Ordering number: 22337
Katana: In Shirasaya with Koshirae (NBTHK Tokubetsu Hozon Token)
Inscription: Oite Naniwa Chounsai Tsunatoshi Tsukuru Kore
於浪華長雲斎綱俊造之
Kaei 2 Nen 8 Gatsu Kichijitsu (August 1849)
嘉永二年八月吉日
New New Sword: Superior Work: Musashi
In our company, we categorize swords as “Superior Works,” “Excellent Works,” “High-Quality Works,” and “Standard Works” based on the skill of the swordsmith. This work is classified as a “Superior Work.”
Polished.
Habaki: Single-layered gold-plated habaki.
Blade length: 2 shaku 2 sun 5 bu (68.2 cm, 26.85 inches).
Curvature: 4 bu 5 rin (1.364 cm, 0.537 inches).
Peg hole: 1.
Width at Hamachi: 2.90 cm (1.14 inches).
Width at the tip: 2.04 cm (0.80 inches).
Thickness: 0.7 cm (0.276 inches).
Sword weight: 660 grams.
Era: Kaei 2nd year of the Edo period.(August 1849)
Shape: The sword has a well-defined width and slightly thick thickness, a healthy work with an elongated kissaki and prominent initial edge, displaying good meatogi (body lines) and overall healthiness.
Jigane: The koitamehada (small wood grain) is well-compressed, resulting in a beautiful jigane.
Hamon: The work is made in the style of early Muromachi period Bizen school, with a soft and graceful midare hamon pattern featuring fine sunagashi (line-like patterns resembling flowing sand) and active gunome (wave-like patterns) that continue from the ha (blade edge) to the habuchi (temper line). At first glance, it resembles the work of Kozan Munechika, but it may be an imitation of Morimitsu and Yasumitsu.
Characteristics: This work is a wakizashi made by the first generation Chōunsai Tsunatoshi. Tsunatoshi was the third son of Izumi no Kami Kunihide and a skilled Tōranba blade craftsman who was the younger brother of Kato Tsunehide. He was born in 1798. He worked as a swordsmith in Honkoku and served as an oku-gō (retained artisan) for the Uesugi family of the Yonezawa domain. He used the names “Kato Hachirō” and “Koretsugu.” He studied under Mizushinko Masahide and adopted the name Chōunsai. He moved to Edo and later went up to Osaka, where he studied under Suzuki Harukuni. He traveled through the western provinces and stayed in Kumamoto. In 1856, at the age of 66, he handed down the name Chōunsai to his son, Koretsugu, and changed his signature to Chōjusai. From around 1823, he resided in the Uesugi family residence in Azabu, Edo, and passed away at the age of 66 in the third year of the Bunkyu era (1863). He had excellent disciples such as Nanaedaishi Korekazu and produced talented swordsmiths like Kozan Munezumi, Takahashi Nagatoshi, and Seiryūken Moritoshi, establishing a major school in Edo during the late Edo period. It is said that he had an overwhelming presence in the Bizen tradition that surpassed the Mizushinko school.
Mountings:
Tsuba: A gourd-shaped iron tsuba with a gold pattern.
Fuchikashira: A gold-painted plant pattern on an iron ground.
Scabbard: A scattering pattern of blue clamshell.
Menuki: A design depicting a carp, painted in gold.
A word from Aoi Art: “Oroka Naniwa Chōunsai Tsunatoshi Saku Kono” is an extremely rare work made in Naniwa, likely produced as a special order during a trip to Osaka. It is believed that during his time of residence in Edo, followed by his stay in Osaka and study under Suzuki Harukuni, he created this refined work in the Bizen tradition. With a prominent initial edge and a graceful sori (curvature), this is a highly recommended piece.
Historical background: The Kaei 2nd year was a period during the Edo era when the culture of swordmaking flourished, and Bizen tradition works were produced.
NBTHK Tokubetsu Hozon Token paper.
Aoi Art estimation paper: whole oshigata by Ayaka Tsuruta.
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