Sugata (Construction): Hira-zukuri, Iori-mune, with a slight Takenoko-zori (bamboo-shoot curvature). The blade is of standard width with a thick in Kasane, and displays a somewhat diminished Fukura. The tang is comparatively long in proportion to the blade, a configuration characteristic of forms widely seen from the closing years of the Nanbokuchō period through the early Muromachi period. (Enlarged blade photograph)
Jigane (Forging Pattern): The steel exhibits a slightly bluish-black hue. The Jihada is based on Mokume, intermixed with flowing Masame-like textures along both the Ha-side and the Mune-side, producing an overall standing grain appearance. Faint, bar-shaped Usuri can be discerned, imparting an elegant and archaic atmosphere.
Hamon (Temper Pattern): A ko-nie-deki Suguha, gently undulating and incorporating small irregularities and occasional Uhinoke. The interior of the Hamon is densely filled with Nioi and contains Nezumi-ashi and areas of slight fraying (Hotsure). From the Yakidashi rises a bar-like reflection resembling Mizukage.
Bōshi (Tip Temper): The tempered area rises high into the point, continuing in a straight course before forming a medium round turn-back (Chū-maru). The tip is swept slightly (Hakikake) and the temper descends deeply along the Mune.
Nakago (Tang): Ubu (unaltered), without curvature. The tang is unusually long relative to the blade length. Two Mekugi-ana. The Yasurime are Katte-sagari, while the Mune side is finished flat, with prominent Ō-sujikai file marks also present. The Nakago-jiri takes the form of an extremely Ha-agari Iriyama resembling a one-sided bevel. On the Omote side, near the Mune and below the first, archaic-looking Mekugi-ana, is the two-character signature "NORINAGA" 則長.
During the Nara period, Yamato Province flourished as the center of the development of the Yamato people, and it is believed that the Yamato smiths worked diligently in the service of the Imperial Court. By the late Heian period, the province prospered under the Fujiwara clan's promotion of Buddhism and as the influence of its great temples expanded, the major schools of Senjuin, Taima, Shikkake, Hōshō, and Tegai emerged, producing many distinguished swordsmiths.
NORINAGA 則長 is regarded as the founder of the Shikkake school. Extant works bearing dated inscriptions from Bunpō 3 (1319) and Ryakuō 3 (1340) are acknowledged. According to traditional swordsmith references, the first-generation NORINAGA 則長worked around the Shōō era (mid-Kamakura period), the second around Gentoku (late Kamakura period), the third around Jōji (Nanbokuchō period), the fourth around Ōei (early Muromachi period), and the fifth around Eikyō (mid-Muromachi period), all belonging to the Shikkake tradition of Yamato Province.
Because Yamato was repeatedly ravaged by conflicts involving warrior-monks, comparatively few works survive. Furthermore, many long Tachi have been shortened, and dated examples are exceptionally rare. Consequently, various theories exist regarding the attribution of individual generations of NORINAGA.
This Tantō closely resembles the dated Shōchō (1428) tantō illustrated in Nihon Tōkō Jiten: Kotō-hen, sign :“□amato-no-Kuni NORINAGA-saku Shōchō □ nen Hachigats-hi ” 『□和国則長作 正長□年八月日』. On both tang construction and style of inscription. It is therefore presumed to be the work of the same smith and is likely attributable to the fourth-generation NORINAGA as recorded in traditional swordsmith genealogies.
Rated Ō-wazamono (most supreme sharp performance) and Jō-saku (superior workmanship).
The accompanying Aikuchi koshirae, decorated with an elegant Momoyama-style Kara-hana motif, possesses a gold-tooled leather-covered scabbard (Kinkarakawa-zutsumi saya). The kōgai and kozuka, executed in Yamagane copper alloy and decorated with Kara-hana designs, are mounted en suite. The Karaki wood hilt, Tsutsu-gane, Fuchi-kashira, Koiguchi fitting and Shitodome are all of Yamagane finished with brown lacquer, giving the mounting a richly aged appearance.
Accompanied by: Kin-karakawa-zutsumi Saya Aikuchi Koshirae (reported and carried on page 63 of Edo no Tantō Koshirae Collection)
(click HERE for front /HERE for the other side)
Yamagane copper Habaki. Preserved in a Shirasaya.
Old polish/Condition scale: very good (using a scale of mint-excellent-very good-good-fair-poor).
references:
Fujishiro Yoshio Nihon Tōkō Jiten, Yoshio Fujishiro, Fujishiro Shoten, 1975.
Honma Junji/Ishii Masakuni Nihon Tō Meikan, Yūzankaku, 1975.
Ide Masanobu/Ando Hideyuki Edo no Tantō Koshirae Collection, Ribun Publishing, 1 October 1997.
