S72594(T5521)
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Tanto signed Awa-shū Yoshikawa Minamoto SUKEYOSHI with)Red stone surface lacquered scabbard Chisa-katana Koshirae

Shin-Shintō Late Edo Period (circa the Keiō era /1865-) Awa
Length of cutting edge 21.6cm No curvature Width at base 23.3mm Thickness at base 7.0mm

NBTHK(Hozon) certificate

with)Red stone surface lacquered scabbard Chisa-katana style Koshirae


Blade cionstruction(Sugata) : Hira-zukuri with Iori-mune. The blade forms virtually without curvature and possesses an exceptionally powerful, substantial form, with a notably weighty presence in the hand. Its weight is 166 grams including the Habaki.
(Enlarged photograph of the blade)
Forging (Jitetsu) : A vigorous Ko-itame Jihada interspersed with large Mokume, enriched by abundant Ji-nie and prominent Chikei. The forging displays a powerful, richly textured character.
Temper (Hamon) : Beginning with a short Yakidashi at the base, the Hamon develops into a succession of combined Gunome to form like box-shape in ranges, interspersed with pointed Gunome elements.
Temper of tip (Boshi) : The tempering runs straight before forming a medium-sized rounded gunome, with a deeply tempered Kaeri extending well down the Mune.
Tang(Nakago) : Ubu. The Nakago, on it's cutting edge side is slightly trimed off and terminates in a Ha-agari Kuri-jiri. The Yasurime are horizontal Kiri, while the Mune side exhibits Ō-sujikai Yasurime. There is one Mekugi-ana. On the Omote, above the Mekugi-ana, is the abbreviated provincial designation Awa-shū 阿州 below it is the five-character signature Yoshikawa Minamoto SUKEYOSHI 吉川源祐芳.

The smith SUKEYOSHI 祐芳 was a student of Osafune SUKENAGA 長船祐永 of Bizen province and lived in Tokushima, Awa Province. His initial art name was SUKEYOSHI 祐吉 in different charactar and his personal name was Yoshikawa Rokurō 吉川六郎.

A sword traditionally attributed to Kondō Isami 近藤勇, commander of the Shinsengumi, bears the signature “Awa-shū Yoshikawa Rokurō Suke-yoshi, Keiō Gan-nen Ushi-doshi Hachigatsu-hi 阿州吉川六郎祐芳 慶応元丑年八月. 日This blade is preserved in the Ryozen Museum of History. Dated works by Suke-yoshi from the Keiō era are consequently of particular historical interest and are highly regarded by knowledgeable collectors.

This tanto is especially impressive for its powerful, substantial construction, retaining considerable thickness from the base through to the point. The robust Jigane exhibits clearly defined Itame hada and has been forged with a vigorous, dynamic character. The somewhat box-like Fukushiki combined Gunome, reflecting the Bizen tradition, is rendered in Ko-nie-deki. Fine Nie-ashi extend toward the cutting edge, creating a bright, crisp and lively temper line.

The accompanying late-Edo-period tanto koshirae is an exceptional ensemble in its own right. Apparently made during the same period as the blade, it remains complete both internally and externally and survives in remarkably well-preserved condition. Together, the blade and Koshirae form a particularly attractive and desirable collector’s ensemble.

with) Red stone surface lacquered scabbard Chisa-katana style Koshirae
(click HERE for Koshirae in front / HERE for the other side / HERE for each fitting)
  • Fuchi-kashira and Kojiri: A matching set decorated with a Karahana, or Chinese-style floral, motif. Executed in polished Shibuichi with Kebori and Katakiri-bori engraving. Unsigned.
  • Menuki:Mandarin ducks (Oshidori), sculpted in relief and finished with gold Iroe.
  • Tsuba: Plain mokkō-shaped guard in polished copper Yamagane.
  • Kozuka:Karahana motif on a polished Shakudō ground, with gold inlay. Unsigned.
  • Tsuka: White Samegawa with black fine-silk ito in Hira-maki style.
Silver-layer Habaki with Yūjō-style Yasurime, preserved in a Shirasaya.
reference :
Honma Kunzan,Ishii Masakuni Nihonto meikan, Yuzankaku 1975