Wakizashi signed Tatara uji NAGAYUKI Settsu-koku-ni-oite kore-wo Tsukuru with)Fue-pipe Notches design scabbard Higo-style Wakizashi Koshirae

Shinto Early Edo period (Jyokyo era/circa 1684-) Settsu
Length of cutting edge 53.9cm Curvature 1.7cm Width of base 30.1mm Thickness of base 7.5mm Width of Yokote 19.8mm

NBTHK(Tokubetsu Hozon) certificate

with) Fue-pipe Notches design scabbard Higo-style Wakizashi Koshirae

Hozon certificate (Tsuba) / Hozon certificate (Kozuka)




Blade construction: Shinogi-zukuri, Iori-mune. Mihaba on base is wide and less degree of tapering from base to point holding deep curvature leading to the middle point of Chu-Kissaki. (click HERE for higher resolution image of the entire blade)
Forging(Hada): Forging is fine Ko-Itame mixing with flowing hada ware. Delicate darkish lines of Chikei appears from fine steel of Jigane where emits speckled sparkling reflection of Nie and gives off diffused reflection with mottled effect so called "Midare-Utsuri".
Temper(Hamon): Flamboyant Hamon is a bit on tighter side Noi-base, Choji of tassel boundary line, some Togari-ha or combination of large Gunome. The entire hamon is tall where Ashi and YOU appears and slight short lines of Sunagashi is perceived in the interior of temper. The entire temper is full of rich Nioi soft metal granule activities which is sophisticated bright and clear in good manner.
Temper of tip(Boshi): Temper of boshi forms Midarekomi irregular with sharpened up Togari indication small circle turns back.
Tang(Nakago): The tang is UBU original with slanting left (Katte-sagari) filemarks, one peg hole. Back ridge is flat with greatly slanting left (Ō-sujikai) filemarks. Double-bevelled Kurijiri heel shape.

Here is a masterpiece by Tatara NAGAYUKI 多々良長幸, known as the crown jewel work of Japanese artistic numerous swords in Shinto period.
Noticeable artisan Tatara NAGAYUKI 多々良長幸, born Tatara Shirobei 多々良四郎兵衛, was brought up in Kishu provicne (now in Wakayama pref.) He was a talented pupil of Kawachi-no-kami YASUNAGA 河内守康永 who belonged to Ishido school in Osaka. He won great renown as the Shinto's leading expert on Bizen-den, listed as Jo-jo-saku, Above Superior Made and also famed as Saijo-Ōwazamono, Most Supreme Sharp of cutting performance.
He ardently admired Ichimonji-work from Kamakura period of which hamon is tassel-shape Choji or works by Osafune Katsumitsu or Sukesada in Muromachi, that relatively appears undulating composite-Gunome or Togari-ha indication.
Also the valuable major points of his works is significant Midare-Utsuri reflection is perceived on super-fine Jigane like this example.
The subject wakizashi is wide in Mihaba, less tapering from base to point with relative short Nakago to Nagasa holding massive volume of Hiraniku, which was a major current in end Muromachi era and flamboyant Hamon against Midare-Utsuri reflection shows a close resemblance to the work of Jiro-sae'mon-no-jo KATSUMITSU 次郎左衛門尉勝光.
The Fue-pipe Notches design scabbard Higo-style Wakizashi Koshirae affiliated with this wakizashi consists of :
HERE for entire Koshirae and HERE for each metal fitting)
  • Fuchi/kashira:Sakura flower design Higo style, Iron ground Gold Inlay unsigned
  • Menuki: 広目天 Kōmoku-ten heavenly king design, Shakudo Yobori Iroe inlay
  • Tsuba:KIKU arabesque design Brass ground Sukisage carving Sue-mon inlay unsigned attributed to a work of UMETADA 梅忠 (NBTHK/Hozon certificate)
  • Kozuka:Leo on an incense burner design Shakudo Nanako-ji surface Takabori carving Gold Iroe inlay unsigned attributed to a work of Kyo-Kanagu-shi (NBTHK/Hozon certificate)
  • Kogatana: signed/made by MASATSUNE 政常
  • Tsuka : White rayskin brown lacquered leather lozenge wrapped
Gold wrapped single layer Habaki collar, preserved in Shirasaya plain wood mounting
Good old polish/Condition scale: mint - excellent (using a scale of mint-excellent-very good-good-fair-poor)
Some slight darkish stain and aged patina appears that can be blown away by next polish