A4519(W2786)
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Wakizashi signed Yamato-no-kami YOSHIMICHI with)Kamakura-style carving Paulownia Kiri Makie scabbard Wakizashi Koshirae

Shinto early Edo period (Manji era /circa 1658-) Settsu
Length of cutting edge 42.7cm Curvature 1.1cm Width of base 28.7mm Width of Yokote 22.2mm Thickness of base 7.0mm

NBTHK(Tokubetsu Hozon) certificate

with)Kamakura-style carving Paulownia Kiri Makie scabbard Wakizashi Koshirae

Blade construction: Shinogi-zukuri with an iori-mune. The blade has a wide width on base with a less degree of tapering from base to tip, a bit on deeper side 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 Itame pattern with mixed Mokume, displaying a flowing grain with prominent texture. Sparkling Ji-nie (small crystalline particles) are visible along with Chikei of darkish lines in different state of carbonate.
Temper(Hamon): The Hamon reveals tight Nioi granules, begins with Yakidashi and flows in a shallow undulating pattern with clove outline of Choji, combining Fist-like or Crest-wave-style elements. The edge of the Hamon is deeply infused with Nioi and sparkling Nie, and the interior shows long lines of Sunagashi and thick lines of Nie (Nie-suji) to form like Sudare-screen where boundary area gives off vividly bright radiance.
Temper of tip(Boshi): The bōshi has a wide in temper line, slight undulating in a straight form to form "Mishina-boshi".
Tang(Nakago): Ubu (unaltered). The tang heel is Iriyama V-shaped with the cutting edge slightly rising. File marks are slanting left Sujikai. Both the Mune and the cutting edge are angular. One Mekugi-ana (peg hole). On the front side, the five-character inscription that starts with the title "Yamato-no-kami" 大和守 and smith name "YOSHIMICHI" 吉道 is engraved along the Shinogi-ji

Yamato no Kami YOSHIMICHI 大和守吉道 was the second son of Osaka's first Tanba no Kami YOSHIMICHI 丹波守吉道 and was known by the name Mishina Uzaemon 三品宇左衛門. During the period of Manji and Kanbun (1658-72), he was praised as one of the "Three Masters of Osaka Chōji Midare" alongside Kawachi no Kami KUNISUKE 河内守国助 and Tatara NAGAYUKI 多々良長幸. There is a dated work with the inscription "Yamato no Kami YOSHIMICHI at the age of 78, on an auspicious day in the second month of Enpō 3 (1675)" 大和守吉道七拾八歳造改　延宝三年二月吉日 indicating that he was a long-lived swordsmith. From his collaborations with his father and elder brother (the first and second generations of Osaka Tanba no Kami YOSHIMICHI 丹波守吉道) and the second generation Kawachi no Kami KUNISUKE 河内守国助, it is evident that they had close ties each other.

The second-generation Yamato no Kami YOSHIMICHI 大和守吉道, Mishina Den'emon 三品伝右衛門, established his studio in Nishikimachi, Osaka (present Nishikimachi, Kita Ward, Osaka Prefecture) and served the Honda family, the lords of Himeji Castle in Banshū, which earned him the title "Himeji Yamato" 姫路大和. He was also invited by Lord Mito Mitsukuni 水戸光圀 and temporarily resided in Mito.

This particular master piece, from its chisel character, is likely judged as the creation of the first generation. It exhibits a sturdy form with a thick and massive volume, and the tempering displays a Chōji midare pattern based on Nioi. The Tanba no Kami school lineage 丹波守 excelled in the Soshu tradition with prominent Nie, while the Yamato no Kami lneage 大和守 specialized in the Bizen tradition, focusing on Nioi as this work bears the hallmarks of Yamato no kamo YOSHIMICHI 大和守吉道.

Compared to the works of Kawachi no Kami KUNISUKE 河内守国助 and Tatara NAGAYUKI 多々良長幸, this piece features a bit on more pronounced Nie along the boundary line of the blade, with intense Sunagashi resembling Sudareba (curtain-like pattern), incorporating patterns like Kobushi fist-chōji and Tōranba (large undulating waves), resulting in a more decorative and dynamic style.
It's workmanship is excellent, and it is classified as "Superior-made" 上作 in an artistic classification also "Supreme sharp" performance 良業物 in the "Kaihoōken-shaku" 懐宝剣尺.

Accompanied with: Kamakura-bori carving Paulownia Kiri crest Makie scabbard Wakizashi Koshirae
(photo of the koshirae - front and back, individual parts of the sword fittings)
  • Fuchi and Kashira: Paulownia KIRI crest design, iron base, gold gilded, signed "Jōshū Nishijin-junin Shōami Masanor (seal)" 城州西陣住人 正阿弥政徳(花押)
  • Menuki: Dragon design, Shakudō ground, Katabori carving in relief, Gold Iroe
  • Tsuba: Scattered Paulownia KIRI crest design, Mokko shape, Yamagane copper ground, Stone surface, two-hitsuana punches, Shakudō rim, unsigned
  • Kozuka: Triple paulownia KIRI crest design, Shakudō ground with Nanako-ji surface, high-relief carving, Iroe, unsigned, Ko-kinko work
  • Saya (scabbard): Kamakura-bori carving, brown lacquered with Paulownia KIRI crest Makie, Shakudō kurikata with Paulownia KIRI crest design
  • Tsuka (hilt): Wrapped in white ray skin with indigo-blue colored silk in Hishi-maki style.
The front of the Habaki collar features a carved Paulownia KIRI crest, while the back has a carved a paired Hollyhock and butterfly crest. The sword is preserved in a Shirasaya (plain wooden scabbard).