I16625(T6232)
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Tanto signed Bizen-koku-ju Osafune KIYOMITSU In the 8th month Eiroku 10th with)Vermillion Tame-nuri scabbard Scattered Karahana Motif Aikuchi-style Tanto Koshirae

Koto End Muromachi period (Eiroku 10th / 1567) Bizen
Length of cutting edge 27.0cm Width of base 26.1mm Thickness of base 8.5mm

NBTHK(Tokubetsu Hozon) certificate
NBTHK(Tokubetsu Kicho) certificate
Published in Yumei Koto Taikan

with)Vermillion Tame-nuri scabbard Scattered Karahana Motif Aikuchi-style Tanto Koshirae


Sugata (Configuration): Hira-zukuri Tantō. Iori-mune, measuring 8 sun 9 bu (approx. 27.0 cm) in blade length with substantial thickness at both base and point. The upper Fukura area a bit on less swelling, giving the blade a form designed with thrusting performance in mind. [High-resolution blade image]
Jihada (Forging Pattern):The Itame-hada is generally well and tightly forged. A distinct Yakidashi-utsuri reflection appears clearly, flanking a darkened area running parallel to the boundary Hamon.
Hamon (Temper Pattern):The temper begins with a slightly lowered and short Yakidashi at the Hamachi. It then develops into a wide Suguha incorporating a box-shaped element with small gunome near the base, gently undulating and interspersed with Nijū-ha. Isolated patches of Tobiyaki appear here and there. The boundary line of Habuchi is densely enlivened with short Nezumi-ashi, while Kinsen, Hotsure, and floating yō are visible within the quenching tempered area.
Bōshi (Point Temper):On the Omote side, the Bōshi becomes richly covered with Nie, breaks into a Hakikake pattern, sweeps toward the tip, and turns back deeply. On the Ura side, it remains straight before forming a small rounded tip Komaru,slightly swept with Hakikake and likewise returns deeply along the Mune.
Nakago (Tang):The tang is ubu (unaltered) with two, one in gourd-shaped mekugi-ana and the other is plugged. The Kurijiri end is prominently flared. It bears shallow katte-sagari Yasurime. On the upper portion of the Omote side, near the Mune, is the bold, confidently chiseled long signature executed by Magouemon-no-jō 孫右衛門尉　himself "Bizen-koku-jū Osafune KIYOMITSU"備前国住長船清光. The Ura side is inscribed with the date of manufacturing "A Day in the Eighth Month of Eiroku 10 (1567)" 永禄十年八月日.

During the late Muromachi period, the Osafune district of Bizen Province flourished as one of Japan's foremost sword-making centers. In response to the ever-increasing demand created by the Warring States period, the daimyō and warriors of the Sengoku era forged close relationships with the Osafune swordsmiths. Among them, the KIYOMITSU 清光 school, led by Gorōzaemon-no-jō 五郎左衛門尉 and later Magouemon-no-jō 孫右衛門尉 achieved particular distinction. Magouemon-no-jō KIYOMITSU succeeded Gorōzaemon-no-jō as the head of the Kiyomitsu lineage.
His extant dated works range from Eiroku 2 to Genki 2 (1559–1571) and together with Genbei-no-jō SUKESADA, he is celebrated as one of the finest master smiths who brought the glorious tradition of the Osafune school to its final culmination. Numerous surviving swords attest to the close relationship between KIYOMITSU and Sengoku warlords, especially those commissioned by his principal patron, Uragami Munekage, lord of Tenjinyama Castle, and by Munekage's senior retainer Hikasa Yorifusa, lord of Aoyama Castle.
The tang of this Tantō bears a magnificently executed signature chiseled by Magouemon-no-jō KIYOMITSU 孫右衛門尉清光 himself, together with the valuable date inscription of Eiroku 10 (1567). The blade retains an exceptionally healthy condition, preserving its remarkably thick Kasane and substantial heft in 273grams with Habaki, conveying an unmistakably robust character. The tightly forged Itame-hada is enhanced by a vividly defined reflection of Yakidashi-utsuri accompanied by a dark band running parallel to it's hamon. The wide Suguha with a gentle undulation—one of Kiyomitsu's typical tempering styles—is especially characteristic of his workmanship. The elegant Horimono of a Su-ken (ritual straight sword) and Gomabashi (Sanskrit chopstick grooves) reflects the religious devotion of the Uragami clan and their chief retainers to their guardian deities, while also demonstrating Kiyomitsu's exceptional ability to unite functional excellence with refined artistic beauty.
This very sword is introduced displaying in the book of "Yūmei Kotō Taikan" where it is praised with the remark: "Both the Jihada and Hamon are exceptionally well preserved and the workmanship is excellent"

Accompanied by:Tame-nuri Vermillion lacquered scabbard Aikuchi tantō koshirae with scattered Karahana floral motifs
Enlarged higher resolution image of koshirae (Front view / Reverse view / Detail photographs)
  • All metal fittings (fuchi-kashira, koiguchi, kurikata, uragawara, and kojiri): scattered karahana flowers design, Shakudō ground with Sukibori carving, polished rims, unsigned.
  • Menuki: Shakudō relief carving depicting a merchant carrying a balance pole.
  • Kozuka: Shakudō nanako ground with a design of bamboo and a leopard and tiger, unsigned.
  • Tsuka: wrapped over white Samegawa (ray skin)
Fitted with a single-piece gold-foiled Habaki and accompanied by a shirasaya.
References:
Osafune-chō shi, Ōtsuka Kōgeisha, 1998
Yoshiaki Iimura, Yūmei Kotō Taikan, Tōken Bijutsu Kōgeisha, 1982