A18293(T3197)
+Shipping

Tanto signed KANETSUNA-saku

Koto End of Muromachi period (Tenbun era / circa 1532-) Mino
Length of cutting edge 29.4cm Curvature 0.1cm Width of base 27.5mm Thickness of base 5.8mm

NBTHK(Hozon) certificate


Sugata(configuration) : Tanto of Shinogi-zukuri with Iori-mune configuration. Both Mihaba and Nagasa are massively broad bearing slight curvature. There is Bo-hi groove on both sides which is chiselled halfway onto Nakago. This configuration came into vogue during Azuchi-Momoyama period as a complementary usage among unconventional Samurais acting without restraint dandysm. (click HERE for higher resolution image)
Kitae(forging pattern) : The entire steel gives off bluish tendency. Kitae is conspicuous Itame hada generally with the indication of streaming ware. Flowing Itame or Masame straight ware appears mostly along Hamon boundary line. Sparkling Ji-nie is distributed over the Hira-ji surface so that darkish Gleaming Lines of Chikei layers, that comes of steel with a different, higher carbon content, appears and glows on surface and corresponds with Sunagashi short lines of Nie in the interior of tempered quenching area.
Hamon(tempering pattern) : Hamon state is "Ko-nie-deki" that is a bit on stronger side, Hamon of both side are relatively matching well, undulating Notare with large of Choji-midare and combined Gunome to form box-like hakoba or pointed Togari-ha indication which varies in height and shape that creates in flamboyant scene. Sparkling martensite particles of Nie accumulates deeply at the ends of valley where works with thick feet of Ashi and the interior of temper is filled with frosty sparkling Nioi with rich Sunagashi lines of Nie where is sparkling vividly bright.
Boshi (tip): Undulating Notare, small circle turns back to form "Jizo-style" as a side view of Jizou stone stature then turns back deeply.
Nakago(tang) : The tang is UBU original. Two Mekugi-ana retaining holes. "Higaki" crossing filemarks. Kurijiri of double bevelled heel in full. Back ridge of nakago is flat with O-sujikai greatly slanting left filemarks. The entire Nakago preserves great taste of patina from early 16th C. The large and sharply chiseled three character KANETSUNA-saku 兼綱作 forms in an archaic style during Tenbun period.

The smith KANETSUNA 兼綱 is said as a source origins to Tokuei school 徳永派 during Muromachi period. According to Nihonto Meikan, the 1st KANETSUNA 兼綱 is dated back to Houtoku era (1449-) as a practical founder then ranges to Bunmei (1469-), 3rd gen. in Eisho (1504-), 4th in Tenbun (1532-) and 5th generation in Tebsho era (1573-), therefore there would exist at least 6 generations of active KANENTSUNAs during it's history of hundred and mode decades of years.

Most of recognized extant KANENTSUNA 兼綱 works are recognized from Tenbun - Koji era (1532-57). The most major characteristic of this heroic Tanto is it's extravagant Hamon of flamboyant pattern of temper from Soushu tradition that suit Samurai taste during Azuchi-Momoyama period. Also inscription signature of this KANETSUNA 兼綱 shows a distinguishing trait from the others.
The entire blade still remains an almost original condition for the age of 500 and even more decades of years. Among similar works, this blade is a delight and it's workmanship is hidden with an awe-inspiring power from the Warning States period. This delight Tanto was supposed to supplement usage that large Katana couldn't provide during critical battle.
Silver foiled single layer Habaki collar, preserved in Shirasaya plain wood mounting
Good old polish/Condition scale: very good - good (using a scale of mint-excellent-very good-good-fair-poor)
Due to old polish status, there are some insignificant slight scratches on Hiraji-surface. Next chance of skilled polish will blow those wares away entirely.
reference data：
Suzuki Takuo/Sugiura Yoshiyuki, Muromachi-ki Mino-toko-no Kenkyu, Ribun Shuppan, 2006
Tokuno Kazuo, Mino-toko Taikan, Otsuka Kogeisha, 1976
Honma Kunzan/Ishii Masakuni, Nihonto Meikan, Yuzankaku 1976