumitani Masamine (Sumitani Masamine, 1921–1998) — a Holder of Important Intangible Cultural Property who was active in Shōwa and Heisei, based in Mattō, Ishikawa Prefecture (now Hakusan City). He studied the Bizen tradition of the Kamakura period and perfected the gorgeous chōji hamon known as “Sumitani chōji.” A smith who embodied the “fusion of tradition and creation,” his works are housed in museums in Japan and abroad, forming the basis for the international recognition of modern swords as craft art.