Blade construction: A double-edged tantō (Ryōba-zukuri). The blade length is 6 sun (approx. 18.1 cm) in a moderate size. The form emphasizes thrusting with a less swelling in upper Fukura. (Enlarged photo of blade)
Jigane (Forging pattern): A robust forging with prominently standing Itame-hada (wood grain pattern) and streaming Masame-hada as well, featuring fine sparkling Ji-nie and visible bluish Chikei in the steel.
Hamon (Temper line): The Hamon at both Machi forms with a short Yaki-otoshi, developing into a wide Sugu-ha temper. The Yakiba displays a bit on stronger side in brighter the Nie clinging to the Ha with frequent short Ashi, Sunagashi and active Nie-suji, creating an overall sparkling brilliance appearance.
Bōshi (Tip temper): A violently sweeping up with an indication of medium circle.
Nakago (Tang): Ubu (unaltered) with one Mekugi-ana (peg hole). The Kurijiri (rounded tang tip) heel in full. The Nakago is relatively long in proportion to the blade with an Inverted V (Gyaku-taka-no-ha) file marks on the front whereas the other side forms V-shaped (Taka-no-ha). On the front above Mekugi-ana punch, there is two typical inscription signature “KANENOBE” 兼延 in the elegance of antiquity.
Here is a splendidly classical tanto 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.
The subject tanto is characterized by a firm physique adept at thrusting with a bdoble-edged "Ryōba-zukuri" construction and was highly valued as a companion dagger for the long katana. The steel surface, a deep blue-black hue interspersed with burl and streaming grain patterns, emanates from the abyss, featuring a strong resilient construction with horizontal and vertical forging patterns formed by the Ji-nie sparkling granules. Upper the Hamon, more forceful in handening temper and it's Boshi forms intensely powerfull with an intensive Hakikake sweeping up, exhibiting a robust and dynamic quenching structure. The overall impression of this tanto is filled with a sense of vitality.
The blade is admired for the very good condition for the age and its Nakago holds the excellent taste of patina over the passage of 500 years even more.
with) Gold stone-surface lacquered scabbard Metezashi-style Aikuchi Koshirae
(clikc HERE for Koshirae, HERE for front and HERE for the other side)
The Aikuchi mounting for right-hand wear features Fuchi-kashira, KoikuchI and Kaeri-tsuno all made of horn, with the Menuki in the form of guardian lion-dogs (komainu). The hilt is wrapped in white Samegawa rayskin fitted in the “Ryuko” style with one-handed wrapping in indigo lacquered leather.The distinctive feature of this right-hand mounting lies in the design intended for instantaneous thrusting: the section between the Kaeri-tsuno on the reverse of the right hand and the Koikuchi is pared down, allowing the scabbard to be bound tightly against the sash at the wearer’s right hip. The scabbard’s reinforcement fitting is positioned only a finger’s width from the mouth of the scabbard, enabling a one-handed grip and the possibility of drawing the blade in an instant.
It is said that the origin of this right-hand mounting style traces back to the Yagyū school’s Shinobi, who employed it as a dagger carried close at hand so called "kanken" as a concealed weapon.
Yamagane copper ground single layer Habaki collar, preserved in a Shira-saya plain wood mounting
Recent good polish/Condition scale: very good (using a scale of mint-excellent-very good-good-fair-poor)
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
