{"product_id":"sukenaga","title":"First-Generation Bizen Osafune Sukenaga — Selected at the 2026 NBTHK Japanese Sword Crafts Competition","description":"\u003ch1 class=\"PDq2pG_selectionAnchorContainer\"\u003eFirst-Generation Bizen Osafune Sukenaga\u003cspan class=\"PDq2pG_selectionAnchor\"\u003e\u003c\/span\u003e\n\u003c\/h1\u003e\n\u003ch2\u003e\u003cspan style=\"text-decoration: underline;\"\u003eA Japanese Sword from the Tenpō Era (1830–1844), Later Selected in the 2026 NBTHK Japanese Sword Crafts Competition\u003c\/span\u003e\u003c\/h2\u003e\n\u003cp\u003e\u003cstrong\u003eSignature — Omote (Front):\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003eYokoyama Kaga no Suke Fujiwara Sukenaga Saku\u003c\/em\u003e\u003cbr\u003e横山加賀介藤原祐永作\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eInscription — Ura (Reverse):\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003eGojūrokudai no Magō\u003c\/em\u003e — “56th-Generation Descendant”\u003cbr\u003e五十六代孫\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eKimibanzai Tomonari\u003c\/em\u003e\u003cbr\u003e君万歳友成\u003c\/p\u003e\n\u003cp\u003eThis Japanese sword was forged by \u003cstrong\u003efirst-generation Bizen Osafune Sukenaga\u003c\/strong\u003e, an important smith of the Yokoyama school who carried the traditions of Bizen Osafune into the final decades of the Edo period (1603–1868).\u003c\/p\u003e\n\u003cp\u003eSukenaga worked during the late Edo period, particularly around the \u003cstrong\u003eTenpō era (1830–1844)\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp\u003eIn his inscriptions, Sukenaga used the phrase \u003cem\u003eGojūrokudai no Magō\u003c\/em\u003e — “56th-generation descendant” — expressing his connection to the lineage of \u003cstrong\u003eTomonari\u003c\/strong\u003e, one of the celebrated early masters associated with the ancient Bizen swordmaking tradition.\u003c\/p\u003e\n\u003cp\u003eHistorical records state that Sukenaga received the honorary title \u003cstrong\u003eKaga no Suke\u003c\/strong\u003e in the second month of \u003cstrong\u003eTenpō 4 (1833)\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp\u003eThe present sword is signed:\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eYokoyama Kaga no Suke Fujiwara Sukenaga Saku\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eyet it does not bear the \u003cstrong\u003echrysanthemum crest and horizontal \u003cem\u003eichi\u003c\/em\u003e mark\u003c\/strong\u003e seen on his later works.\u003c\/p\u003e\n\u003cp\u003eThis combination suggests that the sword may have been made relatively soon after Sukenaga received the Kaga no Suke title in 1833, during a comparatively early stage of his career.\u003c\/p\u003e\n\u003ch2\u003e\u003cspan style=\"text-decoration: underline;\"\u003eThe Unusual Inscription “Kimibanzai Tomonari”\u003c\/span\u003e\u003c\/h2\u003e\n\u003cp\u003eOne of the most intriguing features of this sword is the inscription on the reverse of the tang:\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e君万歳友成 — Kimibanzai Tomonari\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThe expression \u003cem\u003eKimibanzai\u003c\/em\u003e can convey a wish for the longevity, prosperity, or enduring good fortune of another person.\u003c\/p\u003e\n\u003cp\u003eSukenaga also consciously identified himself with the lineage of the great early Bizen smith Tomonari through the inscription “56th-generation descendant,” making the presence of the name \u003cstrong\u003eTomonari\u003c\/strong\u003e particularly interesting.\u003c\/p\u003e\n\u003cp\u003eIt is possible that the sword was made to commemorate a close personal relationship, to express wishes for the longevity and prosperity of someone important to the smith, or perhaps in response to a special commission from such a person.\u003c\/p\u003e\n\u003cp\u003eHowever, no surviving historical document currently confirms the precise circumstances behind this inscription. These possibilities should therefore be understood as interpretations rather than established historical fact.\u003c\/p\u003e\n\u003cp\u003eIt is precisely this uncertainty that makes the inscription so compelling: it leaves behind a rare personal element that invites us to consider \u003cstrong\u003ewhy this particular sword was originally commissioned and for whom it may have been made nearly two centuries ago.\u003c\/strong\u003e\u003c\/p\u003e\n\u003ch2\u003e\u003cspan style=\"text-decoration: underline;\"\u003eFine Jigane and an Elegant Suguha Hamon\u003c\/span\u003e\u003c\/h2\u003e\n\u003cp\u003eThe \u003cem\u003ejigane\u003c\/em\u003e — the forged steel surface of the blade — displays a \u003cstrong\u003efinely compacted \u003cem\u003eitame-hada\u003c\/em\u003e grain\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp\u003eAt first sight, the \u003cem\u003ehamon\u003c\/em\u003e appears as an elegant \u003cstrong\u003esuguha\u003c\/strong\u003e, or predominantly straight temper line. Under closer observation, however, subtle sequences of small \u003cem\u003egunome\u003c\/em\u003e activity can be seen within its restrained structure.\u003c\/p\u003e\n\u003cp\u003eFine \u003cem\u003enie\u003c\/em\u003e particles are present, while the \u003cem\u003enioiguchi\u003c\/em\u003e is tight and controlled.\u003c\/p\u003e\n\u003cp\u003eThe result is not an extravagant or visually overpowering hamon, but a refined and disciplined one.\u003c\/p\u003e\n\u003cp\u003eThis is particularly significant with \u003cem\u003esuguha\u003c\/em\u003e.\u003c\/p\u003e\n\u003cp\u003eCompared with a highly flamboyant irregular hamon, a straight and restrained temper line leaves the quality of the underlying forged steel much more visually exposed. There is less decorative activity to distract the eye from the quality of the \u003cem\u003ejigane\u003c\/em\u003e itself.\u003c\/p\u003e\n\u003cp\u003eFor this reason, producing an accomplished \u003cem\u003esuguha\u003c\/em\u003e places considerable emphasis on the quality and refinement of the forging beneath it.\u003c\/p\u003e\n\u003cp\u003eIn this sword, the combination of the \u003cstrong\u003etightly forged steel and restrained straight hamon\u003c\/strong\u003e allows Sukenaga’s technical ability to be appreciated with unusual clarity.\u003c\/p\u003e\n\u003cp\u003eAnother noteworthy detail is that the signature does not end simply with “Sukenaga,” but with:\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e祐永作 — Sukenaga Saku\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003emeaning \u003cstrong\u003e“made by Sukenaga.”\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThe deliberate addition of \u003cem\u003esaku\u003c\/em\u003e (“made by”) is traditionally regarded in some contexts as an expression of a smith’s confidence or personal responsibility for the work. In this sword, it adds another interesting dimension to the character of the signature.\u003c\/p\u003e\n\u003ch2\u003e\u003cspan style=\"text-decoration: underline;\"\u003eA Commanding Form Characteristic of the Shinshintō Period\u003c\/span\u003e\u003c\/h2\u003e\n\u003cp\u003eThe sword possesses a relatively \u003cstrong\u003elong \u003cem\u003enakago\u003c\/em\u003e (tang)\u003c\/strong\u003e, a feature associated with the powerful proportions seen in many swords of the later \u003cem\u003eShinshintō\u003c\/em\u003e period.\u003c\/p\u003e\n\u003cp\u003eThe \u003cstrong\u003eShinshintō period, generally dated approximately 1781–1876\u003c\/strong\u003e, was an important era of revival and experimentation in Japanese swordmaking.\u003c\/p\u003e\n\u003cp\u003eThe blade itself is long, and its extended tang indicates that it would originally have been mounted with a correspondingly substantial handle.\u003c\/p\u003e\n\u003cp\u003eEven by the standards of the \u003cstrong\u003efirst half of the 19th century\u003c\/strong\u003e, this would likely have presented as a commanding and substantial sword.\u003c\/p\u003e\n\u003cp\u003eDuring the final decades of the Edo period, particularly from the \u003cstrong\u003emid-19th century until the end of the Edo period in 1868\u003c\/strong\u003e, notable smiths representing different regional and technical traditions were active throughout Japan.\u003c\/p\u003e\n\u003cp\u003eThese included smiths associated with the Gassan tradition of Dewa, Nankai Tarō Chōson with his study of Yamashiro traditions, and the Mino-related master Okachiyama Nagasada.\u003c\/p\u003e\n\u003cp\u003eAt the same time, Bizen — once one of the greatest centers of Japanese sword production — no longer possessed the overwhelming dominance it had enjoyed during earlier centuries.\u003c\/p\u003e\n\u003cp\u003eAgainst this historical background, Sukenaga and the Yokoyama school became important custodians of the \u003cstrong\u003ecenturies-old Bizen Osafune swordmaking tradition\u003c\/strong\u003e, carrying it forward into the 19th century.\u003c\/p\u003e\n\u003cp\u003eFirst-generation Sukenaga is therefore regarded as one of the notable smiths representing the later history of the Bizen Osafune lineage.\u003c\/p\u003e\n\u003ch2\u003e\u003cspan style=\"text-decoration: underline;\"\u003eA Fine Work by First-Generation Sukenaga\u003c\/span\u003e\u003c\/h2\u003e\n\u003cp\u003eThis sword can be regarded as a \u003cstrong\u003efine work (\u003cem\u003eryōsaku\u003c\/em\u003e)\u003c\/strong\u003e, standing above the level of an ordinary example of Sukenaga’s work.\u003c\/p\u003e\n\u003cp\u003eThe absence of the chrysanthemum crest and \u003cem\u003eichi\u003c\/em\u003e mark seen on later Sukenaga blades should not in itself be interpreted as diminishing the quality or importance of the sword.\u003c\/p\u003e\n\u003cp\u003eOn the contrary, the combination of the \u003cstrong\u003eKaga no Suke title with the absence of these later marks\u003c\/strong\u003e is particularly interesting from a chronological perspective.\u003c\/p\u003e\n\u003cp\u003eSince Sukenaga received the Kaga no Suke title in \u003cstrong\u003e1833\u003c\/strong\u003e, the characteristics of the inscription suggest the possibility that this blade was forged relatively soon afterward.\u003c\/p\u003e\n\u003cp\u003eIt may therefore offer an opportunity to appreciate the work of \u003cstrong\u003efirst-generation Sukenaga during a comparatively early stage of his career\u003c\/strong\u003e, before the signature style associated with his later works had become fully established.\u003c\/p\u003e\n\u003ch2\u003e\u003cspan style=\"text-decoration: underline;\"\u003eSelected in the 2026 NBTHK Contemporary Japanese Sword Crafts Competition\u003c\/span\u003e\u003c\/h2\u003e\n\u003cp\u003eNearly two centuries after its creation, this sword acquired another important chapter in its history.\u003c\/p\u003e\n\u003cp\u003eIn \u003cstrong\u003e2026\u003c\/strong\u003e, this blade was submitted in the \u003cstrong\u003eShinogi-zukuri Polishing Division of the Contemporary Japanese Sword Crafts Exhibition, organized by the Society for the Preservation of Japanese Art Swords (NBTHK).\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eDespite its official English title containing the word “Exhibition,” this event is not simply an exhibition of Japanese swords.\u003c\/p\u003e\n\u003cp\u003eIt is also a \u003cstrong\u003ejudged competition for contemporary professionals working in the Japanese sword tradition\u003c\/strong\u003e, in which the technical skill and craftsmanship of specialists involved in the creation, polishing, restoration, and preservation of Japanese swords are formally evaluated.\u003c\/p\u003e\n\u003cp\u003eIn the polishing divisions, the focus is not on judging the historical swordsmith who originally forged the blade. Rather, the competition evaluates \u003cstrong\u003ethe skill of the contemporary polisher — the ability to understand the blade, preserve its geometry and form, and reveal the original swordsmith’s workmanship through traditional Japanese sword-polishing techniques.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThis particular sword was entered in the \u003cstrong\u003eShinogi-zukuri Polishing Division\u003c\/strong\u003e, and its polishing received \u003cstrong\u003eofficial selection in the 2026 competition\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp\u003eForged by first-generation Sukenaga around the \u003cstrong\u003e1830s, during the late Edo period (1603–1868)\u003c\/strong\u003e, the sword has survived for approximately 190 years.\u003c\/p\u003e\n\u003cp\u003eThrough contemporary Japanese sword polishing, the qualities of its \u003cem\u003ejigane\u003c\/em\u003e, \u003cem\u003ehamon\u003c\/em\u003e, form, and original workmanship have once again been brought forward for appreciation.\u003c\/p\u003e\n\u003cp\u003eIts appearance today therefore represents the meeting of two generations of Japanese craftsmanship:\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ethe work of a Bizen Osafune swordsmith from the 19th century and the work of a Japanese sword polisher in the 21st century.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThe latter was formally judged alongside the work of other contemporary sword craftsmen and received official selection in the \u003cstrong\u003e2026 NBTHK Contemporary Japanese Sword Crafts competition\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp\u003eThis gives the sword an especially meaningful modern provenance.\u003c\/p\u003e\n\u003cp\u003eIt is not simply a Japanese sword that has survived from the first half of the 19th century.\u003c\/p\u003e\n\u003cp\u003eIt is a blade whose original craftsmanship has been carefully brought forward through traditional polishing nearly two centuries later — \u003cstrong\u003ewith that polishing itself tested and recognized in a judged competition dedicated to the skills of contemporary Japanese sword craftsmen.\u003c\/strong\u003e\u003c\/p\u003e\n\u003ch2\u003e\u003cspan style=\"text-decoration: underline;\"\u003eShirasaya \u0026amp; Important Care Notice — A Fine Art Sword, Not a Martial-Arts Sword\u003c\/span\u003e\u003c\/h2\u003e\n\u003cp\u003eThis sword is currently preserved in a traditional \u003cstrong\u003eshirasaya (plain wooden storage mounting)\u003c\/strong\u003e rather than in a complete \u003cem\u003ekoshirae\u003c\/em\u003e mounting.\u003c\/p\u003e\n\u003cp\u003eA \u003cem\u003eshirasaya\u003c\/em\u003e is intended primarily for the preservation and storage of the blade, allowing the Japanese sword itself to be safely maintained and appreciated.\u003c\/p\u003e\n\u003cp\u003eMost importantly, this sword has received an \u003cstrong\u003eexceptionally high-level traditional Japanese fine-art polish\u003c\/strong\u003e, designed to reveal and preserve the finest details of its \u003cem\u003ejigane\u003c\/em\u003e, \u003cem\u003ehamon\u003c\/em\u003e, \u003cem\u003enie\u003c\/em\u003e, \u003cem\u003enioi\u003c\/em\u003e, and the other subtle activities created by the original swordsmith.\u003c\/p\u003e\n\u003cp\u003eFor this reason, \u003cstrong\u003ethis sword must not be used for iaidō, battō, tameshigiri (test cutting), or any other form of martial-arts or practical sword use.\u003c\/strong\u003e\u003c\/p\u003e\n\u003ch3\u003eFine-Art Polishing Is Fundamentally Different from Practical Sharpening\u003c\/h3\u003e\n\u003cp\u003eA Japanese sword preserved as a work of fine art and a sword prepared for martial-arts practice or cutting may both be Japanese swords, but \u003cstrong\u003ethe purpose and nature of their polishing are fundamentally different.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eTraditional Japanese fine-art polishing is not simply a process of making a blade sharp.\u003c\/p\u003e\n\u003cp\u003eIt is a highly specialized traditional craft involving numerous stages, intended to reveal the structure of the forged steel, the \u003cem\u003ehamon\u003c\/em\u003e, \u003cem\u003enie\u003c\/em\u003e, \u003cem\u003enioi\u003c\/em\u003e, and the many subtle characteristics created by the swordsmith while preserving the blade’s geometry and historical integrity.\u003c\/p\u003e\n\u003cp\u003eOnce completed to this level, the polished surface is exceptionally delicate.\u003c\/p\u003e\n\u003cp\u003eEven seemingly insignificant \u003cstrong\u003ehairline scratches, scuffs, or \u003cem\u003ehike\u003c\/em\u003e\u003c\/strong\u003e can immediately compromise the integrity, appearance, and value of such a highly refined art polish.\u003c\/p\u003e\n\u003cp\u003eRepeated drawing and resheathing of the blade, iaidō or battō practice, test cutting, or improper handling can all introduce these marks.\u003c\/p\u003e\n\u003ch3\u003eThe Present Polish Is Part of This Sword’s Modern History\u003c\/h3\u003e\n\u003cp\u003eThis point is particularly important with this sword because its present polishing was \u003cstrong\u003eformally judged and selected in the Shinogi-zukuri Polishing Division of the 2026 NBTHK Contemporary Japanese Sword Crafts competition.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThe polish should therefore be regarded not merely as maintenance performed on an old blade, but as an important part of this sword’s modern history and provenance.\u003c\/p\u003e\n\u003cp\u003eA blade forged approximately 190 years ago by \u003cstrong\u003efirst-generation Bizen Osafune Sukenaga in the 19th century\u003c\/strong\u003e was brought into its present state of appreciation through the traditional skills of a \u003cstrong\u003e21st-century Japanese sword polisher\u003c\/strong\u003e, and that polishing was subsequently evaluated and recognized in a professional sword-craft competition.\u003c\/p\u003e\n\u003cp\u003eFor this reason, the sword should be treated strictly as a \u003cstrong\u003eJapanese fine-art sword (\u003cem\u003eNihontō\u003c\/em\u003e) intended for preservation, study, and appreciation\u003c\/strong\u003e, rather than as a sword for practical use.\u003c\/p\u003e\n\u003cp\u003eWe strongly recommend preserving it in its current \u003cem\u003eshirasaya\u003c\/em\u003e and avoiding unnecessary drawing and resheathing of the blade.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePlease do not use this sword for iaidō, battō, tameshigiri, or cutting of any kind.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eOnce a fine-art polish of this level is scratched or damaged, it cannot simply be restored through ordinary sharpening or routine maintenance.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePreserving the present polished surface is part of preserving the sword itself for the next generation.\u003c\/strong\u003e\u003c\/p\u003e\n\u003chr\u003e\n\u003ch1\u003e\u003cspan style=\"text-decoration: underline;\"\u003eFirst-Generation Bizen Osafune Sukenaga\u003c\/span\u003e\u003c\/h1\u003e\n\u003ch3\u003eYokoyama Kaga no Suke Fujiwara Sukenaga Saku\u003c\/h3\u003e\n\u003ch3\u003e56th-Generation Descendant · Kimibanzai Tomonari\u003c\/h3\u003e\n\u003cp\u003e\u003cstrong\u003eLate Edo Period — Tenpō Era (1830–1844)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eA signature suggesting a relatively early work following Sukenaga’s receipt of the \u003cstrong\u003eKaga no Suke title in 1833\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp\u003eA \u003cem\u003enakago\u003c\/em\u003e that predates the chrysanthemum crest and \u003cem\u003eichi\u003c\/em\u003e mark found on his later works.\u003c\/p\u003e\n\u003cp\u003eFinely compacted \u003cem\u003ejigane\u003c\/em\u003e with \u003cem\u003eitame-hada\u003c\/em\u003e.\u003c\/p\u003e\n\u003cp\u003eA restrained \u003cem\u003esuguha\u003c\/em\u003e hamon containing subtle \u003cem\u003egunome\u003c\/em\u003e activity, fine \u003cem\u003enie\u003c\/em\u003e, and a tightly controlled \u003cem\u003enioiguchi\u003c\/em\u003e.\u003c\/p\u003e\n\u003cp\u003eA commanding form characteristic of Japanese swords made during the \u003cstrong\u003eShinshintō period (approximately 1781–1876)\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp\u003ePreserved today in \u003cstrong\u003eshirasaya\u003c\/strong\u003e and finished with a \u003cstrong\u003ehigh-level traditional Japanese fine-art polish\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp\u003eAnd, nearly two centuries after its creation:\u003c\/p\u003e\n\u003ch3\u003e\u003cspan role=\"text\"\u003e\u003cstrong\u003eOfficial Selection — 2026 NBTHK Contemporary Japanese Sword Crafts Competition, Shinogi-zukuri Polishing Division\u003c\/strong\u003e\u003c\/span\u003e\u003c\/h3\u003e\n\u003cp\u003eA historic Japanese sword forged in the 19th century, whose present polishing was \u003cstrong\u003eformally judged and selected in a competition recognizing the technical skill of contemporary Japanese sword craftsmen.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThis is a Japanese sword in which \u003cstrong\u003ethe Bizen Osafune swordmaking tradition of the 19th century and the living art of Japanese sword polishing in the 21st century meet within a single blade.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eImportant Notice:\u003c\/span\u003e \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan style=\"text-decoration: underline; color: rgb(255, 42, 0);\"\u003e\u003cem\u003eThe sword is intended exclusively for preservation, study, and appreciation as a work of Japanese sword art. It is not intended for iaidō, battō, tameshigiri, or any form of practical cutting.\u003c\/em\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e","brand":"YAMANI SHODOSHIMA","offers":[{"title":"Default Title","offer_id":46593801683130,"sku":null,"price":0.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0694\/6750\/4826\/files\/01A4F541-D02D-48DC-A3C3-0391D3E045EB.jpg?v=1788930482","url":"https:\/\/yamani-shodoshima.com\/products\/sukenaga","provider":"YAMANI SHODOSHIMA","version":"1.0","type":"link"}