O65905(W8086)
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Wakizashi signed Satsu-yō-shi MOTOHIRA In the 8th month Tenmei 2nd

Shin-shin-to In the latter half of Edo period (Tenmei 2/1782) Satsuma
Length of cutting edge 51.9cm Curvature 0.8cm Width of base 30.2mm Width of Yokote 22.3mm Thickness of base 7.3mm

 NBTHK(Tokubetsu HOZON) certificate


Blade construction: Shinogi-zukuri, Iori-mune, Mihaba on base is wide that stands firmly on base holding a bit on shallower side curve, massively heavy on hands of impressiverly healthy blade (587grams w/o Habaki). There is less degree of tapering from base to upper Fukura area leading to an elongated medium Chu-Kissaki. Kasane is very thick and less volume in Hiraniku. Shinogi-ji is narrow in proportion to Hiraji. The entire shape is exceedingly stirring that reminds one of Keicho-shinto style. (click HERE for higher resolution image of the entire blade)
Forging(Hada): Forging is fine Itame-hada with fine darkish activity of Chikei. The entire Hiraji surface is covered in thick Ji-nie particles that sparks extremely bright and clear.
Temper(Hamon): Hamon is very strong Nie hard metal granules base, flamboyant Ō-midare mixing in small Gunome with indication of box-like Gunome which varies in height and shape where works with abundant sparkling Nie with a bit on coarse-sided martensite particles so called Ara-Nie in places. In the interior of temper, there appears brilliant Nie and deep Noi foggy-like crystalline area where varies on every sight in different manner from different angles under the light.
Temper of tip(Boshi): Boshi forms irregular Midarekomi, with an indication of Hakikake wispy layers turns back in medium circle.
Tang(Nakago): Nakago is in UBU original. One peg retaining hole. Greatly slanting left filemarks. The Nakago of ship-bottom shape with Kengyo V-shape heel at the bottom.
The inscription signature is located in front that starts with a name of clan Satrsuyou-shi 薩陽士 and smith name MOTOHIRA 元平. The other side is inscribed with the date of year - In the 8th month, Tenmei 2nd (1782).

MOTOHIRA 元平, together with his fellow countryman MASAYUKI 正幸, further refined the Sōshū tradition under the patronage of the Shimazu clan—following the groundwork laid by such smiths as Mondo-no-sho MASAKIYO 主水正正清 and Ippei YASUYO 一平安代 - and elevated the Shizu tradition to an even higher level. He has thus been highly admired as one of the foremost master smiths representing Satsuma in the Shin-shin-tō period.

The smith, whose common name was Okukōzaemon 奥孝左衛門 was born in Enkyō 1 (1744) as the legitimate son of MOTONAO 元直 whose the fourth-generation head of the Oku family. He succeeded to the family in An’ei 6 (1777) and in Tenmei 5 (1785) he became an official smith of the Satsuma domain, serving the Shimazu clan.

In his early works of the An’ei and Tenmei eras, he inscribed signatures such as “Satsuyōshi MOTOHIRA” 薩陽士元平 or “Sappanshin MOTOHORA” 薩藩臣元平. On the first day of the twelfth month of Kansei 1 (1789), on the same occasion that Masayuki was granted the title of "Hōki-no-Kami" 伯耆守, he himself received the title of "Yamato-no-Kami" 大和守 and was bestowed the clan name “Taira” 平 along with the prestigious court title “Ason” 朝臣 Thereafter, he primarily signed as “Oku Yamato-no-Kami Taira Ason MOTOHIRA” 奥大和守平朝臣元平 leaving behind outstanding works in the Sōshū tradition.

The characteristic sword form known as the “Motohira style” follows the broad Keichō-era Shintō sugata, yet is distinguished by a relatively narrow Shinogi and reduced the volume of Hira-niku. In katana, the width from the Monouchi toward the kissaki is slightly reduced, with somewhat deeper curvature, whereas his wakizashi tend to show little taper between base and tip, resulting in a bold and imposing appearance with an extended Kissaki.

Most of his katana bear tachi-style signatures, while Wakizashi and Tantō are signed on the Omote side when worn. The tang is shaped with a fisho bottom Funazoko-style and V-shape heel end. After receiving the title of Yamato-no-Kami, he incorporated a hidden chisel mark (Kakushi tagane) at the hidden bottom of the tang as an anti-forgery measure. In many works after this period, he omitted the year, month, and day on the ura inscription, instead recording only the zodiac sign and typically indicating the season simply as “spring” or “autumn.”
He passed away on the thirteenth day of the seventh month of Bunsei 9 (1826), at the age of eighty-three.

This work was made when he was thirty-eight years old. Its broad and powerful construction exemplifies the Satsuma Shinshintō style. Both Nie and Nioi are exceptionally sparklies bright and deep luster, particularly from the upper Monouchi to the Kissaki, the brilliance of the Nie emits a striking, luminous sparkle. The profusion of Ji-nie appears to bloom across the surface, clearly expressing the smith’s distinctive characteristics.
Both the Sugata, it's Jihada and Hamon are remarkably well preserved, radiating vitality—an outstanding example among his works. The tang shows excellent taste of patina, with file marks remaining exceptionally clear. The chisel strokes of the inscription on both sides are crisp and fully intact, making this a superbly preserved piece.
Recent exellent polish/Condition scale: mint - exellent (using a scale of mint-excellent-very good-good-fair-poor).
Gold-foiled double layer Habaki, preserved in a plain shirasaya