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Hamon : Ko-nie deki chu-suguha. There are nijuba and uchinoke. The nioi guchi is vibrant and bright.
Boshi : : Ko-maru with a short return.
Kitae : Mokume mixed with masame. The hada is dark, showing the triat of Echizen jigane. There is ji-nie, chikei and the jigane pattern is very clear.
About this sword : A fine mumei shinto katana attributed to Yamashiro no Kami Kunikiyo by Fujishiro. The shodai Kunikiyo was most active in the Kanei period (1624-1644). He was a famous student of Horikawa Kuinihiro. Some authors have stated that he may have also spent some time studying with Horikawa Kunitomo. After the death of Kunihiro he was hired by Matsudaira Tadamasa. He received the title of Yamashiro no Kami in 1627 and was also granted permission to carve the imperial 16 petal chrysanthemum in his nakago at that time. He passed away in 1649 at the age of 60.
This katana was represented and sold by Mr. Cary Condell 22 years ago. Mr. Condell was a student of John Yumoto and became a premier dealer of high-end swords and fittings. Mr. Condell’s write up of this Kunikiyo and its Koshirae is included with this Kunikiyo and it and reads as follows:
Kan'ei Period (1624-1644)
A splendidly mounted, ubu mumei, early Shinto katana, attributed to the Jo-Saku swordmaker: Yamashiro no Kami Kunikiyo, ca. Kan'ei Period (1624-1644). Kunikiyo was born in Shinsu (Shinano province). His linage derives from the Shimada kei of Suruga province. He perfected his art of sword making under the tutelage of the founder of the Kyo-Shinto kaji, Horikawa Kunihiro to whom scholars refer to as the father of the Shinto sword making tradition. Later Kunikiyo served Matsudaira Daimyo of Echizen province, establishing a line of swordmakers that prospered for generations. Nagasa (edge length) is 67.5 centimeters.
The freshly polished blade in shirasaya, with sayagaki (written testimony) by Kenshin, reveals finely grained homogenous itame-hada and chu-suguha yakiba that are Kunikiyo's trademark. The suguba hamon of Kunikiyo is considered by sword connoisseurs as being equal of, if not superior to, the Hizen masters (Tadahiro, Yukihiro, Mashahiro) of the early Edo period. The jigane has the darkish hue that is characteristic of Echizen hada.
The Edo period koshirae that accompanies this sword is in its original and unaltered state. Consisting of en-suite fittings, the tsuka and tsuba deserve special attention. The tsuka incorporatesa fuchigasira signed: Goshu (Omi province) Hikone ju Sohesish Soten Sei. Kitakawa Soten created a unique style, referred to as Hikone-bori which was one of the most popular and sophisticated during the Edo period. Brilliantly executed in shakado with gold and silver takabori anuumal flowers, it re-interprets the Mino-bori style for which he is justly famous. Menuki with edagiku (branched chrysanthemum) design matched perfectly. The iron nikubori ji-sukashi tsuba, depicting Chinese sages in a pine forest, is the text book example of his best work. The harmonious combination of the individual parts captures Genroku taste.
Fujishiro Matsuo kanteisho (October, 2001) Nigen Kokuho Togishi (Living National Treasure Polisher)
Authenticated by Mr. Cary Condell
Condell & Company Ltd. San Francisco, California.
An unaltered and healthy Jo Saku level katana complete with its Edo period koshirae. This katana comes with a shira-saya and a tsunagi for the koshirae. Both are high quality and have calligraphy by Kenshin. There is a storage bag for the shira-saya as well as the koshirae. Accompanied also by its Fujishiro papers and Mr. Condell’s write up.
HOLD
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