令和五年十一月一日指定 Jūyō-Tōken at the 69th Jūyō Shinsa (Designated November 1, 2023)

Tachi, mei: Chō (長) [Nagamitsu (長光)]

Measurements Nagasa 81.5 cm, sori 3.25 cm, motohaba 3.1 cm, sakihaba 1.8 cm, kissaki-nagasa 3.1 cm, nakago-nagasa 23.5 cm, nakago-sori 0.5 cm

Description Keijō: shinogi-zukuri, iori-mune; long in length; mihaba somewhat wide with a pronounced taper from base to tip; kasane of appropriate thickness; high koshizori with funbari; curvature also increases toward the tip; chū-kissaki slightly compact. Kitae: itame-hada mixed with mokume and nagare-hada; overall well-forged; ji-nie and chikei appear; around the middle of the ha-ura the ground shows a mottled, patch-like texture; distinct midare-utsuri stands out clearly. Hamon: Essentially chū-suguha; a suguha base mixed with ko-gunome, ko-notare, and slightly angular elements; abundant ashi and yō; the nioiguchi tends toward tightness; nioi is laid in with fine ko-nie; the nioiguchi is bright and clear. Bōshi: Very slightly shallow notare; the point has a yakizume-like appearance. Horimono: None. Nakago: Slightly suriage; tip cut (kiri); yasurime indistinct; two mekugi-ana; below the second mekugi-ana on the ha-omote (the original peg hole), slightly toward the mune, the character “長” can be read faintly—traces of a longer signature remain.

Artisan Nagamitsu (長光), Osafune school

Era Late Kamakura period, estimated around the Shōan era (正安, ca. 1299–1302)

Explanation Nagamitsu was the son of Mitsutada, founder of the Osafune school, and is regarded as the second-generation smith of the lineage. Among Kamakura-period swordsmiths, he is known for leaving one of the greatest numbers of extant signed works. These exhibit no notable unevenness of quality, demonstrating that his technique was consistently mature and fully developed. Broadly speaking, his style can be divided into two types: one featuring a robust construction that carries forward the manner of his father Mitsutada, combined with flamboyant midare dominated by chōji; and another in which the blade is of normal width or relatively slender, with a comparatively gentle temper in a suguha-based mode enlivened by ashi.

The shape of this tachi presents the late-Kamakura style while retaining, to an extent, its original form, having been shortened only minimally. It is of notably long length with a high koshizori, and together with pronounced funbari conveys a crisp, dignified presence. The hiraniku is not excessively diminished; the sword feels weighty in hand and preserves a robust, healthy condition. The itame jihada, which clearly displays midare-utsuri, is well-forged throughout from base to tip, showing almost no looseness. The hamon, a suguha tone mixed with small gunome and related elements, is rich in the workings of ashi and yō; its nioiguchi is supple, yet also bright and clear, fully expressing Nagamitsu’s skill. From its style, the work is inferred to date from the smith’s later years, around the Shōan era. Although the loss and corrosion of the signature is regrettable, the blade is an excellent piece suffused with a quiet refinement that more than compensates for this.

令和五年十一月一日指定 Jūyō-Tōken at the 69th Jūyō Shinsa (Designated November 1, 2023)

Tachi, mei: Chō (長) [Nagamitsu (長光)]

Measurements Nagasa 81.5 cm, sori 3.25 cm, motohaba 3.1 cm, sakihaba 1.8 cm, kissaki-nagasa 3.1 cm, nakago-nagasa 23.5 cm, nakago-sori 0.5 cm

Description Keijō: shinogi-zukuri, iori-mune; long in length; mihaba somewhat wide with a pronounced taper from base to tip; kasane of appropriate thickness; high koshizori with funbari; curvature also increases toward the tip; chū-kissaki slightly compact. Kitae: itame-hada mixed with mokume and nagare-hada; overall well-forged; ji-nie and chikei appear; around the middle of the ha-ura the ground shows a mottled, patch-like texture; distinct midare-utsuri stands out clearly. Hamon: Essentially chū-suguha; a suguha base mixed with ko-gunome, ko-notare, and slightly angular elements; abundant ashi and yō; the nioiguchi tends toward tightness; nioi is laid in with fine ko-nie; the nioiguchi is bright and clear. Bōshi: Very slightly shallow notare; the point has a yakizume-like appearance. Horimono: None. Nakago: Slightly suriage; tip cut (kiri); yasurime indistinct; two mekugi-ana; below the second mekugi-ana on the ha-omote (the original peg hole), slightly toward the mune, the character “長” can be read faintly—traces of a longer signature remain.

Artisan Nagamitsu (長光), Osafune school

Era Late Kamakura period, estimated around the Shōan era (正安, ca. 1299–1302)

Explanation Nagamitsu was the son of Mitsutada, founder of the Osafune school, and is regarded as the second-generation smith of the lineage. Among Kamakura-period swordsmiths, he is known for leaving one of the greatest numbers of extant signed works. These exhibit no notable unevenness of quality, demonstrating that his technique was consistently mature and fully developed. Broadly speaking, his style can be divided into two types: one featuring a robust construction that carries forward the manner of his father Mitsutada, combined with flamboyant midare dominated by chōji; and another in which the blade is of normal width or relatively slender, with a comparatively gentle temper in a suguha-based mode enlivened by ashi.

The shape of this tachi presents the late-Kamakura style while retaining, to an extent, its original form, having been shortened only minimally. It is of notably long length with a high koshizori, and together with pronounced funbari conveys a crisp, dignified presence. The hiraniku is not excessively diminished; the sword feels weighty in hand and preserves a robust, healthy condition. The itame jihada, which clearly displays midare-utsuri, is well-forged throughout from base to tip, showing almost no looseness. The hamon, a suguha tone mixed with small gunome and related elements, is rich in the workings of ashi and yō; its nioiguchi is supple, yet also bright and clear, fully expressing Nagamitsu’s skill. From its style, the work is inferred to date from the smith’s later years, around the Shōan era. Although the loss and corrosion of the signature is regrettable, the blade is an excellent piece suffused with a quiet refinement that more than compensates for this.