A Shikkake Katana (尻懸)

The Shikkake school, one of the five traditions of Yamato-den, was active from the late Kamakura to the early Nanbokuchô period. Based in the Shikkake area behind Tôdai-ji Temple in Nara, the school was part of a group of temple-affiliated smiths who produced robust swords primarily for temple use rather than commercial distribution. The school’s founder is traditionally said to be Norihiro (則弘), though no signed works by him are known to exist. His son Norinaga (則長) is regarded as the de facto originator of the Shikkake lineage. These smiths are identifiable not by signatures – most of their extant blades are unsigned – but by their distinctive workmanship.

This katana is an unsigned, ô-suriage blade that retains a clean, graceful silhouette suggestive of its original long length. The jihada is a glorious example of textbook shikkake-hada, combining primarily mokume-hada in the body of the sword with clear straight-lined masame-hada running through the yakiba – especially prominent in the kissaki. This dual-grain forging pattern is the defining characteristic of the school: masame in the hardened area, mokume closer to the shinogi ridge line. Vivid chikei runs throughout. The hamon is bright ko-gunome interwoven with ashi, sunagashi, kinsuji, and tobiyaki. A wide bôhi runs the length of the blade. This is classic Yamato-den workmanship of the kotô period, where the small details carry big impact. The sword was rightfully awarded a Tokubetsu Hozon certificate from the NBTHK.

The accompanying koshirae has been dated to the Meiji period (1876–1912) and centres around a gorgeous saya featuring luxurious mokume-style black and gold lacquerwork – swirling cycles that echo the jihada of the sword and suggest reincarnation, a fitting design for a blade from smiths who worked for temples. The signed tsuba by Nakai Tomonori (中井友則) is in the form of a lotus flower, executed in masterful openwork with the hitsu-ana seamlessly integrated into the leaf design. Originally adorned with extensive gold inlay, only traces remain – a quiet elegance that evokes the impermanence of all things. The fuchi is attributed to the Kusakari school (草刈) of Sendai, known for fine linear hira-zôgan inlay work: the motif combines two interlocking circles – the wachigai-mon – paired with pine needles, a symbol seen as far back as the Heian period representing the interlocking realms of wisdom and reason. The kashira features a dynamic wave design with subtle gold touches that harmonises with the lacquered saya. Powerful gold unryû (cloud dragon) menuki embody both ferocity and protection – qualities revered by samurai warriors throughout history. The tsuka is wrapped in black silk over black-lacquered samekawa, with a waxy patina developed through years of natural use by its former owner – possibly a former iaido practitioner.