O47357(S1901)
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Katana signed Awataguchi I'kkanshi TADATSUNA In the 5th month of Hōei 1st with) Black Ro-iro lacquered scabbard Uchikatana Koshirae

Shinto mid-Edo period (Hōei 1st / 1704) Settsu
Length of cutting edgea: 71.0 cm Curvature: 3.2 cm Width of base: 31.4 mm Width of Yokote: 21.0 mm Thickness of base: 6.9 mm

NBTHK(Tokubetsu Hozon) certificate for Katana

with) Black Ro-iro lacquered scabbard Uchikatana Koshirae

NBTHK(Tokubetsu Hozon) certificate for Tsuba

Blade construction: Shinogi-zukuri with Iori-mune. Both the Mihaba and Kasane are of moderate proportions, with a well-balanced taper from base to tip, giving the Chū-kissaki an extended and elegant appearance. The blade exhibits pronounced middle curvature, which continues into the tang, forming a well-proportioned and graceful figure known as Torii-zori. (Enlarged blade photograph)
Forging: Overall well-forged Itame with fine Ji-nie thickly distributed throughout, producing an exquisitely refined surface textureof Chikei activity.
Carvings: On the Omote, Fudō Myōō in Flames at Kegon Falls with parallel twin grooves. On the other side, a lotus pedestal with parallel twin grooves.
Hamon: Beginning with Yakidashi-slope at the Machi, the temper forms turbulent Tōranba - Notare of varying width mixed with long-foot Chōji. Fine ko-nie are thickly applied along the Habuchi of boundary line the Chōji-ashi extend long and radiate toward the cutting edge, while the interior of the Hamon is filled with deep Nioi, with streaming Sunagashi appear and thick line of Kinsen runs across the Chōji-ashi.
Bōshi: Calms below the Yokote, runs straight into Chū-maru and returns somewhat deeply.
Nakago: Ubu in original. File marks are slanting left Katte-sagari. Nakago-heel is Ha-agari Kurijiri. Slight contoured Niku appears on the Mune side, where Katte-sagari file marks are also perceived. One Mekugi-ana. The omote bears the signature “Awataguchi I'kkanshi TADATSUNA” 粟田口一竿子忠綱 on the Shinogi ridge and the other side carries the date of year “In the 5th month of Hōei 1st (1704)”寶永元年五月日.

Awataguchi Ōmi no Kami Tadatsuna 粟田口近江守忠綱, personal name Asai Mantayū 浅井万太夫, was the eldest son of the first Ōmi no Kami Tadatsuna 近江守忠綱.
His early signature was “Tadakuni”忠國 and there exists a work dated Kanbun 2 (1662), made when he was nineteen years old (according to Fujishiro Yoshio, Nihontō Jiten, Shintō volume).
He later succeeded as the second generation, and from around Genroku 2 (1689) adopted the pseudonym “Ikkanshi”一竿子 after which signatures such as “Awataguchi I'kkanshi Tadatsuna” 粟田口一竿子忠綱 or “I'kkanshi Tadatsuna”一竿子忠綱 became common, often used concurrently with “Ōmi no Kami Tadatsuna"近江守忠綱.
The second-generation Tadatsuna worked in a wide range of styles, including well-organized Chōji-midare with long Ashi, Gunome-midare, turbulent Tōranba patterns, as well as Suguha and shallow notare. He was also renowned as a master carver, producing dense and elaborate Horimono such as Kurikara, Sankozuka-ken, koi-no-takinobori (Carp climbing the waterfall), Bonji, and Gomabashi. The tsukuri of the character “綱” in his signature appears as “縄” in his early period, later changing to the clearly defined “綱” from mid-Genroku onward. Among his masterpieces is an Important Cultural Property tachi measuring over three shaku in length, signed “Awataguchi Ikkanshi Tadatsuna (horimono by the same) and dated Hōei 6, eighth month, auspicious day” 太刀　銘　粟田口一竿子忠綱彫同作・寶永六年八月吉.
Together with Tsuda Echizen no Kami Sukehiro and Inoue Izumi no Kami Kunisada, he is celebrated as one of the Three Great Masters of Osaka Shintō, standing at the pinnacle of top-ranked smiths.

This blade features standing firmly on base, deep curvature, and a graceful tip in Chū-kissaki. Abundant volume of Hira-niku gives the sword a substantial weight in hand. From the forge-weld boundaries created by the Hon-sanmai construction emerge bright Kinsuji and flowing Sunagashi, appearing as if delicately stitched along the cutting edge. These refined activities add depth and movement to the blade, greatly enhancing its visual impact and appeal to the discerning collector.
The exquisitely rendered carving of God of Fire Fudō Myōō possesses a commanding presence that leaves a profound impression upon the viewer.
The blade remains in exceptionally healthy condition overall for the age of 340 years.

The accompanying Black Ro-iro lacquered Uchigatana koshirae features: (enlarged photographs of the koshirae)(photographs of each fitting)
  • Black rō-iro lacquered scabbard
  • Fuchi/kashira : Heavenly maiden design, Iron ground, Takabori carving, Gold inlay, gold-inlay seal "Tetsugendo" 鉄元堂
  • Menuki : A "Shishi" king of beasts design, Gold ground, Katabori carving attributed to Goto work
  • Tsuba : Pine bark lozenge pattern Kiku flower design Brass ground, Gold, copper and Shakudo Iroe, Shakudo Fukurin rim (Tokubetsu Hozon)
  • Tsuka : White layskin, Black silk cord Tsumami-maki style lozenge wrap
Gold-foiled single layer Habaki collar, preserved in Shirasaya with Sayagaki by Dr. Sato Kanzan
note) On March 24, Tenmei 4 (1784), the Hatamoto Sano Zenzaemon 佐野善左衛門　attacked Wakadoshiyori Tanuma Okitomo 田沼意知, son of the Tairō Tanuma Okitsugu 田沼意次, inside Edo Castle with a large wakizashi by I'kkanshi Tadatsuna 一竿子忠綱, shouting “You must remember me!” three times. Okitomo died eight days later, and Sano was ordered to commit Seppuku while his family was dispossessed. However, because Tanuma was widely unpopular, Sano was revered by the public as “Yonaoshi Daimyōjin” (Great Deity of World Rectification), and Tadatsuna’s reputation rose even further.