K24754(T8613)
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Tanto signed KANEFUSA with)Black Lacquered Samegawa-Polished Scabbard Chisa-katana Koshirae

Koto End of Muromachi period (Eiroku era/circa 1558-) Mino
Length of cutting edge 26.8cm No curvature Width of base 24.9mm Thickness of base 6.85mm

NBTHK(Tokubetsu Hozon)certificate

with)Black Lacquered Samegawa-polished Scabbard Chisa-katana Koshirae


Sugata(configuration) : Hira-zukuri, iori-mune of standard width with an elongated blade, it has a thick Kasane at the base that gradually tapers toward the tip. The Fukura is slightly less swelling, giving the point a keen, piercing profile. This is a classic Yoroi-dōshi tantō, specifically designed with armor-piercing thrusts in mind. (Enlarged blade photograph)
Kitae(forging pattern) : Kitae is fine Itame hada, mixing with streaming Masame ware mostly along Hamon side. The entire steel shows bluish impression where generates whitish misty "Shirake-Utsuri" reflection.
Hamon(tempering pattern) : Beginning with a very short Yakidashi, the Hamon forms a Koshi-biraki Gunome-midare with a rather tight Nioiguchi, incorporating waist-pinched Chōji and slanting Chōji, creating an informal interpretation of the classic "Kanefusa-midare". The interior of the temper is filled with Nioi with floating Yō appearing throughout. The Ashi of the Gunome and Chōji intermingle, while dense accumulations of fine Ko-nie gather in the valleys of the undulations, over which delicate Sunagashi sweep gracefully.The entire Hamon shows exquisite quenching activities of Nie and Nioi.
Boshi (tip): Boshi forms Jizo's stature profile medium circle turns back deeply and connects to Muneyaaki.
Nakago(tang) : The Nakago is UBU original. One Mekugi-ana retaining hole. "Higaki" cross pattern file marks. Kurijiri uneven U-shaped heel in full. The signature is located underneath the Mekugi-ana two character KANEFUSA 兼房. The entire Nakago preserves clear mark of inscription with an excellent taste of patina.

During the Muromachi era, several generations of sword blacksmiths named KANEFUSA 兼房 lived in Seki town and had been the most famous and played one of the most major roles of sword production. Also they won the fame as it's Hamon so called " Kenbo Midare" 兼房乱 (slender waist, round head clove shape).
From the encyclopedia Nihonto Meikan 日本刀銘鑑, the founder KANEFUSA 兼房 was active in Eikyo era (1429-) as a son of KANESHIGE 兼重. However the earliest specific date of year is Bunmei 1 (1469) who is judged as a practical first generation.
KANEFUSA with date of year Bunmei 12 (1480) and 14 (1482) is provisional second generation and KANEFUSA with Iwami-no-kami 石見守 title of Daiei 7 (1527) is supposed to be the third generation.
The later generations in Koto period are Eiroku-Genki era (1558-72) as the 4th and the 5th generation of KANEFUSA would be active during Genki-Tensho era (1558-91).
Those KANEFUSAs of end Muromachi period are very good at quenching pattern of "Kanefusa midare" and had a great influences on the other sword makers in Seki town.
Noble sword smith Wakasa-no-kami UJIFUSA 若狭守氏房 was born in the 3rd year of Tenbun era (1534) as the 3rd son of the 3rd generation of Iwami-no-kami KANEFUSA 石見守兼房 in Gifu. He won the praise from the daimyo Oda Nobunaga 織田信長 and exclusively belonged to him.
The subject stirring and powerful Hirazukuri tanto is judge as a work by KANEFUSA from Eiroku era (1558-). There still remains almost original volume in Mihaba, rich volume in Kasane. Hamon shows his own peculiarity of "Kanefusa-midare".
For the age of exceeding 470 years, it's remains magnificent shape and shows rich activities of Nie and Nioi.

with) Black lacquered Samegawa-polished Chi'isa Katana-style Koshirae (click HERE for front and HERE for revesed side and HERE for each metal fitting)
  • Fuchi/Kashira : Autumun leaves KIKU chrysanthemum flower with a Cricket design, Shakudo cooper alloy ground Sukibori carving, Gold Iroe, signedNAGAYOSHI 長吉
  • Tsuba : Autum leaves and KIKU flower design, Brass ground, Sukibori carving, Hitsu-ana, unsigned
  • Menuki : KIKU flower bunch design, Shakudo ground,Katabori carving, Gold Iroe
  • Kozuka : Autum leaves and KIKU flower design, Shakudo Nanako-ji ground, Takabori carving, Gold Hokin back panel unsigned
  • Tsuka : White Rayskin dark-blue silk cord Tsuegumi-ito Morotsumami-maki wrap
Excellent old polish/Condition scale: excellent (using a scale of mint-excellent-very good-good-fair-poor)
Preserved in a Shirasaya.
reference data :
Suzuki Takuo/Sugiura Yoshiyuki, Muromachi-ki Mino-Toko-no-kenkyu, Ribun shuppan , 2006