Y3859(S1514)
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Ko-tachi signed KANENOBE (KANENOBU) with)Gold pearl of inlay Nashiji sprinkled Gold foils Crest Makie work Ito-maki Tchi Koshirae

Koto middle Muromachi period (Meiou era/circa 1492-) Owari
Length of cutting edge 59.9cm Curvature 2.5cm Width of base 28.3mm Width of Yokote 22.1mm Thickness of base 6.25mm

NBTHK(Tokubetsu Hozon) for katana

with)Gold pearl of inlay Nashiji sprinkled Gold foils Crest Makie work Ito-maki Tachi Koshirae

NBTHK(Tokubetsu Kicho) for Tachi koshirae

Blade construction: Shinogi-zukuri with an iori-mune. The blade has a standard width with a relatively high shinogi ridge and a robust structure, where the mune is slightly pared down to emphasize strength. The width difference between the base and the tip is minimal, leading to a large kissaki (tip). The blade features a deep koshizori (curvature near the base) and a pronounced sakizori (curvature near the tip), making it well-suited for quick draw techniques. (Enlarged image of the blade)
Forging(Hada): The hada is primarily itame (wood-grain pattern), mixed with a flowing pattern toward the cutting edge, making the grain visibly prominent throughout. A slightly whitish ji-nie (fine surface crystals) covers the blade, with strong, bold chikei (dark lines in the grain) emerging, revealing a robust forging pattern.
Temper(Hamon): The hamon is nie-based and displays a lively Hitatsura (full tempering across the blade), incorporating gunome (waves), chōji (clove shapes), Tobiyaki (isolated flying temper spots), and Muneyaki (temper on the back ridge). The Nioiguchi (boundary line of the temper) is bright and vivid, with rich Hataraki (activities within the hamon) such as Kinsuji and Inazuma, all standing out clearly and brightly.
Temper of tip(Boshi): The bōshi is strongly tempered, with an intense Midarekomi (irregular pattern entering the tip), sweeping down in Hakikake style (brushed appearance), and the Kaeri (return temper) descends intermittently down to the Mune-machi (back notch).
Tang(Nakago): The blade has been shortened by approximately 1 sun 5 bu (about 4.5 cm), with a well-formed machi-okuri (repositioned notch). The file marks of Yasurime are saka-taka-no-ha (reversed hawk’s feather) on the front and kiri-yasuri (horizontal cuts) on the back, finishing in a Kurijiri (rounded) end. There are two mekugi-ana (peg holes), one of them is filled. On the shinogi-ji (ridge line area) of the wearing side, there is a two-character signature "Kanenobu" (兼延) in a refined, archaic script.

Here is a splendidly heroical work of KANENOBE 兼延 (KANENOBU in other pronounce) in Owari from late 15th C. from Muromachi period.
The "KANENOBE" 兼延 is recorded in the Nihonto-meikan as belonging to the Naoe-Shizu school around the Ouan era (1368～).
Generically called Naoe-shizu school such as Kanetomo 兼友、Kanetoshi 兼俊、Kanenobe 兼延, had established a foothold in Naoe town and flourished to meet with sharp rise in demand for the Nanbokucho period while the two courts fought for fifty years.
In the prime of Nanbokucho period, Naoe-shizu makers accomplished their own workmanship in the dawning style of Mino-den of which Soushu and Yamato techniques were integrated.

The Naoe school, due to the decline in demand after the unification of the Northern and Southern Courts and repeated river floods, had left their original location in Naoe and moved to Seki and Akasaka or Oyama.
Around the Meio era (1492～), "KANENOBE" 兼延 is said to be the child of "KANEARI" 兼在 who lived in Oyama and he later migrated to the Owari region. This lineage such as KANENOBE 兼延, KANETSUGU 兼次, KUNITSUGU　国次 lived in Shiga (now Kinjyo Town, Kita Ward, Nagoya City) or the northern area of Yamada Town (Yamada Village, Nishikasugai District), is referred to as the "Shiga-Seki" 志賀関 or "Yamada-Seki" 山田関 and they laid the foundation for the Owari sword-smiting tradition.

This piece features a boldly extended Kissaki (blade tip) and a high shinogi ridge, with the mune (back) slightly pared down to enhance cutting through performance. The curvature, featuring a deep koshizori (base curve) combined with sakizori (tip curve), reflects the practical spirit of the warrior class, valuing functionality in quick-draw swordsmanship. The forging pattern is a robust Jigane (blade surface), combining Itame (wood grain) with Masame (straight grain), emerging from the depths with pronounced Ji-nie (fine surface crystals) and rich activity of Chikei (surface patterns) crossing the steel. The Hitatsura hamon (full tempering pattern), including Muneyaki (tempering on the spine), was designed with durability in mind for combat. The hamon stands out with its high, flamboyant temper line, vigorously mixed with large patterns. The bōshi (tip tempering) is wild and forceful, harmonizing with the rest of the blade to create a sense of spirited intensity. The condition of both the steel surface and the tempering line is exceptionally well preserved.

note) The registration certificate designates this as a katana, while the appraisal Tokubetsu Hozon certificate describes it as a wakizashi. Considering that it was originally an uchigatana and was later mounted in Tachi koshirae during the Edo period, we have chosen to label it as a Ko-tachi.

with) Ito-maki Tachi mounting with scabbard decorated in gold Nashiji and scattered Sumitate-Yotsume mon family crests in Maki-e
Obverse Side (Full Mounting Photo & Enlarged Sword Fittings Photo)
Reverse Side (Full Mounting Photo & Enlarged Sword Fittings Photo)
  • All metal fitting (Kabuto-kane, Saru-te, Fuchi, Ashi-kanamono, Kashiwa-ba, Taiko-kane and Ishizuki) : Sumitate-Yotsume mon family crests, Shakudo Nanako-ji surface, Takabori, Gold Iroe inlay, unsigned
  • Tsuba : Kurikomi shape, Shakudo Nanako-ji surface, Gold Iroe Mimi edge, Large Seppa in pair of Sumitate-Yotsume mon family crests design, Shakudo Nanako-ji surface, Takabori, Gold Iroe inlay, unsigned
  • Menuki : Sanso-triple Sumitate-Yotsume mon family crest design, Shakudo, Katabori carving
  • Tsuka (hilt) : Brocade Nishiki fabric covered, Purple silk cord Hira-maki style lozenge and scabbard watari-style wrap
reference data :
Honma Kunzan/Ishii Masakuni, Nihontomeikan, Yuzanaku, 1975
Honma Kunzan/Sato Kan'ichi, Nihonto-Taikan/Koto 3, Otsuka-Kogeisha, 1969
Suzuki Taskuo/Sugiura Yoshiyuki, Muromachi-ki Mino-Toko-no kenkyu, Ribun-shuppan, 2006