Katana - Mumei(No Sigunature) - NBTHK Hozon Certificate(Kongo Hyoe) - Shirasaya Koshirae - Ubu Nakago - Koto Era - Fukuoka 35318
SOLD
Tracked across 81 dealers worldwide · price history · sold archive
Specifications
71.7 cm
2.3 cm
2.82 cm
1.89 cm
About the school
Kongobyoe School金剛兵衛派
The Kongōbyōe school (*Kongōbyōe-ha*) flourished in Chikuzen Province during the Nanbokuchō period alongside the more celebrated Samonji lineage. Based in the Reizen district, the school takes its name from the artisan Kongōbyōe, though signed examples are exceedingly rare, with the earliest documented work being a *tantō* by Sadamori dated Shōhei 25 (1370) and designated an Important Art Object. This blade's signature—"Chikushū Reizen Sadamori"—confirms the school's geographic center and provides a stylistic benchmark for attributions within the tradition. Kongōbyōe blades exhibit a distinctive Yamato temperament (*Yamato kishitsu*) in both *jigane* and *hamon*, setting them apart from typical Kyūshū productions. The forging characteristically combines large *itame* with *nagare-hada* and prominent *mokume-hada*, creating surface texture that stands out conspicuously. The *jigane* tends toward a dark, slightly blackish tone with frequent *chikei* interwoven throughout. The *hamon* is invariably a narrow *suguha* or *hoso-suguha*, occasionally tinged with shallow *notare* or small *gunome* inflections. The *nioiguchi* displays a characteristic tight feeling (*shimari-gokoro*) with well-adhering *ko-nie*, while modest *kinsuji* and *sunagashi* create refined scenery spanning *ji* and *ha*. Near the cutting edge, *nagare-hada* often transitions to *masame*, and *hotsure* appears along the *habuchi*. The school's output demonstrates what period connoisseurs termed "metal flavor" (*kanamono*), reflecting Kyūshū forging traditions while maintaining the refined sensibility of Yamato technique. Extant works attributed to Ko-Kongōbyōe typically survive as greatly shortened (*ō-suriage*) blades with Nanbokuchō proportions—wide *mihaba*, shallow *sori*, and *ō-kissaki*—presenting dignified, powerful forms despite their modified state. The combination of dark-toned *jigane* densely filled with fine *chikei*, tight *nioiguchi*, and restrained *nie* activity creates a sober yet engaging aesthetic that distinguishes the school within the broader Chikuzen tradition.
