T15995(S1305)
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Tachi signed Bishū Osafune □□ (IESUKE) In the 8th month, Ouei 28th

Koto Early Muromachi period (Ouei 28th/1421) Bizen
Length of cutting edge 69.8cm Curvature 3.0cm Width of base 30.0mm Width of Yokote 18.2mm Thickness of base 6.7mm

NBTHK(Tokubetsu Hozon) certificate

Blade construction : Shinogi-zukuri Tachi with an Iori-mune in low. The Tachi is a bit on wider side at base with a strong taper towards the point, featuring a highly defined curve near the base Koshi-zori (curvature near the base) and an added Saki-zori (curvature near the tip) and the Chu-kissaki (medium-sized tip) extends gracefully, giving the Tachi an elegant, classical appearance. (Detailed photo of blade)
Forging Pattern : The Jigane (steel surface) shows a combination of Itame and Mokume hada, with an overall prominent grain. In the Hiraji, there is a Jifu-utsuri reflection.
Hamon : A small gunome pattern starts low near the base, then develops into wide Choji, mixed with Gunome and complex layered Gunome. The entire blade surface is enveloped in a bright Nioi, and the Nioi-guchi (border of the tempered area) is clear and luminous. The Ashi (legs) of the Choji radiate toward the cutting edge, where they are frequently intersected by Sunagashi (stream-like lines) and isolated YOU. The overall coloration of the Hamon is fresh and radiant.
Boshi : Calms down just below the Yokote line, then becomes irregular in Gunome, turning back to form a small rounded Ko-maru tip.
Nakago (Tang) : The Ubu Nakago (unaltered tang) has a deep curvature, and the cutting edge side forms on a “pheasant’s thigh” shape (Kijimomo). It has two Mekugi-ana (peg holes) and shallow Katte-sagari yasurime file marks. The heel of the tang is a Kuri-jiri shape, sloping upward on the Ha side, with a flat mune. On the upper Shinogi-ji surface of the tang appears a modest-sized chisel inscription reading "備州長船宀□" (Bishū Osafune □□), and on the reverse, the date “應永廿八年八月日” (In the 8th month, Ouei 28th). From the legible u-kanmuri radical “宀” in the character “家,” it is identifiable as a work by Iesuke 家助.

"An Ouei Bizen tachi" by Osafune Iesuke 長船家助, bearing an inscription of the year Ouei 28 (1421) — a sword that carries on a tradition spanning over six hundred years.
Iesuke 家助 was a swordsmith based in Osafune in Bizen Province (present-day Setouchi-city, Okayama Prefecture). The first generation is said to have been the son of Hatakeda Morie 畠田守家, active around the Bun’ei era (1264–75). However, extant signed works do not date back earlier than the Ouei era. Thus, the Iesuke active around Ouei is effectively considered the restorer of the lineage, which continued at least until the fourth generation in the Bunmei era (1469–86). Later generations produced mainly small Wakizashi and Sun-nobi Tanto, while the Iesuke of the Ouei period created both Tachi and Uchigatana. This was an era when Tachi and Uchigatana coexisted, soon to give way to the dominance of the Uchigatana. Among his works, there is an Important Cultural Property Tachi preserved at Kasuga Taisha Shrine, inscribed “備州長船住家助” and dated Eikyō 8th, 1436.

The featured Tachi preserves its original Ubu shape with a blade length of 2 shaku 3 sun 1 bu (approx. 70 cm). It stands firmly on base, high Koshi-zori, and an imposing, dignified silhouette. The Kijimomo shape of the Nakago suggests it may have been mounted in an antient Efu-tachi koshirae with decorative rivets on the Tsuka. The forging shows Itame mixed with Mokume, generally with a prominent grain and mottled-utsuri appears. The Hamon is a large pattern combining open Gunome with small undulations and Choji, with frequent Ashi and YO and streaming Sunagashi to generate a bright Nioi-deki structure. The Boshi becomes widely irregular before forming a small ko-maru tip, creating an elegant and flamboyant appearance among works by this smith.
It is accom panied by a gold-foil double layer Habaki and preserved in a Shirasaya bearing an inscription by Honma Kunzan.

Context:
During the Muromachi period, sword shapes changed dramatically: in the early part, Tachi were common, but by the mid-period, the production of Uchigatana flourished. The term "Ouei Bizen" arises because many Bizen swords bear dates from the Ouei era. Stylistically, many Ouei Bizen works show a revivalist tendency, evoking the grandeur of the Kamakura period's Ichimonji and Osafune schools. While the Tachi of the Kamakura period generally have Koshi-zori, the Ouei Bizen Tachi of the Muromachi period often feature deeper curvature and added Saki-zori. The Hamon also shifts from smaller midare and gunome patterns of earlier eras to larger Choji mixed with Gunome, closer to the styles of the Kamakura period. Notable smiths active in this period, known as the "Ouei Bizen Five Smiths," include Morimitsu 盛光, Yasumitsu 康光, Moromitsu 師光, Tsuneie 経家, and Iesuke 家助.
The political stability after the reunification of the Northern and Southern Courts led the shogunate to idealize the warrior governance of the Kamakura period. At the same time, influenced by courtly aesthetics symbolized by Kitayama culture, swords adopted revivalist styles. This resulted in flamboyant works with bold undulations, wide open gunome at the base, and choji mixed into the hamon, as seen in this blade.

references:
Masakuni Ishii, Honma Kunzan, Nihonto Meikan (Directory of Sword Inscriptions), Yuzankaku, 1975.
Osafune Town History Editorial Committee, Osafune Town History, Otsuka Arts Co.