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Katana signed KANETSUNA In the 8th month Bunmei 18th with) Gold pearl of inlay Gold sprinkled Nashiji Plum blossom branch Makie workEfu Tachi Koshirae

Koto middle Muromachi period (Bunmei 18th/1486) Mino
Length of cutting edge: 63.8cm Curvature: 2.3cm Width of base: 27.3mm Width of Yokote: 16.4mm Thickness of base: 6.4mm

NBTHK(Tokubetsu Hozon) certificate for katana

with) Gold pearl of inlay Gold sprinkled Nashiji Plum blossom branch Makie work Efu Tachi Koshirae

NBTHK(Hozon) certificate for Tachi Koshirae

Blade construction (Sugata): Shinogi-zukuri with an Iori-mune. The blade has a standard width, a high Shinogi-ridge and the Mune is neatly pared down, resulting in a sturdy and resilient structure. The taper from the base to the tip is well harmonized forming a chū-kissaki. The blade exhibits pronounced Koshi-zori with additional Saki-zori, a construction which is well suited for swift sword drawing. (Enlarged photograph of the blade / Oshigata illustration)
Jihada (Forging Pattern): The Jihada is a well-forged and tightly packed Itame, showing a refined texture. A slightly whitish Utsuri appears, resulting in a high-quality forging surface.
Hamon (Temper Line): The hamon is Yaki-otoshi at the base, forming a shallow Notare mixed with Ko-gunome and Ko-chōji, with fine Ko-ashi appearing in the interior.
Nakago (Tang): Ubu (unaltered). Takanoha yasurime, ending in a Ha-agari kurijiri. Two mekugi-ana. On the Omote Shinogi-ji is two-character signature “KANETSUNA” 兼綱　while the ura bears an inscribed the date of manufacture, “Bunmei 18, eighth month” 文明十八年八月日
Bōshi:　Slightly Notare, finishing in a Chū-maru with an indication of Yaki-zume end.

During the Muromachi period, KANETSUNA 兼綱 of the Tokunaga school is said to have been the son of Matashirō Kanenobu 又四郎兼宣 and to have resided in Hiraga, Seki, in Mino Province. According to the Nihonto Meikan, the first generation produced dated works from the Bunmei through Chōkyō and Meiō eras and is known to have collaborated with Kanefusa. Thereafter followed a second generation active around the Tenbun and Kōji eras, and a third generation around the Eiroku era.

The first-generation KANETSUNA 兼綱 Tachi referenced in the title displays a moist Itame Jihada with prominent Ji-utsuri, and a Hamon composed of Gunome and Chōji. The interior of the Hamon is filled with fine Nioi mist, resulting in a bright and clear appearance of temper. The high Shinogi and pared mune enhance cutting efficiency, while the Koshi-zori combined with Saki-zori reflects a form devised with rapid sword drawing in mind, embodying the pragmatic spirit of the warrior Samurai class.

This work predates the Kozan oshigata inscription “Nōshū Seki jū Kanetsuna saku, Chōkyō 2, eighth month” by two years, making it the earliest dated example among extant works by this smith.

Affiliated Mounting: (Hozon Tōsōgu certificate)
Kin-Nashiji plum-branch motif maki-e saya Efu-tachi koshirae
Omote (overall view of the koshirae) / Ura (overall view of the koshirae)
The Efu-tachi koshirae, a high-ranking ceremonial mounting, was worn by military officials in conjunction with formal court attire such as Sokutai and Nōshi.
  • All metal fittings (Kabutogane, Fuchi-kanamono, Karatsuba, Ashi-kanamono, Semegane, Ishizuki): brass with ishime-ji, gilt finish, unsigned
  • Ō-menuki: plum branch design, brass with gilt finish, unsigned
  • Karatsuba: brass with ishime-ji, gilt finish, unsigned
  • Tsuka: white-tanned ray skin wrap, Tawara-byō, leather hand strap, decorative mekugi
Silver-ground Habaki collar, preserved and accompanied by a plain wood mounting of Shirasaya
reference data :
Blade sketch by Kondo Kuniharu
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