¥4,000,000

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About the school

Katayama Ichimonji School片山一文字派

The Katayama Ichimonji school arose when Norifusa of the Fukuoka Ichimonji lineage relocated to Katayama during the mid-Kamakura period. While the place name "Katayama" has traditionally been identified with Bitchū Province, recent scholarship has advanced the theory that it may instead refer to Katayama in the vicinity of Fukuoka in Bizen Province, inviting further investigation. Norifusa, working alongside contemporaries Sukezane and Yoshifusa, is particularly renowned for forging splendid *chōji-midare* patterns, and it is thought that the name continued across several generations given the variation in signature styles and workmanship breadth observed among extant signed works. The school is traditionally celebrated as having excelled especially at *naginata* production, and many surviving works are *naginata-naoshi* conversions, typically showing wide *mihaba* with high *shinogi*, thin *kasane*, and large *kissaki*. The collective technical style of Katayama Ichimonji is characterized by a strong, clear *jigane* showing tightly forged *itame-hada* mixed with *mokume* and occasional *nagare-hada*, with extremely fine *ji-nie* adhering thickly throughout the surface. Fine *chikei* enter well, and *midare-utsuri* stands out distinctly—a consistent feature across the school's production. The *hamon* displays *chōji-midare* that tends toward somewhat smaller-scale patterning than the Fukuoka Ichimonji group, mixing *ko-chōji*, *ko-gunome*, *togariba*, and related angular elements in densely varied configurations. A defining characteristic is the tendency for the undulations to show *saka-gakari*—a reverse-slanting inclination within the temper pattern—while abundant *ko-ashi* and *yō* enter well with a fine, detailed formation. The *nioiguchi* tends to be tight with *ko-nie* attaching, appearing bright and clear (*saeru*), often accompanied by *kinsuji*, *sunagashi*, and *yubashiri* effects. Many works show *tobiyaki* and occasional *muneyaki*, creating varied and vigorous scenery. The *bōshi* typically shows compact *midare-komi* ending in *yakitsume* or slight *maru* turn-backs. Although extant signed works are limited primarily to *tachi*, the unsigned works traditionally attributed to Katayama Ichimonji substantiate the school's reputation through consistent manifestation of its defining traits: the *saka-gakari* tendency in the temper, the small-patterned yet densely irregular *chōji-midare*, and the well-entering fine *ashi* within the *ha*. Many examples exhibit particularly vigorous and florid irregularities despite their small scale, with the *nioiguchi* displaying rich, full quality even within *nioi-deki* executions. The school's works are noted for retaining sound condition (*kenzen*) in both *ji* and *ha*, with the bright, clear appearance of the forging and the commanding vigor of the flamboyant *chōji* patterns representing enduring points of appreciation that distinguish Katayama Ichimonji within the broader Bizen Ichimonji tradition.

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