Blade construction: Hira
-style Tanto, Iori
in low and less swelling in Fukura
is moderately longer than usual in proportion to the Mihaba
and almost no curvature which is assumed that this geometry so called Ouei-Bizen
in early Muromachi due to new preferences in swordsmanship as supplement usage for a long Tachi
for higher resolution image of the entire blade)
Forging(Hada): Forging is fine Mokume
burl mixing with Itame
. The surface shows moistened beauty of jet-black luster of Chikei
against fine sparkling mottled Utsuri
reflection in full of an archaic beauty with a sense of antique and elegant.
forms with uniform Ko
hard metal granules base, Suguaha
with slight undulating indication of Notare
with slight sign of slanted feet and knots of Fushi
. Boundary line glows softly with brilliant fine Ko
and the interior is filled with dense mist of Nioi
Temper of tip(Boshi): Temper of Boshi
is sharpened-up in Togari
then turns back shortly in good manner.
is in UBU
original that is shorter side in proportion to the length of cutting edge. Kurijiri
(double-bevelled) heel shape. One peg hole.Katte
(slanting left) filemarks. Back ridge of Nakago
is flat with Katte
mark. The signature in Omote
starts with place of work Bishu-Osafune 備州長船 then smith name TSUGUMITSU 次光. The other side is inscribed with the date of year In the 8th month, Shouchō 2nd (1429) 正長二年八月日.
The founder of TSUGUMITSU 次光 in Osafune appeared on after second half of Ouei era starting from 1415 down to Shouchō 2nd (1429). TSUGUMITSU 次光 reportedly is a son of SHIGEHISA 重久, grand son of HIDEMITSU 秀光. The subject YUKIHISA 行久 belongs to Ouei Bizen
An Ouei Bizen
應永備前 is the alias that many of the swordsmith in Bizen Osafune during Ouei era (1394-1427) marked the Imperial era name Ouei 應永 date of year.
After the Northern and Southern Dynasties 60 years disturbance period, Samurai dandysm lost in power and the restoration of ancient works came into fashion.
We observe that wide Mihaba
of the previous period gradually disappears under peace and quiet of daily life in early Muromachi period.Hira
style Tanto became longer than usual and hamon
forms gentle, antique and elegant in accordance with reactionism at the time.
The subject classical tanto is the sublime work by the 1st generation TSUGUMITSU 次光 in Osafune. Nakago holds splendid taste of patina that remains impressively clear chisel of inscriptions with the date of year.
This prominent tanto is admired for the entire original shape and also an excellent quality of the legitimate Bizen Osafune technique nearly the passage of 600 years ago.
Double layers gold foiled Habaki
collar, preserved in a Shira
plain wood mounting.
Fresh polish/Condition scale: excellent - very good (using a scale of mint-excellent-very good-good-fair-poor)reference data : Honma Kunzan/Ishii Masakuni, Nihonto Meikan, Yuzankaku, 1975