Soshu Yukimitsu

period:	Kamakura
designation:	NBTHK Tokubetsu Juyo Token
nakago:	o-suriage
nagasa:	70.2cm
sori:	1.6cm
motohaba:	3.0cm
sakihaba:	2.4cm
kissaki:	4.6cm
nakago:	18.7cm
nakago sori:	none
price:	-please inquire-

click here to view the 41 picture slideshow for this sword. Please take note of the beautiful nie in the hamon and ji, and how they reflect back light of many colors.

With the establishment of the military government in Kamakura in the 1200s, Shogun Koreyasu called out for swordsmiths to come to Sagami province and make swords for the warriors and the elite of his court. Heeding this call were the master swordsmiths Sukezane and Kunimune of Bizen province, and Kunitomo of Yamashiro Awataguchi (one of the six famous brothers of this school). In making swords for the warrior class, their work became very proud and majestic.

Shintogo Kunimitsu is considered to be a son of Awataguchi Kunitsuna, and having learned and mastered this style also came to Sagami and began making swords. Influenced by the local culture and the work of the master smiths around him, his style took on a new form showing vibrant jigane with chikei and an hamon of nie full of activities. As such, his work is credited as the beginning of the Soshu den. His first dated work is mentioned as Einin 1 (1293), and it is interesting to note that the only existing dated work of Awataguchi Kunimitsu is dated Ko-an 11 (1288).

Shintogo was also a master teacher as well as a smith, since his students achieved unprecedented fame throughout the history of Nihonto. Among his students were Shintogo Kunihiro, Yukimitsu, Norishige and Masamune. Kunihiro and Yukimitsu, being senior pupils made many works in similar style to their teacher but very few works by them exist signed in their own name, and are limited to tanto. It is thought that their production mostly consisted of daimei and daisaku (works done in the name of the teacher) as Shintogo Kunimitsu was a dominant force in the world of Kamakura.

Three of the students of Shintogo Kunimitsu went on to great fame and are recorded in the sword books as important masters. Yukimitsu, Masamune, and Norishige together crystallized the Soshu style from the teachings handed to them by Shintogo. Norishige went on to develop his unique style of matsukawa hada, while Masamune went on to fame as the greatest of all swordsmiths for his remarkable achievements within the Soshu den.

Yukimitsu bore the personal name of Tosaburo, and he is said to have been the foster father of Masamune; their relationship was likely one of brotherhood given the relative closeness of their ages. There exists a signed and dated work by Yukimitsu with the Kareki era (1326), and while there are no dated signed works by Masamune, there are two oshigata that have been handed down of works that are now lost or destroyed. These oshigata have dates bearing the era of Showa (1312) and Kareki (1326). The sugata of the works of both Masamune and Yukimitsu, daito and tanto both, never depart those associated with the end of the Kamakura period.

The style of Yukimitsu was very wide ranging, from the confident elegance of Shintogo to the explosive beauty of Masamune; old books always comment on his virtuosity. Honma sensei writes about this in regards to a Den Yukimitsu Juyo Bunkazai (from Great Masterpieces of Japanese Art Swords):

It is described in archives that Yukimitsu left blades of the greatest variety in style of sword making among advanced smiths of the Soshu school. Some of the attributions done in the Edo period need to be discussed carefully again in the future. On the other hand, this example of excellent quality at a glance bears workmanship equivalent to that of Masamune. As it has a more classical appearance in shape and hamon than Masamune work, this old attribution is naturally accepted.

Of this same sword, Sato Kanzan remarks:

Yukimitsu's own specialty is appreciated by the clearly shining quality of nie which thickly cover the blade surface, as well as by beautiful activity of chikei and kinsuji. Among his unsigned works, this is the most remarkable masterpiece.

In particular, his work in gunome midare is very similar to Masamune, both in style and in quality, and he is held in highest regard. Fujishiro, in writing about work in this style states:

... and there are also gonome ko-midare which must be regarded as the upper grade of the Soshu den.

On a second blade attributed Den Yukimitsu of Tokubetsu Juyo Token status, we again see similar comments from Honma sensei:

At a glance, this blade can be easily judged as a fine example of the Soshu school. The hamon exhibits a more classical style than that of Masamune and does not strongly display an undulating pattern like the tendency which appears in Masamune's hamon. It was with this thought, therefore, that this blade was attributed to Yukimitsu.

It is clear from the scholars that his best work shows Yukimitsu as a peer to Masamune in talent, and it is often similar enough to be confused with Masamune. However, when the small telltale signs are present, one can detect the hand of Yukimitsu. It would seem to be the case that the use of Den on works such as this would indicate that there is some argument to be made that they were indeed made by Masamune, but that the strongest and most likely possibility is Yukimitsu.

Ikeda Daimyo Ke

As Japan struggled with itself under the forces that would unify it, one of the important families to factor into the equation at the end of the Muromachi period were the Ikeda. Originally supporting Toyotomi Hideyoshi, they came to support Tokugawa Ieyasu and in the climactic Battle of Sekigahara, Ikeda Terumasa served with distinction.

The Ikeda were well rewarded by the Tokugawa for their service, being granted a 520,000 koku fief in Harima and the lordship of the Himeji Castle. Over time, their holdings amassed over one million koku and the domains of Bizen, Harima, Inama and Awaji. This extraordinary accumulation of power would eventually draw worried attention from the Tokugawa Shogunate, who reduced their holdings in future years to the provinces of Bizen and Inaba. This still left them as one of the most powerful and influential families in Japan.

After the fall of the Shogunate, and the introduction of the Kazoku system into Japan under Emperor Meiji in 1869, the Ikeda Daimyo Tadamasa was recognized, and later under the Peerage act in 1884 was granted the title of Marquis. At the time there were 427 families that qualified for the titles and ranks under this system. The Ikeda Daimyo was granted the title of Marquis, or Koshaku 侯爵, and the only higher rank was Prince (equivalent to Duke). Initially there were 11 non-imperial Princes, and 24 Marquises, which should help illustrate the status of the Ikeda family in Japan during this period. Ranks below Marquis (in order) were 76 Counts (Earls), 324 Viscounts, and 74 Barons.

The Ikeda had close ties with the Imperial family since its restoration. The fourth daughter of the Showa Emperor Hirohito, and sister of Emperor Akihiro, Atsuko, married Ikeda Terumasa, the son of the Marquis Ikeda Nobumasa, the head of the clan. Nobumasa was the owner of this Yukimitsu during and after WWII. While he owned the sword, it was kept in the Imperial House Museum in Ueno Park, which would later become the Tokyo National Museum. When the Kazoku system was dropped in 1947, Nobumasa became the Former Marquis Ikeda.

The father of Marquis Ikeda Nobumasa was the the second Marquis Ikeda, Tadamasa. He was born December 27, 1866, and was granted the title of Marquis in 1908. My research is a bit sketchy here, but it seems he resigned his title in favor of his son Nobumasa possibly immediately, as he seems to have been in ill health. He died in 1909, June 1st. His father was the Daimyo and head of the clan Ikeda Akimasa, who was the first Ikeda to receive the title of Marquis.

At the time of the introduction of the Peerage Act, there were many powerful branches of the Ikeda family. Those given titles in 1884 were Marquis to the two Ikeda Daimyo Akimasa (head of the clan) and Terutomo; Viscount to the four Ikeda Daimyo Hajime, Masakata, Masayasu, and Norishide. In 1890 Ikeda Nakahiro was added to the roll as a Marquis.

The main line of the Ikeda Daimyo Ke is:

1. Ukita Hideie (1591-1600)
2. Kobayakawa Hideaki (1600-1602)
3. Ikeda Tadatsugu (1603-1615)
4. Ikeda Tadakatsu (1615-1632)
5. Ikeda Mitsumasa (1632-1672)
6. Ikeda Tsunamasa (1672-1714)
7. Ikeda Tsugumasa (1714-1752)
8. Ikeda Mumemasa (1752-1764)
9. Ikeda Harumasa (1764-1794)
10. Ikeda Narimasa (1794-1829)
11. Ikeda Naritoshi (1829-1842)
12. Ikeda Yoshimasa (1842-1863)
13. Ikeda Mochimasa (1863-1868)
14. Marquis Ikeda Akimasa (1868-1908)
15. Marquis Ikeda Tadamasa (resigned in (1908-1908)favor of Nobumasa)
16. Marquis Ikeda Nobumasa (1908-1947)

Ikeda Terumasa is still alive today and has been a successful rancher in Japan.

Among the possessions of the main line centuries ago in the Edo period was this sword, attributed then to Yukimitsu, and held in high regard. Swords of this type were often given as gifts between Daimyo, and to and from the Shogun. The masters of Soshu and Bizen styles were always the most prestigious gifts to give and receive.

In 1736 this sword was given over to Honami Shobei for polishing and attribution, and the sword is accompanied by a letter from Shobei sensei from that time. It would appear to be the Daimyo Ikeda Tsugumasa owned the sword at this point given the date. Honami Shobei attributed it to Soshu Yukimitsu, placing its value in excess of 1,000 kan and it has retained that judgment since.

In the late 1800s, I suspect after Meiji 8, the Meiji Emperor paid a visit to the Marquis Ikeda (probably during the tenure of Akimasa) and was presented this Yukimitsu for his evaluation and enjoyment, as the Meiji Emperor was a great lover of swords. The sayagaki on this sword matches the notes made on one of the documents below... the letter has revisions attached to it by the Ikeda clan member responsible for the sword inventory. His handwriting matches that on the shirasaya, so it would appear to be of the same date. An addendum to the sayagaki was added stating Tenran Hin, viewed by the Emperor, to commemorate the occasion of sharing this sword. That the family kept hold of the old judgment paper, and kept careful inventory and presented this blade to the Emperor speaks volumes about the esteem in which it was held.

Den Yukimitsu Daito

In 1961 this sword passed the Juyo Token shinsa and and was confirmed as Den Yukimitsu. This makes the sword one of the very early Juyo Token, and these are much sought after and respected as passing Juyo at this time was very hard. As well, at this time Tokubetsu Juyo did not even exist, making this sword one of those considered to be extremely important. In passing judgment to Yukimitsu, the NBTHK noted the qualities of the sword and stated that some further study of the attribution should be considered.

In 2002 this sword was submitted for Tokubetsu Juyo Token, which is the highest designation available from the NBTHK. Very few swords, and only the best and most important, qualify for this designation. Roughly 30 pass at shinsa which is given only every other year, so the competition is intense and the designation very highly sought after. They are truly the best of the best. At this time, the designation to Yukimitsu was, in the words of the NBTHK, "accepted without hesitation" though the Den attribution was retained, putting it in the category of the above works that are extremely similar to Masamune in style. In passing Tokubetsu Juyo, the NBTHK took the step of reinforcing that this sword in particular was one of the best existing mumei Yukimitsu works, and echoed the 1961 shinsa in calling the quality of work magnificent.

In addition to the above, this sword comes down through time with a variety of old paperwork, including an origami from Honami Koson who was one of the great scholars of the 20th century. He as well was taken with the sword, and used the term magnificent yet again to describe the activities in the jigane and the hamon.

Juyo Token

Appointed on he 25th of February, 1961

Katana, Mumei, Den Yukimitsu

The blade is in shinogi-zukuri with iori-mune and has o-suriage -nakago, shallow sori and extended chu-kissaki.

Jihada

Itame-hada combined with nagare-hada in company with abundant ji-nie and many chikei then slightly stand out on the whole.

Hamon

Gunome-midare mixed with ko-notare in thick nie-deki accompanied with thick nioi-guchi then sunagashi and kinsuji are seen inside the hamon.

Boshi

Midare-komi of thick nie then turns back in ko-maru with hakikake and kinsuji.

Horimono

Bo-hi with kaki-nagashi end on each side.

Nakago

O-suriage mumei then has kiri tip, kiri-yasuri and three mekugi-ana.

Setsumei

The blade has relatively wide mi-haba and sugata of the end of the Kamakura Period with extended chu-kissaki. The blade is a o-suriage mumei katana and the jigane is magnificent and lots of chikei work marvelously in the ji. Also the hamon exposes every feature of old fine Soshu swords. The attribution to Yukimitsu has yet to be studied but there is no doubt that the sword is a fine work of old master Soshu smith. In addition, the ji and ha are in sound condition.

Tokubetsu Juyo Token

Appointed on April 24th, 2002

Katana, Mumei, Den Yukimitsu

The blade is in shinogi-zukuri with iori-mune and has wide mi-haba, narrow shinogi-ji, relatively deep sori, little tapering sugata with extended chu-kissaki.

Jihada

Itame-hada combined with nagare-hada in company with abundant ji-nie and lots of fine chikei then the jigane is very clear.

Hamon

Gunome mixed with ko-notare and choji in thick nie-deki accompanied with thick and bright nioi-guchi then many kinsuji and sunagashi are seen inside the hamon.

Boshi

Midare-komi then turns back in ko-maru with short kaeri, hakikake and kinsuji.

Horimono

Bo-hi with kaki-nagashi end on each side.

Nakago

O-suriage mumei and has kiri tip, sujikai-yasuri and three mekugi-ana.

Setsumei

Soshu Yukimitsu is a smith who, along with Masamune and Norishige, developed and competed the Soshu-den that was started by Shintogo Kunimitsu. Yukimitsu is speculated to be a senior smith to Masamune and there are only extant works of tanto that are signed, but tachi and katana do exist. Old books say that he demonstrates various forms of workmanship like sugu-ha, midare-ba and hitatsura. However, he normally tempers sugu-ha and gentle midare-ba in his mumei swords then fills them with lots of chikei and kinsuji. Work in the ji and ha succeeds to the workmanship of Shintogo Kunimitsu.

This is an o-suriage katana that was attributed to Yukimitsu in the Edo Period. The blade has wide mi-haba, relatively deep sori, and a slightly tapering sugata with extended chu-kissaki. The jihada is itame-hada combined with nagare-hada in company with abundant ji-nie and lots of fine chikei. The hamon is gunome mixed with ko-notare and choji in thick nie-deki accompanied with thick nioi-guchi and many kinsuji and sunagashi can be inside the hamon. The hamon is very bright and the jigane is very clear. The katana shows a workmanship of the old master Soshu smiths very well with narrow shinogi-ji that is an archetypal feature of old Soshu swords, and the old attribution is accepted without hesitation. This is one of the best mumei katana attributed to Yukimitsu and the jigane looks magnificent. This is a katana that had been handed down through the Ikeda family of the Bizen clan during the Edo Period.

Documents

Various documents accompany the sword at this point in time. Clicking on any of the images will bring up high resolution versions of the pictures. These translations are the result of a lot of assistance, from Tanobe sensei, Kenji Mishina sensei, Moriyama san, Morita san, and Nishiyama san.

The first is a package entitled "Yukimitsu Soejo" and contains three Edo period letters, one of which is annotated.

1. 鑑査状付
   Kansa-jo-tsuki
   Judgement paper attached
2. 長貳尺三寸二分
   Ha: 2 shaku, 3 sun, 2 bu
   70.2 cm
3. 天覧御刀
   Mumei on katana
   Unsigned O-Katana
4. 明示八年五月改
   Meiji 8 nen, 5 gatsu aratame
   Revised in May 1875.
5. 添状
   Soejo
   Note Attached (referring to the note below)
6. 行光佳也
   Yukimitsu no-yoshi
   Said to be by Yukimitsu
7. 元切状壱
   Motokiri cho ichi
   (Reference to a notebook?)
8. 故御腰物方
   Ko On-koshi-mono-kata
   Sword preservation department of the clan.

The second letter refers to the third one, and gives the date of the polishing and attribution. I suspect it is either the Ikeda clansman responsible for the sword inventory noting this, or possibly a cover letter to the Honami Shobei attribution and valuation letter.

1. 無銘御刀亨保二十年卯四月本阿弥庄兵衛二研
   Mumei O-katana Kyoho niju nen wu shi gatsu Honami Shobei ni togasu.
   In April of 1736 (the year of the Hare), Honami Shobei polished the mumei o-katana.
2. 御傳刀同名共吟味仕候添書同月十日以来
   On dentou doumyo domo ginmi tsukamatsuri sourou soegaki dogetsu touka o motte kitaru.
   The honorable heirloom sword was also given an official attribution by Honami Shobei: see the attached letter dated 10 days into the same month.

The third letter included in the package is the following:

I will quote Tanobe sensei of the NBTHK who kindly translated this origami.

The paper you referred to me is by the hand of one Honami Shobei [...] It says: that the sword has a shortened nakago (suriage) as well as a straight groove (hi) engraved in it; that the sword has been examined after polishing and the conclusion was reached that Yukimitsu would be the best attribution for the mumei work; that it is worth a value of one thousand kan¹; that it is in perfectly intact condition.
As you may be aware, the Honami family has many branches and sent forth a great many connoisseurs. Shobei belonged to the Honami Komin branch, and two Shobei are listed in the family lineage. This one is the earlier one who lived around the Kyoho² era in the Edo period.

1. One mon is a copper coin. One kan is a coin that is the equivalent of 1,000 mon. One ryo is the amount of gold in a koban, and is the equivalent of four kan. It was said that one ryo was a considerable amount of money for the average person back then. The Fudo Masamune was bought in 1601 for 500 kan. Wikipedia notes that a Ryo is the equivalent of about $1,000 USD.
   
2. Kyoho era is 1716 to 1736. This makes the origami almost 300 years old, and a precious antique in its own right.

A line by line translieration and translation with the assistance of Morita san is:

1. 一磨上樋刀。
   Hitotsu suriage hi katana
   One shortened katana with hi.
2. 研出来候上吟味御座候処二行光二も相成可申候。
   Togi deki sourou ue ginmi goza sourou tokoro ni Yukimitsu ni mo ai nari beku mousu sourou.
   The sword was polished, and after careful investigation, I have the honor to pass judgment to Yukimitsu.
3. 右之代金千貫其余も可仕候。
   Migi no daikin senkan sonoyo mo beku tsukamatsuru sourou.
   The aforementioned [sword] is valued at 1,000 kan, or possibly even more.
4. 尤無疵二も御座候。
   Mottomo mukizu nimo goza sourou.
   The sword is perfectly flawless.
5. 以上。
   Ijo.
   That is all.
6. 四月十日本阿弥庄兵衛
   Shi gatsu touka. Honami Shobei.
   April 10th [no year given, 1736], Honami Shobei

The next two papers are included in a package that reads "Yukimitsu Katana Origami."

 

This document is permission to own the sword issued by the General Headquarters of the Allied Forces on the 14th of October, 1946. It also states that it was held at the Imperial House Museum. The Imperial House Museum in Ueno Park would later become the Tokyo National Museum.

With this document is the following, an origami by Honami Koson:

The letter says: This is a mumei o-suriage katana and attributed to Soshu Yukimitsu. The hataraki of the hamon and ji look magnificent. This important heirloom should be handed down with great care to the descendants of the family. (Honami Koson)

With the assistance of Moriyama san I have a partial translation:

1. 池田家傳来大磨
   Ikeda ke denrai o-(suriage).
   Ikeda clan heirloom, shortened
2. 上無銘御刀遂熟
   (o)-suriage mumei on-katana togeru juku
   katana with no signature. On accomplishing a thorough
3. 覧申御品相州行光
   ran shin on-hin Soshu Yukimitsu
   inspection, I attribute the honorable object to Soshu Yukimitsu.
4. 之古極結構に鑑之刃文之働き地鉄之精良能き
   Kore ko kiwame kekkou kan Kore hamon no hataraki jitetsu no sei ryunou ki.
   The activity of its hamon, and spirit of its jitetsu are an example of extremely wonderful, classical, natural skill.
5. 御品長く御子孫に御傳
   The honorable obje?ct should be handed down to the descendents of the head
6. ？御大切に被成度？？
   with great care (some info missing)
7. 来阿弥光遜
   Honami Koson
8. 六月上？
   In the first half of the 6th month [of 1954]

The origami is dated on the opposite side, along with the length of the sword written out again. Honami Koson died July 26th, 1955, so this must be among his last origami.

1. 昭和廿九年甲午
   Showa 29 nen Kinoe-Uma
   1954, year of the horse