Katana signed Ushu Shounai-ju Fujiwara KIYONDO Efu-ni-oitekore-wo Tsukuru In the 8 th month Ansei 4 with) Gold Pearl of Inlay TAKAMAKIE raised lacqer work TAWARA-NO-TOUTA Do away with demon-Centipede motif Koshirae

Shin-shin-to End of Edo period (Ansei 4/1857) Bushu
Length of cutting edge 75.2cm Curvature 2.0cm Width of base 31.7mm Width of Yokote 23.0mm Thickness of base 7.0mm

NBTHK(Tokubetsdu Hozon) certificate / reported in the book Buzen-no-kami Fujiwara KIYONDO 

with) Gold Pearl of Inlay TAKAMAKIE raised lacqer work TAWARA-NO-TOUTA Do away with demon-Centipede motif Koshirae

Reference only

Blade construction: Shinogi-zukuri, Iori-mune. There is well-proportioned shallow curvature. Mihaba is wide and there is less degree of tapering from base to an enlogated less swelling large Kissaki. Shinogi-ji surface is narrow in proportion to Hiraji and Shinogi-suji ridge is high where volume is shaved off toward the back ridge of Mune.(click HERE for higher resolution image of the entire blade)
Forging(Hada): Forging is fine Ko-Itame mixing with some indication of streaming ware where Hiraji is covered with thick, sparkling hard metal granules Ji-nie. Darkish thick Nie lines of Chikei activity gushes out clearly.
Temper(Hamon): Hamon is rather on stronger side Nie hard metal granules base, Gunome and tassel-shaped Choji. Boundary line of Habuchi is covered with sparkling quench crystalline area like a pearl luster impression with extreme deep Noi mist-like crystalline area. In the interior of temper, there works frequently with long Kinsen bright threadlike areas and Sunagashi long lines of Nie. Thick Nie Gunome-ashi feet frequently splashes into the cutting edge. Those activities of quench state are extremely vivid and bright standing out strikingly.
Temper of tip(Boshi): Boshi forms pronounced Midarekomi irregular quench state with an indication of Hakikake blush up and small circle turns back deeply.
Tang(Nakago): Nakago is in UBU original. Two Mekugi-ana punches (one is filled). Sujikai (slanting left) filemarks. Back ridge of Nakago is a bit well-rounded contour with Sujikai filemark. Bottom shape is double bevelled Kurijiri in full. The signature in front starts from his birthplace Ushu Shounai-ju 羽州荘内住, smith name Fujiwara KIYONDO 藤原清人 then workplace Efu-ni-oite kore-wo Tsukuru 於江府造之. The other side is chiselled with the date of year In the 8 th month Ansei 4 安政四年八月日 (1857).

Saito KIYONDO 斎藤清人 was born in Bunsei 10 (1827), childhood name Saito Ko'ichiro 斉藤小市郎 at
Taki-no-ya Inn with hot springs (now Yuatsumi, Tsuruoka city, Yamagata pref.). A little short while he was adopted to his uncle Koto Kin'ju-ro 事金十郎 of Asahiya Inn in the same spa town Yuatsumi.

He learned sword making from his foster-father Koto Kin'ju-ro and went up to capital Edo in Kaei 5 (1852) to take further lessons in earnest to be a pupil of famed smith KIYOMARO 清麿 who won the highest praise as Yotsuya MASAMUNE 四ッ谷正宗 when he was 26 years old. He had a good personality of honesty in good faith and enjoyed his master's confidence in his skill and fostered mutual trust.

However master MIYOMARO 清麿 met a sudden death being heavily in debt Kaei 7 (1854). Although other pupils made an escape from his debts, only KIYONDO 清人 cleared off all debts from master KIYOMARO 清麿 by making swords in Shoushu tradition. He has been therefore admired as a person of great nobility until today.

After a restoration of Ansei-Edo earthquake in Ansei 2 (1855) he set his atelier at
Ogawa-town, Kanda then in Ansei 5 (1858) he was nominated as an exclusive sword maker from feudal lord Sakai in Shōnai domain with reward for 5 fuchi and enjoyed Buzen-no-kami 豊前守 title in Keiou 3 (1867).

This superior Katana is one of his masterpieces when he was matured 30 years old in Ansei 4 (1857), 2 years later from 清麿 KIYOMARO's death - made in his own atelier while he struggled to make the swords of Soushu tradition to clear debits on behalf of his KIYOMARO.

This Katana itself is reported in the book of Buzen-no-kami Fujiwara KIYONDO, Otsuka-kogei-sha, 1972 and comes with an original superb Uchikatana mounting.

with) Gold Pearl of Inlay TAKAMAKIE raised lacqer work TAWARA-NO-TOUTA Do away with demon-Centipede motif Koshirae
HERE in FRONT / HERE in BACK for entire Koshirae and HERE for each fitting)
  • Fuchi/Kashira : Legend of TAWARA-TOUTA Centipede-do-away motif, signed Mutsuta TAKENORI (seal)
  • Tsuba : an Arrow wheel design, Shibuichi copper alloy, Openwork, Nikubori carving, unsigned
  • Menuki : TAWARA-TOUTA Centipede-do-away design, Shakudo copper alloy, Yobori, Gold Iroe
  • Tsuka : White layskin, Black silk cord Moro-tsumami-maki style logenze wrap

Gold foiled single layer habaki collar, preserved in a Shirasaya with sayagaki written by Dr. Kanzan

reference data : Igarashi Zenshiro, Buzen-no-kami Fujiwara KIYONDO, Otsuka^Kogei-sha, 1972