Bishū Osafune Sukesada Katana
備州長船祐定 刀
Item TKC004

  • Period：Koto - Late Muromachi - Tensho Era (1584)

  • Designation: Hozon

  • Mei (Signature): Bishu Osafune Sukesada
    備州長船祐定
    A day in August, Tenshō 12 (1584)
    天正十二年八月日

  • Nakago - 17.3cm

  • Mekugiana - 1

  • Nagasa - 71.7cm

  • Sori - 2.2cm

  • Motohaba - 3.1cm

  • Sakihaba - 2.1cm

  • Kissaki - 3.5cm

  • Motokasane: 0.8cm

¥ 890,000

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Tensho Era - Bishū Osafune Sukesada Muromachi Period Katana

Bishū Osafune Sukesada is one of the most important and prolific swordsmith lineages of the late Muromachi period. Active primarily during the 15th and 16th centuries, the Sukesada school formed the backbone of the Osafune tradition in Bizen Province, an area long regarded as one of Japan’s premier sword-producing regions.

“Bishū” refers to the wider historical region encompassing Bizen, Bitchū, and Bingo (modern-day Okayama and parts of Hiroshima Prefecture). Among these, Osafune in Bizen Province emerged as the central hub of sword production, with the Osafune school becoming the head branch of the Bizen tradition. Sukesada smiths were a dominant force within this lineage and remained highly active through the turbulent Sengoku period.

Swords produced in Bizen during the final decades of the Muromachi period are commonly referred to as Sue-Bizen (“late Bizen”). During this era, Japan experienced constant warfare, and demand for functional, reliable weapons was exceptionally high. The Sukesada name was used by numerous smiths across multiple generations. It is estimated that around sixty swordsmiths signed “Sukesada”, effectively functioning as a respected and recognizable brand among samurai.

The prominence of the Sukesada school was supported not only by lineage and skill, but also by geography. Bizen’s proximity to the Chūgoku Mountains provided access to high-quality iron sand, while nearby rivers such as the Yoshii River supplied abundant water and charcoal, essential for sword forging. These natural advantages allowed Bizen smiths to maintain large-scale production while preserving consistent quality.

The blade is forged in shinogi-zukuri with an iori-mune. Its dimensions are noticeably larger than what is normally encountered for this school and era, yet the overall form remains consistent with Azuchi–Momoyama period workmanship. The sword displays a pronounced saki-sori, reflecting an emphasis on combat on foot, while its broader profile represents a transitional shape. This form sits between the powerful, expansive blades of the Nanbokuchō period and the slimmer, more refined tachi associated with the Heian and Kamakura periods.

The jigane is a tightly forged itame-hada with flowing areas of mokume along the ji, enriched by abundant ji-nie that give the steel a bright, lively appearance. Patches of yubashiri appear throughout the ji, while the shinogi-ji shows a mix of itame and masame, accompanied by a soft shirake-utsuri running just below the shinogi.

The hamon is bold and highly animated, featuring a flamboyant kawazuko-choji forming koshi-hiraita midare, with intermittent gunome, executed in strong nie-deki. The nioi-guchi is filled with activity, including dense ashi, yo, kinsuji, and flowing sunagashi, before continuing into the kissaki and finishing in a midare-komi boshi.