Antique Japanese Sword Katana signed by Sagami no Kami Kunimasa NBTHK Tokubetsu Hozon Certificate

附属品

NBTHK Tokubetsu Hozon Certificate, Shirasaya Case, Koshirae Mounting, Traditional Sword Carrying Case, Sword Maintenance Kit, Full Exportation Support

Category

Katana (SHINTO)

Age

1661-1673 (Early Edo period)

Location

Settsu province (Today’s Osaka)→Iyo (Ehime prefecture)

登録証

Tokyo 4278

販売店の記載のまま

Summary This blade was signed by Sagami no Kami Kunimasa (相模守国維). Kunimasa was initially known as Sesshu Osaka Sumiyoshi Yoshishige and was active during the Kanbun era (1661-1673: the early Edo period). He was a disciple of the second-gen Tanba no Kami Yoshimichi who was the head of Mishina school, one of the most prestigious schools in Osaka during the early Edo period. Kunimasa primarily forged blades in Osaka but there is a record of him moving to Iyo province (Ehime prefecture) to exclusively serve Iyo Matsuyama domain (伊予松山藩). It is said that Kunimasa often did a Daisaku for his master. Daisaku is a regular act where an apprentice or a child of the swordsmith signs his master’s name with his master’s permission or forges a blade on behalf of the master. That means that his master highly acknowledged Kunimasa’s craftsmanship. That is also why there aren’t many remaining blades signed by Kunimasa, who dedicated his career to helping his master. He received Sagami no Mami title in his career. Kami is an honorable official given to skilled acknowledged swordsmiths from the imperial court during the Samurai period. Osaka Shinto The blades forged by Kunimasa are categorized as Osaka Shinto. Shinto is Japanese Sword terminology that refers to the swords forged during 1596-1781. The blades made in the Osaka area during this period are called Osaka Shinto. There are many famous swordsmiths in this Osaka Shinto era. After Hideyoshi Toyotomi built Osaka castle, Osaka city flourished as a castle town and became the business center. Many swordsmiths moved to Osaka to look for better opportunities. They not only forged swords for those Samurai who lived in Osaka but also for feudal lords nationwide. Ikanshi Tadatsuna (Awataguchi Omi no Kami Tadatsuna), Inoue Shinkai (his son), and Tsuda Sukehiro are the most famous among many swordsmiths. One of the most notable characteristics of Osaka Shinto is its beauty in Jigane. Jigane is a visible steel surface pattern created by folding and hammering during the forging process), which made it possible by the location of Osaka. Osaka had close access to the Tamahagane (special carbon steel to make Japanese swords) production sites. The swordsmiths residing in Osaka were able to get high-quality carbon steel from these sites. Silver Inlay Ichizan Issaizan (銀象嵌 一斬一切斬) Ginzogan (銀象嵌) refers to a traditional Japanese metal inlay technique where silver is embedded into the surface of another metal, typically iron or steel. This technique is commonly seen on the Nakago (tang) of Japanese swords, where decorative inscriptions or important information—such as the swordsmith’s name, date of production, or cutting tests (tameshigiri)—are inlaid in silver. In this case, the silver inlay writing says Ichizan Issaizan (一斬一切斬), which indicates the sharpness and cutting ability of this blade. Based on the letters “Ichizan (One single cutting attempt) and Issaizan (Cutting completely),” we presume this blade had excellent cutting ability when it was forged. Appraisal It is appraised as a Tokubetsu Hozon Token (特別保存刀剣) issued by NBTHK (Nihon Bijutsu Touken Hozon Kyokai:日本美術刀剣保存協会). *Please keep in mind that there are a tiny black rust on this blade. Fuchi-Kashira The motif of the Fuchi-Kashira is the praying mantis. The praying mantis is often depicted in Japanese classical art as a symbol of battle and victory. Its sharp front legs and predatory movements emphasize a combative image, and it is used to represent the martial valor and triumph of the samurai. Additionally, the praying mantis is sometimes seen as a symbol of indomitable spirit. Its strong vitality and persistence are interpreted as a representation of strength in the face of adversity, which is why it frequently appears in traditional art. Tsuka and Menuki We believe the theme of this Menuki is chrysanthemum (Kiku: 菊) A long time ago, the chrysanthemum was used as a medicine to obtain a long life in China, and it was brought to Japan with this thought in the Nara period (648-781). The chrysanthemum is one of the flowers that symbolize fall, and people have appreciated it very much since ancient times. As its petals form radially, the chrysanthemum has been likened to the sun. That is why this flower pattern is treated as the symbol of perpetual youth and longevity or good health. “Kiku no Gomon (菊の御紋)” is a kind of chrysanthemum pattern, and it has been used as the crest of the Emperor and the royal family in Japan, so it is well-known as a noble pattern. From the Kamakura (1185-1333) period to the Warring States period (1467-1615), the chrysanthemum crest was given as a reward from the Emperor back then to the warlords who made significant contributions. For example, Ashikaga Takauji (1305-1358), who became the first Shogun of the Muromachi Shogunate, cooperated with Emperor Go-Daigo (後醍醐天皇, 1288-1339) to dissolve the Kamakura Shogunate. And Takauji was given a chrysanthemum crest. In addition, Toyotomi Hideyoshi (1537-1598) was also given a chrysanthemum crest by Emperor Goyouzei. A theory says Hideyoshi was delighted and used this motif for furniture. At that time, the Emperor was regarded as God. Therefore, it was an irreplaceable honor for Samurais to receive the family crest from the Emperor. This is how the chrysanthemum pattern has a deep connection with Samurai culture. Tsuba and Habaki This tsuba features a Noh mask of Okame, a monkey with a spider, a fan with a mouse, and on the reverse side, an akebi (chocolate vine) fruit. Each motif draws from Japanese folklore and nature, reflecting the samurai’s playful spirit and cultural sophistication. Okame is a symbol of good fortune, the monkey represents wit and humor, and the spider suggests fate or patience. The fan and mouse evoke the feeling of summer and the cleverness of small creatures, while the akebi fruit expresses the wild beauty and harvest of autumn. Though a weapon, the sword becomes a “storytelling object” through such designs, quietly revealing the samurai’s sense of aesthetics and inner spirit. Kougai We believe the theme of this Kougai is wave (Nami: 波). As waves’ movements continue endlessly, the wave pattern represents eternity, immortality, longevity, birth, etcetera. Also, since tides repeatedly change the shape and terrain of rocks, some people hoped for a strong will by using this motif. People used this pattern wishing for an indomitable spirit to rechallenge time and time without giving up. Thanks to its dynamic design, this motif has been appreciated, especially for men’s Kimono (traditional Japanese costume). Bats (Komori 蝙蝠) are depicted on the Kojiri (the bottom of the Saya). According to a theory, the continent largely influenced the introduction of bats as a pattern. This animal is a symbol of happiness and longevity. In the continent, it was popular as an auspicious pattern that brings good luck because its Japanese name letter “蝠” and another word “福 (happiness)” have the same sound. The design depicting five bats is called the Gofuku (五福) and symbolizes longevity, wealth, health, descendants, and prosperity. Authentication Paper They authenticated the blade on Dec 4th in the 6th year of Reiwa (2024). They appraised it as Tokubetsu Hozon Touken, the blade especially worth preserving for Japanese society.