Blade construction: Shinogi-zukuri with an iori-mune. The blade has a wide width on base with a well-balanced tapering from base to tip, a bit on deeper side harmonized curve and an extended Chū-kissaki. The shinogi ridge is high and the blade is thick, featuring a robust construction that is shaved toward the mune for durable strength. (Enlarged photo of the blade)Forging(Hada): The forging reveals a refined Itame pattern with mixed Mokume, displaying a flowing grain with prominent texture. Ji-nie (small crystalline particles) are visible along with Chikei, darkish lines in different state of carbonate, giving the steel a blueish tint.Temper(Hamon): The Hamon in rather on stronger side Nie granules, begins with Yakidashi and flows in a shallow undulating pattern with large Gunome, combining Box-shaped and Yahazu-style elements. The edge of the hamon is deeply infused with Nioi and Nie, and the valleys of the irregular pattern show long lines of Sunagashi and thick lines of Nie (Nie-suji) where boundary area gives off vividly bright light. Temper of tip(Boshi): The bōshi has a wide in temper line, slightly curved in a straight form, ending in a rounded tip (chū-maru), and returns in a normal manner.Tang(Nakago): Ubu (unaltered). The tang heel is Kurijiri uneven U-shaped with the cutting edge slightly rising. File marks are greatly slanting left Ō-sujikai. Both the Mune and the cutting edge are angular. There are two Mekugi-ana (peg holes). On the front side, the five-character inscription "Kashū-jū Kanewaka" 賀州住兼若 is engraved along the Shinogi-ji by good hand.KANEWAKA 兼若 was a highly esteemed master craftsman who served the Maeda family of the Kaga Domain and was praised with the saying, "Even if his stipend is low, one would marry their daughter to a man who owns a Kanewaka sword." Throughout the Edo period, he catered to the tastes of the Samurai class and continues to be admired by connoisseurs to this day.
The works of Jinnroku KANEWAKA 甚六兼若, the first generation, are considered important cultural artifacts. His works include a sword with the inscription "Kanewaka, Keichō 9" 刀 銘 兼若 慶長九 and another inscribed "Made by Kanewaka of Kaga Province, February of Keichō 12" 賀州住兼若作 慶長拾二年二月日. The former is believed to have been forged in Mino, while the latter is thought to have been made in Kaga, suggesting that Kanewaka permanently relocated to Kaga around the 10th or 11th year of the Keichō era.
Around the beginning of the Keichō era, Jinnroku KANEWAKA 甚六兼若 was in his homeland of Mino Province, serving the Maeda family. It is believed that even after the death of Maeda Toshiie 前田利家 in the fourth year of Keichō, he continued to serve the family and decided to relocate. Initially, the character for "Kane" 兼 in his name was written as "Uo-kane," but by around the 13th year of Keichō, it had changed to the unique form of "Kane" 兼 at the time when he replaced the "Uo-kane" of Mino with the alternative character for the "Kane" 兼 to follow the style of "Bishu Osafune KANEMITSU" 備州長船兼光". In the 9th month of Genna 5 (1619), he was appointed as Ecchu-no-kami 越中守 title and changed his name to TAKAHIRA 高平.
The second-generation KANEWAKA 兼若, Matasuke 又助 was the third son of the first-generation master. He was born in Keichō 15 and passed away in the 1st month of Enpō 5 (1677) at the age of 66. Compared to the first generation, he often inscribed his swords with the five-character signature "Gashu-ju KANEWAKA" 賀州住兼若.
The subject particular work is a katana by the third-generation Shirōemon KANEWAKA 四郎右衛門兼若, the eldest son of the second-generation Matasuke KANEWAKA 又助兼若. After Matasuke's death in Enpō 5 (1677) , Shirōemon succeeded as the headship of KANEWAKA 兼若. Like his master-father, he was a skilled swordsmith, forging swords over a long period from the Kanbun era through to the 1st year of Shōtoku (1711) including the works during his father's later years. His craftsmanship features box-shaped hamon, Midareba patterns, Gunome-chōji, reverse Saka-chōji, and straight Suguha. His mastery of Hamon is said to be the finest among all the generations of KANEWAKA 兼若.
This particular sword has an excellent taste of patina in Nakago holding elaborate file marks with clear stroke of engraving signature. The original second hole for the additional peg was made near the bottom of the tang for reinforcement by s special order from a brave Samurai reflecting the martial spirit of the time.
with) Black Seaweed lacquered scabbard Uchikatana Koshirae (Full photo of the mounting / Enlarged photo of the fittings)
- Fuchi/Kashira : Big surges design, Brass ground, Sukibori carving, Kebori carving, Silver drop inlay, signed TERUHIDE (seal) 英秀（花押）
- Menuki : Entwiend Dragon Sword, copper ground, katabori carving, gold plated
- Tuba : Big surges Dragon design, Iron ground, Mokko shape, Gold/silver inlay, unsigned
- Tsuka : Wrapped in white same (ray skin), with dark navy blue silk cord forming lozenge wrap.
Silver foiled single layer Habaki collar, preserved in Shirasaya plain wood mount.
reference : Nihon-BijutuToken Hozon Kyokai Ishikawa, Kashu Shinto Taikan, 1973
