Sugata (Configuration): Hira-zukuri, Mitsu-mune construction. The blade is notably thick, with substantial kasane extending through to the tip, giving it a weighty and robust feel in the hand. (See enlarged blade photograph)
Jigane (Forging Pattern): TheJihada displays a distinct Masame-hada (straight-grain forging pattern) with Ji-nie finely dispersed throughout. Chikei appear in harmony with the Masame grain, accentuating the strength and clarity of the steel.
Hamon (Temper Pattern): A medium Suguha mixed with slight Ko-midare. Fine Ko-nie accumulates along the Habuchi in a continuous belt while delicate streaks of Sunagashi are faintly present.
Bōshi (Tip Temper): The temper line continues straight into a small rounded Ko-maru turnback, returning deeply along the Mune.
Nakago (Tang): Ubu (unaltered). The Yasurime are horizontal Kiri. The Mune surface is flat and finished with Kiri file marks also. Kurijiri with Ha-agari form. One Mekugi-ana. Near the mune on the Omote side is a five-character signature reading “Owari-no-Kuni MASAHIDE” or "Owari-koku MASAHIDE" in other saying 尾張国政秀.
MASAHIDE 政秀, whose personal name was Saitō Masahide 斉藤政秀 was a distinguished disciple of the 8th-generation master MASATSUNE 政常. He resided in Neriyamachi, Nagoya (present-day Marunouchi 2-chōme and Nishiki 3-chōme, Naka Ward, Nagoya), later relocating in his final years to Maetsu Shichihonmatsu (present-day Chiyoda 3-chōme, Naka Ward). Renowned for his mastery of Masame forging, he was particularly celebrated as a maker of Tantō.
Dated works by Masahide are known from Bunka 14 (1817), Ansei 5 (1858), the Keiō era, and Meiji 2–3 (1869–1870). He passed away in Meiji 5 (1872).
His signatures include “Bishū-jū Masahide”, “Owari no Kuni Masahide”, and “Bishū Meifu-jū Masahide.” Some works bear the honorary title inscription “Mino-no-Kami Fujiwara Masahide Saku, forged with sacred steel at Isuzu River in Jingū, on an auspicious day of the 2nd month of Kōka Kinotomi (1845)”, while others are inscribed “9th-generation descendant of Sagami no Kami Nyūdō Masatsune.”
This Tantō is an excellent example of his workmanship, fully demonstrating his mastery of the Masame-forging technique for which he was particularly esteemed.
Accompanied by: Yagyū-style Tantō Koshirae with Smoked-Leather Katate-maki Hilt
(click HERE for FRONT and HERE for the other side)
- Black ishime-lacquered scabbard sprinkled with blue pearl inlay
- Gold-lacquered Samegawa hilt wrapped in smoked-leather Katate-maki
- Yamagane under-cord ring (Sageo-kan) and Kaerizuno fitting
The Tsuka is covered with Same-gawa applied in the Nino-kiri style, finished in gold lacquer, and wrapped with smoked leather in Katate-maki fashion. Menuki are intentionally omitted, and the Sageo passes through a Yamagane copper ring. A matching Yamagane Kaerizuno is mounted nearby. The Ishime-lacquered saya, decorated with scattered blue pearl inlay, is partially shaved away between the ring and the Kaerizuno, ensuring secure attachment to the waist sash.
These distinctive features are characteristic of the concealed-dagger mountings traditionally associated with Yagyū shinobi. Emphasizing practicality and austerity, the mounting is deliberately free from superfluous ornamentation, and no Kozuka is fitted.
Preserved in a Shirasaya and fitted with a period single-layer silver Habaki.
references:
Honma Kunzan and Ishii Masakuni, Nihontō Meikan, Yūzankaku, 1975.
Iwata Atai, Owari Tōkōfu, Nagoya City Board of Education, 1984.
Sakairi Masayuki, Owari Koshirae – Yagyū Koshirae, Ribun Publishing, 25 December 2012.
