NIHONTO.COM:ABOUT SWORDS

The Rai School together with the Awataguchi School is representative of the Yamashiro Den of sword making. The Rai School was active from the latter mid-Kamakura period through the Nanbokucho period. This school was known as the Rai School because the smiths preceded their signatures with the character "Rai".

Rai Kunimitsu was the son of Rai Kunitoshi. His given name was Jirobei. Rai Kunimitsu's workmanship shows a few characteristics of what would become known as the Soshu tradition of sword making. After Kunimitsu, the Soshu tradition is more clearly recognizable in the workmanship of the Rai School, particularly in the works of Rai Kunitsugu.

Rai Kunimitsu produced works in many different styles in terms of shapes and types of Hamon. His Tachi and Tanto took various forms, long, short, wide, and narrow. The dominance of Nie is more outstanding in his Tanto rather than in his Tachi, and his short swords sometime resemble the work of Rai Kunitsugu indicating the beginnings of the influence of what was to become the Soshu Den.

His production period started around the end of the Kamakura period and lasted into the Nanbokucho period. The oldest dated example of Rai Kunimitsu's work was made in the first year of Kareki Era (1326). This does not mean that this is his oldest sword, just that it is the oldest dated example found to date. Other examples are dated in the Gentoku Era (ca 1329). This is the transitional time between the end of the Kamakura Era and the beginning of the Nanbokucho Era. His latest dated example bears the date of Kano 2 (1351).

Many excellent examples of Rai Kunimitsu's work survive. He has one Tachi, and one Tanto that are designated as National Treasures. He has nine Tachi, five Tanto, one Wakizashi, and four mumei Katana that are designated Juyo Bunkai Katana, and six Tanto that are Juyo Bijitsuhin. All in all, this is a very impressive legacy to this great smith.

TACHI SUGATA:Mid Kamakura: Torii Sori. The width will be a little narrow, but it will have Hira-niku. The Kasane is thick and the Kissaki is made small and short.

Late Kamakura: The Sori will be shallow. Hira-niku will be lacking and the Kissaki will be long.

Nanbokucho: Torii Sori with shallow Sori. There will be Hira-niku and the Kissaki will be long.

TANTO SUGATA: There are many variations. Generally, they will be Hira-Zukuri. Sori will vary from Takenokozori to Sakizori. Earlier Tanto will be short in the Kamakura style and later Tanto will be Sunnobi. Tanto will be Mitsumune. He also made a few tanto in the Shobu-zukuri and Unokubi-zukuri styles.

JITETSU: The steel will be very well worked with the grain in a Ko-itame Hada with O-hada showing in places. Nie Utsuri can often be found in his works. Sometimes there will be steel, which will appear to be "over-worked" and there wil Rai Jitetsu is the term given to coarseness in the Hada, which appears as looseness in the laminations.

HAMON: The Hamon will be done in Nie Deki or if it is in Nioi Deki, it will have profuse Nie. Nie will be so profuse on occasion so as to produce a Kuichigai-Nijuba effect. Kinsuji, Yubashiri, Sunagashi, Ashi, etc. will be present. While a Chu-suguba is most common, Gunome, Notare, Ko-choji, or combinations of these will also appear in some examples.

BOSHI: Most are made in the Komaru shape with a deep Kaeri following the line of the Komaru. Yakizume and Hakikake will be seen on occasion.

HORIMONO: Generally Bo-hi (on long swords) and Futatsuji-hi (on Tanto). Suken and Bonji can also be found.

NAKAGO: The Nakago of some Tanto will be made in the Tango Bara style whereas others will be done in Furisode. Also Tachi Nakago will be made long with the tip rounded or made broad.

MEI: The signature, RAI KUNIMITSU, will be made in three characters around the Mekugi-ana. Tachi Mei will tend to be small while Tanto Mei tend to be large and almost clumsy in nature.

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