Ray Singer

Noshu Seki ju Kojima Katsumasa saku. https://www.google.com/search?q="katsumasa"+site%3Amilitaria.co.za%2Fnmb&sca_esv=466299774e926d41&rlz=1C1ONGR_enUS1136US1136&sxsrf=AE3TifMzTHJWEbwPPAiDq7onW05EExDk_Q%3A1761223903873&ei=3yT6aIuENeuFwbkPmPPyuQo&ved=0ahUKEwjL76OprrqQAxXrQjABHZi5PKcQ4dUDCBE&uact=5&oq="katsumasa"+site%3Amilitaria.co.za%2Fnmb&gs_lp=Egxnd3Mtd2l6LXNlcnAiJCJrYXRzdW1hc2EiIHNpdGU6bWlsaXRhcmlhLmNvLnphL25tYkjosQFQxW1YlK8BcAJ4AJABAJgBPKABxAOqAQE4uAEDyAEA-AEC-AEBmAIAoAIAmAMAiAYBkgcAoAfoArIHALgHAMIHAMgHAA&sclient=gws-wiz-serp

Musashi Daijo is a formal title. Korekazu is the name of the swordsmith himself. https://markussesko.com/2013/02/19/how-honorary-titles-were-conferred/

Musashi Daijo Korekazu - 武蔵大掾是一 https://nihontoclub.com/smiths/KOR17

Okada Kanesada saku https://www.google.com/search?q=Okada+Kanesada+site%3Awww.militaria.co.za&oq=Okada+Kanesada+site%3Awww.militaria.co.za+&gs_lcrp=EgZjaHJvbWUyBggAEEUYOTIHCAEQIRiPAjIHCAIQIRiPAjIHCAMQIRiPAtIBCTEwMTI0ajBqN6gCFLACAfEFhppvZqzPTbLxBYaab2asz02y&client=ms-android-google&sourceid=chrome-mobile&ie=UTF-8

I believe it is Nakajima Masayasu

Please see below for another example.

It can go both ways. Sometimes a nakago-jiri might be slightly truncated and the hamachi/munemachi left in the same position. In other cases, the nakago-jiri might be untouched leaving a longer (sometimes exceedingly long) nakago. I believe there was an early Rai tachi in the Compton collection that had an ubu nakago-jiri and a raised machi that left the nakago with an exaggerated length. All things considered, I believe that machi-okuri is less impactful to shinsa outcomes than modifications to the nakago-jiri, but these things becomes less-and-less important the older the sword is (ie. o-suriage is acceptable for a Nanbokucho blade that is otherwise a juyo candidate, and even moreso for Kamakura-jidai, etc).

Sebuh, What immediately comes to mind is that the Osaka Gassan smiths purportedly created their signature ayasugi-hada by drilling a linear series of indentations into the steel, which were then hammered flat. This treatment strikes me as what a sunobe might look like before it was hammered down (midway through the process of creating ayasugi-hada). That at least is my speculation. Best regards, Ray

With Jussi's juyo oshigata as a reference, I think this shows that it would be impossible for current nakago-jiri to be original. As said above, the current nakago-jiri would be uncharacteristic and the nakago itself too short to be functional.

The later a sword is, the more that condition is strictly considered. There isn't an absolute rule about shinto and later blades being ubu. For example, suriage Nankai Shigekuni have passed juyo. However, suriage is a disadvantage for Muromachi period works.

My impression from the oshigata is that the lower mekugi-ana below the mei (now plugged) is the ubu-ana (the original mekugi-ana). If so, the upper mekugi-ana would have been added when the nakago was modified and shortened from the nakago-jiri end. This does appear to be suriage to my eyes.

Can you confirm which Kanenobu this is attributed to? There are a few, including: Naoe Shizu Kanenobu, Shigaseki Kanenobu and Seki/Mino Kanenobu. You may find it challenging to pass Juyo for a suriage machiokuri blade if it is Muromachi jidai.

Mei: Chikuzen (no) kami Nobuhide Date: Keio gannen hachi gatsu hi (a day in the 8th month of the year 1865) Nobuhide was an extremely famous swordsmith and student of Kiyomaro. Unfortunately the inscription on your sword does not appear to be authentic but you can research further and see authenticated examples online. https://nihontoclub.com/smiths/NOB174

武蔵大掾是一 = Musashi Daijō Korekazu https://nihontoclub.com/view/smiths/meisearch?type=All&mei_op=contains&mei=武蔵大掾是一

武蔵大掾是一 = Musashi Daijō Korekazu https://nihontoclub.com/view/smiths/meisearch?type=All&mei_op=contains&mei=武蔵大掾是一

The swordsmith name is Kaneyoshi. He is the individual who made the sword. There are no other names, just Kaneyoshi and the date I shared above.

ChatGPT and other AI tools are not the best solution for translating Japanese sword inscriptions. Please see below. 播磨大掾藤原清光 - Harima Daijō fujiwara Kiyomitsu https://nihontoclub.com/view/smiths/meisearch?type=All&mei_op=contains&mei=播磨大掾藤原清光

The Ko-Gassan was sold. Best regards, Ray

Signed Kaneyoshi and dated a day in May, 1944. It appears to be authentic.

Here is one that was shared here recently. Separately, I recently accepted ubu signed Kongobyoe wakizashi and tanto on consignment. Best regards, Ray

You see the elongated mei format from the Hizen smiths, both from the original Tadayoshi school and in the later Hizen (no) kuni gendai group.

Wakizashi Attributed to Sōshū Masahiro, Ōei Era (NBTHK Hozon) Price: $4,500 + shipping This mumei wakizashi has been attributed by the NBTHK to Sōshū Masahiro and is accompanied by a current NBTHK Hozon kanteisho. The blade is from the Ōei period, a time during which the activity of the second and third generations of Masahiro overlapped. While both generations produced work under the same name, the characteristics of this blade align more closely with the nidai. The presence of a vibrant hitatsura with bright nie, ara-nie, tobiyaki, and muneyaki, along with an active jihada, suggests the hand of the second generation more so than the sandai, whose work tends to exhibit a quieter and less nie-laden surface. The blade measures 1 shaku 5 sun 8 bu and is in an older but intact polish, with a few minor stains. The hitatsura is highly expressive, featuring rich nie activity across the ha and ji. Ara-nie forms strong kinsuji and sunagashi in areas, with tobiyaki scattered across the monouchi and muneyaki continuing along the back. The boshi is deeply tempered with nie-kuzure. The jihada is itame with some small ware, and the blade shows possible evidence of historical use, including several kirikomi along the monouchi. The sugata is elegant and in the style of a kodachi. The form of the habaki suggests it was once fitted in a koshirae in the efu-tachi style. Masahiro is considered a direct descendant of Hiromitsu, who in turn transmitted the most technically advanced aspects of the Sōshū tradition after Masamune. Hiromitsu is credited with the perfection of hitatsura. Masahiro’s early work clearly reflects the techniques and aesthetic principles developed under Hiromitsu’s hand. An example of shodai Soshu Masahiro is listed below. https://nihonart.com/portfolio/shodai-soshu-masahiro-ko-wakizashi/ The nidai Masahiro worked through the Meitoku and into the early Ōei period. He is distinguished from the sandai by his liberal use of nie and a more active chōji-midare and gunome-midare structure. In contrast, the sandai’s blades are quieter, occasionally verging toward suguha-based interpretations with reduced nie. This blade, with its dynamic hataraki and exuberant use of nie-deki, is more consistent with the nidai’s approach. The overall construction and shaping of the nakago also supports an earlier attribution within the lineage. MASAHIRO (正広), 1st gen., Jōji (貞治, 1362-1368), Sagami – “Sōshū-jū Masahiro” (相州住正広), “Masahiro” (正広), “Sōshū-jū Masahiro saku” (相州住正広作), first name Kurōjirō (九郎二郎), student of the 1st gen. Sōshū Hiromitsu (広光), he worked in the style of his master whereas his hamon is somewhat smaller dimensioned as that of Hiromitsu, he also adds some togari elements, there are tachi, ko-wakizashi and tantō extant, chūjō-saku MASAHIRO (正広), 2nd gen., Meitoku (明徳, 1390-1394), Sagami – “Sōshū-jū Masahiro” (相州住正広), “Masahiro” (正広), suguha-chō mixed with slightly undulating notare, gunome, ashi, yō, sunagashi and small tobiyaki in nie-deki, higher gunome elements towards the bōshi area can be connected to the kaeri and muneyaki MASAHIRO (正広), 3rd gen., Ōei (応永, 1394-1428), Sagami – “Sagami no Kuni-jūnin Masahiro” (相模国住人 正広), “Sōshū-jū Masahiro” (相州住正広),, “Sōshū-jūnin Masahiro” (相州住人正広), only few blades are extant by him, the jiba is no longer noticeably nie-laden with his generation

I am sorry for the bad news Joris, but this one is not authentic. Please see below. https://www.jssus.org/nkp/fake_japanese_swords.html

I did not see that later Muromachi Ko-Gassan Munetsugu documented elsewhere but I will research further.

Offering an ubu Muromachi period katana in koshirae with current NTHK kanteisho to the Dewa Ko-Gassan swordsmith Munetsugu. The jihada is a beautiful ayasugi-hada, typical of what you would see from the Ko-Gassan school. The blade has a suguha-based hamon activities which flow with the jihada. The blade is in late Edo period buke-zukuri koshirae, with shakudo fuchigashira and menuki, and an Edo period iron tsuba. The saya does need repairs (a replacement kojiri and to be reglued). While the NTHK kanteisho noted the blade as being Tensho (late Muromachi), the only Ko-Gassan Munetsugu I see documented is from the early Muromachi period, circa Oei. His bio is below, courtesy of Markus Sesko. SOLD + shipping MUNETSUGU (宗次), Ōei (応永, 1394-1428), Dewa – “Gassan Munetsugu” (月山宗次), Gassan school