Lewis B

Kuniyasu aka Daishinbo is also in the mix although the texts put his active years in a later period. He is also said to have used Kunimitsu, but is thought to have primarily been a carver of horimono which might account for the lack of extant work, as well as his decision to follow a different path away from the family business. KUNIYASU (国泰), Gen´ō (元応, 1319-1321), Sagami – “Kuniyasu” (国泰), according to tradition the third son of Shintōgo Kunimitsu (新藤五国光), it is said that he signed with Kunimitsu (国光) too, first name Tōsaburō (藤三郎), a theory says that he was the same smith as Daishinbō (大進坊) – see also “DAISHINBŌ (大進坊), Shōwa (正和, 1312-1317), Sagami” DAISHINBŌ (大進坊), Shōwa (正和, 1312-1317), Sagami – “Daishinbō” (大進坊), “Daishinbō-hōshi Yūkei” (大進坊法師祐慶). This smith and masterly horimono carver is listed in old sword documents as son of Shintōgo Kunimitsu (新藤五国光) and it is also said that Yūkei (祐慶) was the Buddhist priest name of Kunimitsu´s third son Kuniyasu (国泰). Anyway, Daishinbō Yūkei followed a religious path and went from Kamakura over the Sōtō-jinja (走湯神社) and some years as yamabushi mountain ascet at Mt. Haguro (羽黒) in Dewa province finally to Nikkō (日光) where he worked as a priest of the Futarasan-jinja (二荒山神社). The Sōtō-jinja belongs to a temple complex of the Izusan-jinja (伊豆山神社) which is located in the present-day city of Atami (熱海) in Shizuoka Prefecture. Geographical studies on Sagami province titled Shinpen Sagami no Kuni Fudoki Kō (新編相模国風土記稿) from the twelfth year of Tenpō (天保, 1841) mention a signature of Daishinbō that bears the supplement “Sōtō-Daigongen” (走湯大権現), an area at the foot of the mountain where the Sōtō-jinja and Izusan-jinja are located. However, most known signatures of this smith are dubious and it is said that he primarily focused on cutting horimono onto blades of Yukimitsu and Masamune.

Regarding Norishige's stylistic variations, it's clear there were many changes over his long career. The tilt of the 'shige' character is quite consistent especially on tanto, often following the curvature of the nakago (most noticeable on the far right image). The rather simplistic, hesitant carving would make sense if the chisel was held by young, illiterate individual. Masamune and Yukimitsu's calligraphic style is noticeably different, and from what I've read Masamune didn't actually work directly with Shintogo Kunimitsu, instead working along side in a separate space. Quite a reasonable thought if Masamune was Yukimitsu's actual or adoptive son. Stylistically he is quite far removed to assume a direct connection as Master/Student, unlike Kunihiro and the younger Norishige.

Thanks @Hoshi. Very interesting data point. I'm curious about the 1308 tanto though as its mentioned in several places as being the earliest dated piece with Norishige Mei. Could they have been perpetuating a common piece of misinformation. The date on the above example is not 1308, and I accept your translation to 1310. The dates certainly align with Norishige striking out after an apprenticeship with Shintogo Kunimitsu and starting his own workshop back in Etchu and Kunihiro remaining to inherit the forge. Is it possible there is another dated tanto in the Kozan Oshigata for 1308? For the 1310 example is the full or partial oshigata of the blade available? Its really nice to see the date script is not in a cursive style, unlike the 1306 Shintogo blade, as this possibly confirms other hands were working in the atelier in the latter part of the first decade of the 14th century. It has already been suggested the 1306 tanto is daimei Yukimitsu due to the stylistic differences for 'mitsu'. He was a lot older than either Norishige or Kunihiro and I wonder if that experience might make the application of cursive script more likely due to an elevated level of confidence that comes with age. Bit like a youngster graduating from block to joined up lettering.

That is a gorgeous blade. I can understand the appeal. The hataraki and activity in the hada, the way it moves through the hamon, is beautiful. Nice controlled kinsuji and nie throughout. Looks to be a Nanbokucho era blade. Could it be Chogi?

According to Fred Weissberg there is an image in the book that shows an oshigata for a Norishige blade dated 1308. This is historically the earliest example of a signed and dated blade by Norishige. If you can PM me a photo of the page it would be a great help. TIA.

Isn't that just formations of nioi?

How many of those are ubu?

I also saw this amazing blade in May. One of the standout pieces in a collection of superlative swords. I was truly honoured to have the chance to see this masterpiece in person. With a nagasa of 80.4, excellent deki and ubu all means this is a very important example of ko-Hoki workmanship by one of the periods pre-eminent smiths.

What is it about that sword that appeals to you?

This one was sold.

Thanks for the detailed images of the Kunihiro. He is renowned for not straying too far from his fathers style. This one clearly shows that connection. Did you get the nagasa?

I'm pretty sure the Kunihiro is the blade below with the kinzogan Mei. Can't quite make out the Mei on the upper tanto but its not Kunihiro

Probably not, but I'd be very curious what sum might purchase the Kunihiro

Thanks for the clarification and image of the preferred TH level papers. I'm curious where you get a precise date of 1688? Was it polished in USA or Japan?

What level NBTHK papers? Would be good to show a photo of the nakago.

Is there rust on the Go, along the mune and on the kissaki?

First time I've seen the burnishing process of the shinogi-ji using a hard steel rod. Now the polishing lines at the machi make total sense. Kudos to Akita san for demonstrating his technical approach of the different steps and in closeup detail.

You forgot to mention the Ichimonji Yoshifusa and Bizen Nagashige, both TokuJu. Very impressive display. Did the owner allow you to observe in hand? Those 3 blades alone would have encouraged me to attend the show. Not to mention the Shintogo Kunihiro. Any photos of the Takagi Sadamune tanto? The Show is shaping up to be a wonderful opportunity to observe some world class swords up close. I'm quite jelly.

Don't think I would have the patience.

Bit late now but this show would have been the ideal introduction to nihonto from all eras. Don't under estimate these shows which are held regularly in SF, Chicago and Florida. Attending the DTI as a neophyte might be quite overwhelming. Sometimes these US shows also have Shinsa sessions. NTHK I believe with an appraisal certificate at the end of the process. https://www.ncjsc.org/events/san-francisco-to-ken-taikai

If you can extend your trip into first week of November you will be in Japan for the annual DTI expo held in the center of Tokyo. Probably your best opportunity to immerse yourself in everything Nihonto and possibly find your dream sword. Buying from a reputable dealer will ensure a smooth transaction. Just remember it takes up to 6 weeks to get the export permit so the sword would have to be shipped and of course, you'll have to consider the inevitable tariffs that are in effect. To answer your question. Bottomline there is no fast track. Knowledge comes from long study, both books, discussion and most importantly having the swords in hand. The point regarding carefully selecting a dealer is probably your best bet. I would focus time deciding on the era, school, blade type (tachi, katana, wakazashi or tanto) that appeals to you personally, and of course, budget. Your purchase should come with modern NBTHK papers.

I thought it was the inside of the forearm but after checking the listing seller says it was the calf. Who handles their blades in bed. Just asking for trouble. tbh he probably got away lightly. Could have got the Bobbit treatment. Not a Muramasa is it?

This is true in Japan too. Rubbing the dealer/seller(consignment piece) the wrong way doubled what I eventually paid using a local buyer to mediate the purchase. So yes, sending someone else a few months later can pay dividends.

It's seen many polishes, hamon runs off the edge in places and the omote is less impressive than the ura side. The deki is still impressive despite the polishes. Quality papered koshirae and recent TH papers for Yamato Shizu with very early (#17!) 1951 registration number are all plusses. However the blade and koshirae were papered a few decades apart and probably a recent marriage (typical AOI tactic). If the sword speaks to you and you can overlook the deficiencies, it's a fair price.

The offset hamachi (whats left of it) is odd.