Blade construction： Shinogi-zukuri, A thinned Iori-mune, The slope of the spine is steep. The blade is wide on base and shows less degree of tapering toward the tip with a high Shinogi ridge forming a robust construction. It features a slight curvature toward the tip, ending in an ō-mine style large point of Kissaki. (click HERE foe higher resolution of the blade)
Carvings: On both sides near the base, there are bohi (groove) carvings with rounded terminations (maru-dome).
Foring pattern (Ji-hada): The itame grain flows with a noticeable running tendency, thickly covered in Ji-nie that sparkles vividly, while prominent iIame-based Chikei emerge—forming a robust and resilient forging texture
Temper Line(Hamon): A Notare (undulating) pattern incorporating pointed elements and interspersed gunome, with a thick accumulation of Nie along the edge. Within the ha, frequent Kinsuji and Sunagashi appear, while the Nioi is deep and fills the interior with a misty brightness, producing an exceptionally clear and vivid impression.
Boshi: At the Yokote, a large Gunome is formed, with the Yakiba standing high and strong, entering in a midare pattern; on the Omote, long Kinsuji run prominently through the hardened edge.
Tang(Nakago): The tang is relatively small compared to the blade length. Ubu (unaltered), with an Ha-agari Kurijiri shape, Yasurime are ō-sujikai (greatly slanting ledt file marks), one Mekugi-ana. On the Omote side along the Shinogi-ji appears a long signature reading Etchū Fujiwara SADAYUKI 越中藤原貞幸.
“Etchū no Kami Sadayuki” 越中守貞幸 was a son of “Kawachi no Kami Sadayuki” 河内守貞幸. He resided in Kuwana-chō in Nagoya, used the personal name Sōzaemon 惣左衛門 and in his early period signed as “Sadayoshi” 貞吉.
His later signatures were “Etchū no Kami SADAYUKI” “Etchū no Kami Fujiwara SADAYUKI” and “Etchū no Kami Minamoto SADAYUKI.”
There exists a wakizashi of 1 shaku 8 sun dedicated to Masumida Shrine in Owari Ichinomiya, bearing the inscription:
“Etchū no Kami Fujiwara Sadayuki — Auspicious day in the 8th month of Kan’ei 17; respectfully dedicated before the sacred treasure of Masumida Ōkami by Tanaka Seizaemon, resident of Ichinomiya” 越中守藤原貞幸 寛永十七年八月吉日・奉寄進真清田大神御宝前願主一之宮住人田中清左衛門尉
Another wakizashi of 1 shaku 3 sun 2 bu was dedicated to Atsuta Shrine, inscribed:
“Etchū no Kami Fujiwara Sadayuki — Auspicious day in the 10th month of Kan’ei 18 (Year of Kanoto-mi); Kanematsu Saburō, resident of Nagoya in Owari Province” 越中守藤原貞幸 寛永十八年辛巳拾月吉日兼松三郎尉尾州名護野住.
Other dated works by this smith are known from Shōhō 2, Meireki 1, and Kanbun 8.
The subject Wakizashi displays an Itame forging pattern with rich Nie activity visible throughout both the Ji and Ha, suggesting an approach inspired by Izumi no Kami Kanesada. The bold Sugata, featuring a large Kissaki and a thinned Iori-mune designed for high cutting performance in mind, likely reflects the particular demands of Owari Samurai, who valued martial vigor.
Koshirae mounting: (click HERE in front/HERE in the other side/HERE for each fitting)
with) Black roiro-lacquered Owari-style mounting with waist-notches design
- Fuchi-kashira: Autumn grass design, Shakudō Nanako ground, high relief Takabori, unsigned (Owari)
- Menuki: Owl motif, Shakudō Iroe
- Kozuka: Plum and warbler motif, Shakudō Nanako ground, high relief Takabori carving signed Ishiguro Tōnan (seal) 石黒東南（花押）
- Tsuba: Sasa-leaf and bamboo openwork design, Iron ground, Sukashi and relief carving of Nikubori, unsigned
- Tsuka: White Same-gawa wrap with off-white fine cord in Jabara-maki style
Double layer silver Habaki, preserved in plain wood mounting ShirasayaReference:
“Owari Tōkōfu” Nagoya City Board of Education, March 31, 1984
