Sun'nobi-style Tanto signed Harima-no-kami TERUHIRO-saku with) Gold Pearl of Inlay scabbard Chi'sa Katana style Tanto Koshirae

Shinto early Edo period (Gen'na era/1615-) Owari/Aki
Length of cutting edge 30.9cm No curvature Width of base 27.0mm Thickness of base 7.9mm

NBTHK(Tokubetsu Hozon) certificate

with) Gold Pearl of Inlay scabbard Chi'sa Katana style Tanto Koshirae

Blade construction: Kan'muri'otoshi-zukuri, Mitsu-mune. Length of cutting edge is long and Mihaba is a bit on wider side, Kasane is thick and almost no curvature holding less degree of tapering toward the upper swelling Fukura.Shinogi-suji is high where upper area is sliced off toward the back ridge of Mune.(click HERE for higher resolution image of the entire blade)
Carving(Horimono): A carving of Koshi-hi which is chiselled through Nakago and upper groove has grown high along Shinogi-suji.
Forging(Hada): Forging is fine Itame-hada mixing with Mokume-hada and is covered with thick, sparkling hard metal granules Ji-nie on Hira-ji surface. Darkish thick Nie lines of Chikei activity gushes where shows the mixtures of non-steel elements and uneven status of carbon steel to generate classical grace - fine steel scene with significance of the beauty that closely resembles one of ancient Nanbokucho period 14th century.
Temper(Hamon): Hamon is rather on stronger side Nie hard metal granules base, undulating Notare where thick boundary line is covered with fine Nie or visible, a bit coarse crystalline area like a pearl luster impression with extreme deep Noi mist-like area. In the interior of temper, there works frequently with short lines of Nie Sunagashi areas and thick Nie feet works toward the cutting edge. Those activities of quench state are extremely vivid and bright strikingly.
Temper of tip(Boshi): Boshi forms calm Suguha, small circle turn back deeply.
Tang(Nakago): Nakago is in UBU original. Koshi-hi groove carving is chiselled through. One large Mekugi-ana punch. Ōsujikai (greatly slanting left) filemarks. Back ridge of Nakago is flat with Katte-sagari filemark. Bottom shape is single bevelled (Ha- agariKurijiri) in full. The signature is chiselled along groove starting with an official title Harima-no-kami 播磨守 then name of smith TERUHIRO-saku 輝広作.

The most famed swordsmith TERUHIRO 輝広 with a title of Higo-no-kami 肥後守 was reportedly descended from KANETSUNE 兼常 in Mino province. He lived in Inuyama castle town, Owari firstl and named himself KANETOMO 兼友/兼伴. It was fate that he became in service of the lord of Inuyama castle Ikeda Nobuteru 池田信輝 then granted the name of TERU 輝 to change his smith name TERUHIRO 輝広.
In 1595 (Bunroku 4th) , TERUHIRO 輝広 became on 福島正則 Fukushima Masanori's payroll moving to Kiyosu castle town in Owari with 200-koku stipend.
By the recommendation of Fukushima Masanori 福島正則, he started training in the summit school Umetada Myouju 埋忠明寿 to acquire the most sophisticated skill of those days at the time of Momoyama period.He successfully obtained the official title of Higo-no-kami 肥後守 in Keicho 1st (1596) then moved again to Aki Hiroshima castle town in Keicho 6th (1601) according to the last relocation of Fukushima Masanori 福島正則 in Keicho 5th (1600). He is an unprolific swordsmith reportedly said there are only 20 extant works of the swords.

The subject artisan 2nd gen. TERUHIRO 輝広 with Harima-no-kami title 播磨守 who was the most able disciple of Higo-no-kami TERUHIRO 肥後守輝広 initially named himself KANEHISA 兼久. He was held in high esteem as a son in law of founder TERUHIRO 輝広 taking over the headship of official swordsmith of Aki Hiroshima castle town. Joined to the first place school of Umetada Myouju 埋忠明寿 together with his father.
Enjoyed an official district title Harima-no-kami 播磨守 in Keicho 14th (1609) to be an exclusive swordsmith for
Fukushima Masanori 福島正則 in Hiroshima castle town. His extant works ranged from keicho 15 (1610) to Kanei 20 (1643).
The subject Tanto in Kan'muri'otoshi style has an unique shape from ancient Yamato tradition to bear the forging method from Soushu technique and created in his profound sensitivity that he enjoyed from his great master Umetada Myouju 埋忠明寿.
Nakago is also carefully worked with delicate filemarks, vigorous stroke inscription and excellent taste of patina in 400 years or more. This Tanto shows his real ability in his speciality.

with) Gold Pearl of Inlay scabbard Chi'sa Katana style Tanto Koshirae (click
HERE for entire Koshirae/HERE for each fitting)
  • Fuchi/Kahira, Kojiri, Tsuba : KIRI design Gold Nunume-style inlay, unsigned
  • Bashin : Squirrel/ KARAKUSA design, Iron ground, Gold/silver Nunome-style inlay, unsigned
  • Tsuka : White rayskin, black silk cord extraordinal KAWARI-maki style wrap
Gold foiled double layers Habaki collar, preserved in a Shirasaya plain wood mounting and comes with wooden box with Sayagaki
Fresh polish/Condition scale: excellent (using a scale of mint-excellent-very good-good-fair-poor)
reference data : Honma Kunzan/Ishii Masakuni, Nihonto Meikan, Yuzankaku, 1975