Y3859(2055)
+Shipping

Katana unsigned Seisō-sai MUNEARI

Shin-shin-to end of Edo period (Ansei 6th-/1859-) Mutsu
Length of cutting edge 71.5cm Curvature 1.6cm Width of base 34.9mm Thickness of base 7.9mm

NBTHK(Hozon) certificate

Blade construction : A gallant broadsword Katana of Hirazukuri construction so called "Danbira-zukuri". Iori-mune, wide in Mihaba, a bit on deeper side in Sori curvature. There is less degree of tapering from base to a well swelling upper Fukura.
Horimono carvings : On the front is a carving of a dragon chasing a jewel; on the reverse, a carving of ritual fire tongs (gomabashi) and the Sanskrit character (Bonji) for Fudō Myōou.
Forging : The ko-itame (small wood grain) pattern is tightly forged, with a faint Ji-nie (fine crystalline particles), creating a moist and reflective Utsuri.
Tang (Nakago): Unaltered (ubu), unsigned. The Yasurime (file marks) is slanted left with decorative horizontal. It ends in a shallow Kurijiri (rounded heel) and has one mekugi-ana peg hole.
Boshi (Tip Temper Pattern): The gunome pattern continues into the Boshi, calming into a straight line and forming a small circle turn-back (komaru) with a somewhat extended return.

Swordsmith MUNEARI 宗有, originally named himself signed as MUNEHISA 宗久, under his real name Suzuki Jiro 鈴木 次郎. He was born in Hachinohe, Mutsu Province (now Aomori pref.) and alongside fellow craftsman and compatriot Seikōsai MUNESHIGE 精光齋宗重, served as a swordsmith for the Hachinohe domain of the Nambu clan.
Around the end of the Kaei era to the beginning of the Ansei era (1850s), he moved to capital Edo and studied under famed smith Koyama Munetsugu 固山宗次 mastering the Bizen tradition. Munetsugu 宗次 bestowed upon him the smith name 'Seisōsai MUNEARI'精荘齋宗有.
During the Bunkyu era (1861-63), MUNEARI 宗有 established his own studio in Aoyama and continued serving the Hachinohe domain. With support from his hometown associate Seikōsai MUNESHIGE 精光齋宗重, he met with increasing demand during edo of Edo period.

There are dated works from Ansei 6 (1859) through Keio 3 (1867). Initially, the file marks on the tang were slanted left and decorative horizontal Kiri, following the style of his teacher, then by the Keio era he switched to kiri-yasuri (horizontal file marks).

During the Bunkyu era (1861-63), many of MUNEARI's blades underwent cutting tests (tameshigiri) in Senju and Tenmacho, with inscriptions of cutting results by testers such as Yamada Genzō 山田源蔵.

This particular sword may have been made by special demand from a Hachinohe domain samurai. The rare danbira-zukuri (broad blade) style is extended in length and thick in Kasane. The Jigane is meticulously forged with densely packed ko-itame and reveals a masame-like texture in the lower layers.
Also highly detailed carvings of the dragon chasing the jewel "Tama-oi Ryu" and ritual tongs "Gomabashi" with Sanskrit script shows his advanced sword-making as well as skilled carving technique.

It comes with a silver two-layers Habaki engraved with waves (nami-mon), preserved in an antique shirasaya of plain wood scabbard and hilt.
Old polish/Condition scale: very good (using a scale of mint-excellent-very good-good-fair-poor).
(note) There are minor scratches or insignificent mark of dents and nicks due to old polish
reference data sources:
Tomioka Akira, “Swordsmith Seisōsai MUNEARI of the Hachinohe Domain: His Work and Genealogy”, Tōken Bijutsu, Issue 505, February 10, 1999
Ishii Masakuni, Honma Kunzan, “Nihontō Meikan” (Directory of Japanese Sword Signatures), Yuzankaku, 1975

Note:
A Danbira style wakizashi of similar construction, inscribed:
“Seisosai MUNEARI at Oku-Ishikawa at the request of Suzuki ShigeTake. Ansei 6 (1859), February ”応鈴木重威需 精壮齋宗有作之 於奥石川 安政六年二月日
Features a Bonji of Fudō Myōou on the front and a straight sword (suken) with claw carving on the back.