Archived Nihonto.ca (Yuhindo.com): Niji Kunitoshi

Yamashiro Rai (Niji) Kunitoshi

designation:	Juyo Token
period:	Middle Kamakura (ca. 1280)
nakago:	O-suriage mumei, one filled
nagasa:	69.8cm
sori:	1.8cm
motohaba:	2.8cm
sakihaba:	1.8cm
horimono:	Bohi, both sides.
price:	N/A

The Rai school in Yamashiro province has been famous since its inception, and has given birth to many grand-master swordsmiths. Of these, probably the most famous is Rai Kunitoshi who is regarded as one of the first rank tanto makers, along with Shintogo Kunimitsu and Awataguchi Yoshimitsu.

There are Kokuho (National Treasure) class works, as well as Juyo Bunkazai and Juyo Bijitsuhin by this smith. In addition, there are an impressive seventeen Tokubetsu Juyo works listed in the Juyo Token index between Rai Kunitoshi and Niji Kunitoshi (the majority Niji Kunitoshi), all confirming the high reputation and masterful quality of his work.

There is a debate over the number of generations of Kunitoshi. I had been informed as late as last year that the argument was near to sealed in favor of the one generation theory, but it seems it may be something that will continue to be argued about forever. One has to read the available literature and make a personal decision on what to believe.

The facts of the matter are that the style of workmanship is fairly clearly split into an early and later period. The early period tends to have a strong and majestic appearance, with a vibrant choji hamon and wide throughout. The later period features suguba on a more elegant, refined and tapering sugata which seems adopted from Heian times. The first style of work is most often unsigned and shortened, but when signed bears a two character (niji) signature Kunitoshi 國俊. The second style of work bears a signature that is prefixed with the Rai character, so reads Rai Kunitoshi 来國俊 .

When one considers the time period involved for the entire body of work (which spans 41 years) it is plausible that it represents one genius swordsmith who made a major shift in his style midway in his career and changed his signature in response. It is also plausible that there were two generations, signing differently.

There is a work dated 1315 by Rai Kunitoshi, along with the inscription that he was 75 at the time of manufacture. Since the first sanji (three character) signed works bear dates of 1289, this would place Rai Kunitoshi at the age of 49 years old at the time of his first signature. The first (and only) dated Niji Kunitoshi work is 1278, which would indicate an age of 38 years at the time of manufacture.

There is no overlap between these two periods, so it would seem a rather abrupt transition for a new grand-master to pop into existence at the height of his skill and at middle age while the previous grand-master of the same name vanishes at the peak of his skill. For what my opinion is worth, I side with the one smith theory.

Since none of this forcefully concludes that there must have been one smith (since it can still be the work of a teacher followed by that of a student) there will remain those that disagree with the conclusion that Niji Kunitoshi and Rai Kunitoshi are the same smith. Both “smiths” remain rated at 2,000 man yen (extremely high) in the Toko Taikan. Fujishiro sensei ascribes to the one-smith theory, and notes:

He is the son of Kuniyuki, was called Rai Magotaro, and assumed the name of Minamoto. There is a work with the assumed name of Rai Magotaro Minamoto Kunitoshi, Koan Hachinen. Even though it is also said that the two kanji Kunitoshi was the father, this smith had already started in the middle of Koan, and this coincides with the two kanji Kunitoshi era. For this reason, it is thought that in the beginning he inscribed the two kanji Kunitoshi, later changed to the three kanji Rai Kunitoshi, and that he rarely signed Rai Minamoto Kunitoshi.

He gives Kunitoshi and Sai-jo saku for masterful manufacture and notes a sharpness rating of O-wazamono.

When I was last in Japan I spoke to Tanobe sensei of the NBTHK about his opinion, and he said he also believes that there was only one smith, and that the division of Niji Kunitoshi vs. Rai Kunitoshi is one of early work vs. later work by the same smith.

 

Juyo Token Niji Kunitoshi

The sword I am offering today has received the prestigious NBTHK Juyo Token designation as an important work of art.

On display at the NBTHK at the time of my conversation with Tanobe sensei was a signed Rai Kunitoshi tachi that showed some similar workmanship to this daito. The hamon on it was not as interesting as this one, which is to be expected given the classification as sanji, but the sugata was quite similar. In general, Niji Kunitoshi work is flamboyant and majestic, while Rai Kunitoshi work is more subtle and elegant.

Given the previous discussion, this work is particularly interesting since it features the elegant and tapering tachi sugata associated with Rai Kunitoshi, yet the gorgeous choji hamon it possesses is associated with Niji Kunitoshi. The kissaki would also appear to be more like the sanji style than the niji style, as it is slightly small and in keeping with the graceful sugata. It appears then that this former tachi is one of these interesting works that bridges the gap between the two styles and provides evidence for the one smith theory.

The jihada is spectacular, and full of ji nie which combine into strong chikei. They assemble into long flowing lines, and curl into beautiful whorls and burl patterns. There is also prominent nie utsuri visible.

The hamon is complex and beautiful, composed of choji shapes complimented with yo and ashi. Strewn along the hamon are clear and fine kinsuji and sunagashi.

The sword also has some history attached to it. Before my ownership, it was owned by the Higo Ueda daimyo family, and was even put to Juyo Token by a family representative in 1997. During the Meiji period, an appraisal was performed for this family by Honnami Ringa sensei (died 1927), also known as Honnami Seizen. Ringa sensei was the teacher of one of the 20th century’s great sword experts, Honnami Koson sensei, and was responsible for refinements to the keisho polishing process that we are familiar with today. He saw first hand and worked through the disasters surrounding the sword ban of the Meiji Period.

Ringa sensei attributed this sword to Rai Kunitoshi, rather than Niji Kunitoshi. The century old shirasaya and sayagaki which affirms this attribution have been preserved and accompany the sword.

 

The koshirae belonging to this work of Kunitoshi dates to the Meiji period though it is composed of Edo period components (with the Ueda family mon), so it is possible that it was made in the workshop of Ringa sensei at the time of appraisal. It appears quite fresh and perfectly preserved, and resides as it always has in its original beautifully made antique silk sword bag.

When this sword passed Juyo Token shinsa in 1997, the NBTHK remarked that it has similar features to the Tachibana Juyo Bunkazai Niji Kunitoshi (high praise, as this is also noted as the ultimate work by this smith), and this was important in determining this sword to be part of the work span of Niji Kunitoshi rather than Rai Kunitoshi.

The sword is now stored in a new first class shirasaya with Tanobe sensei sayagaki, who remarks upon its excellence and noble form.

Overall, it represents a wonderful and highly collectable package.

 

Juyo Token

Appointed on October 30, 1997 – Session 43

Katana, Mumei, Den Niji Kunitoshi, 1 kuchi, Yasuhiro Ueda, Kanagawa

 

Keijo (form)

Shinogi tsukuri, iori mune, normal mihaba, with some difference in the width of motosaki, deep sori, naka kissaki.

Hamon

Suguha-cho at its base, mixed with ko-choji, ko-gunome and ko-midare gokoro hamajiri. Yaki is one level lower somewhere in the upper middle. Overall, it has well displayed ashi and yo, konie, fine sunagashi and kinsuji.

Kitae

Itame, nagare here and there, well displayed jinie.

Boshi

Straight with komaru gokoro, active hakikake making a nie-kuzure tone.

Nakago

O-suriage, saki kurijiri, yasurimegiri, 3 mekugiana holes, one of them is filled, mumei.

Setsumei

Kunitoshi is said to be a child of Rai Kuniyuki. There are two [smiths named] Kunitoshi. One is so called Niji Kunitoshi without Rai and the other is Rai Kunitoshi with three characters (Sanji).

Niji Kunitoshi and Rai Kunitoshi can be the same person considering the years those existing swords were made. However there is quite a difference in the two styles. Some say they are the same person while others say they are different, but there is no unified theory yet. In general Niji Kunitoshi has wide mihaba, bold ikubi kissaki, fancy choji midare that reminds one of Fukuoka Ichimonji, and well displayed konie.

This o-suriage mumei sword is said to be created by Niji Kunitoshi. The sword shows an old style and is quieter than typical swords made by him. However, there are common characteristics that are found in the greatest sword by Niji Kunitoshi, the Juyo Bijutsuhin heirloom of the Tachibana Family. It is affirmed then that this sword, which shows distinctive taste overall, is one of his works.

Michihiro Tanobe Sensei Sayagaki

 

1. 重要刀剣指定品
   Juyo Token Shitei Hin
   Important Sword Designated Article
2. 山城國二字國俊
   Yamashiro no Kuni Niji Kunitoshi
3. 但大磨上無銘也時代鎌倉中期
   Tadashi o-suriage mumei nari jidai Kamakura chu ji
   Although shortened and unsigned the era is the middle Kamakura period.
4. 同工極ノ優品而
   Doukou kiwami no yuhin shikashite
   This is an excellent example authenticated to Niji Kunitoshi.
5. 同作中穏雅ナル
   Dousaku naka onga miya naru
   This work is among those by this smith that are calm and elegant
6. 作域ヲ示シ格調頗高
   sakuiki wo shime shi kakuchou takaku sourou.
   and show extremely high nobility.
7. 珍々重々
   Chin chin, cho cho
   It is held in great esteem.
8. 刃長貳尺ニ寸九分五厘有之
   Hacho futatsu shaku ni sun ku bu go(?) ari kore
   The cutting edge length is 2 shaku 2 sun 9 bu and some (69.8cm)
9. 平成拾五癸未暦極月下浣佳日
   Heisei …
   December 2003
10. 探山観并誌　（花押）
    Tanzan Shirusu (kao)
    Tanzan appraised and ascribed (seal).

 

Honnami Ringa Sensei Sayagaki

The retired shirasaya bears a sayagaki by Honnami Ringa, made in the Meiji period.

 

1. 大磨上
   O-suriage
   Greatly shortened
2. 伝来國利
   Den Rai Kunitoshi
3. 肥後上田家伝来
   Higo Ueda ke denrai
   An heirloom of the Higo Ueda family.
4. 本阿弥琳雅先生添書有
   Honnami Ringa sensei soegaki ari
   Honnami Ringa sensei wrote this.