War at home and trade abroad made Muromachi Bizen the busiest forge region in Japan: a century of Sengoku demand after the Ōnin War, and export missions to Ming China carrying blades by the tens of thousands.
NihontoWatchNihontoWatchEisho era(A.D.1504-1521, late Muromachi period) Moto-haba (Width at Ha-machi) approx. 2.94cm Saki-haba(Width at Kissaki) approx.1.88cm Ukyonosuke Katsumitsu, along with his younger brother Sakyonojo Munemitsu, was a master smith who served the Sengoku daimyo Akamatsu Masanori. Akamatsu Masanori supported Hosokawa Katsumoto during the Onin War and became the Shugo of Bizen, Harima, and Mimasaka, but from Bunmei 15 onwards, he was defeated by the fierce attacks of his arch-rivals, the Bingo Shugo Yamana clan and the Bizen samurai Matsuda clan; in Bunmei 18, he evacuated from Fukuoka Castle to Kusakabe in the territory of his ally, the Bitchu Shugodai Sho Motosuke, and Katsumitsu and Munemitsu followed him to forge swords (Note 2) in that location. Katsumitsu and Munemitsu, who shared their fate with Akamatsu Masanori as he contended with powerful figures such as the Amago clan of Unshu, the Ouchi, and the Mori, swung their hammers with all their might and lived through the Sengoku history of the Sanyodo. This katana is a single piece with a date of Bunmei 18, the same as the Kusakabe-uchi (Note 3). The length, which does not even reach 2 shaku 1 sun, is the standard size for swords of this era, with a moderate mihaba, the meat of the shinogi-ji shaved down so that the shinogi-suji stands out relatively, a shallow sori, and a sharp chukissaki sugata. It is noteworthy that the nakago is short and suitable for one-handed operation, likely intended to be worn alongside a tachi and drawn quickly (the original thickness of the nakago is extremely thick). The jigane is ko-itame with ko-mokume, arranged with masame near the edge and tightly packed, with chikei observed between the grain, the jihada moistened with fine ji-nie, and a sophisticated, tough forge where a mist-like utsuri rising across the entire surface becomes midare and approaches the yakiba. The hamon of suguha is mixed with shallow notare and small patterns of undulation such as ko-gunome, the habuchi is somewhat tightened and bright with soft nie particles, and the habuchi is marked by yubashiri, fine kinsan, hotsure, and sunagashiri, with nijuba-style, kuichigai, ko-ashi, and yo entering in places, and the ha-chu is clear and filled with minute nie particles. The boshi enters with shallow midare, is hakikake, and returns in komaru. The mei characters are solemnly carved into the nakago with a fine chisel. It is a katana by Ukyonosuke Katsumitsu, of which few exist today. There is a small kitae-ware in the area near the hamachi that is hidden by the habaki.
NihontoWatchOffered by Choshuya
10 on the market
Machine translation from the shop's Japanese · may contain errors ·
Bizen-den · Bizen
10 pieces on the market now
The Katsumitsu school (勝光) grew within the Osafune workshops of Bizen province during their late-Muromachi phase, the period that the trade calls Sue-Bizen, when the smiths of the village worked in a shared idiom and signed their blades with the day and month of their making. The name Katsumitsu was carried by more than a dozen smiths from the middle of the Muromachi period onward, and the published sources single out those who cut a personal title above the mei: Ukyo-no-suke Katsumitsu, the senior of the line, and his son Jirozaemon-no-jo Katsumitsu, both counted among the most skilled of the Sue-Bizen makers and ranked beside Yosozaemon-no-jo Sukesada and Gorozaemon-no-jo Kiyomitsu as representative smiths of the late Bizen tradition. The line is inseparable from the Munemitsu branch, for Sakyo-no-shin Munemitsu was Ukyo-no-suke's younger brother, and the two hands together produced the joint blades long prized under the name Munekatsu gassaku. The genealogy continues into Jirobei-no-jo Harumitsu, son of Jirozaemon-no-jo Katsumitsu, whose own dated work survives across the Eisho, Daiei and Kyoroku eras of the early sixteenth century. The collective hand of the school is built on the open-waisted, double-structured gunome, the koshi-no-hiraita and fukushiki-gunome line that is the diagnostic late-Bizen signature, set over a well-packed ko-itame carrying ji-nie and fine chikei, in places a little standing or flowing. On the older and finer pieces a midare-utsuri rises over this steel, while on the latest blades the classical reflection has largely gone, the jigane itself looking powerful where the ji-nie lies fine as dust. The work is nioi-prevailing with ko-nie, ashi and yo entering richly, the nioiguchi clear and tightening, with small tobiyaki interspersed; the boshi answers the hamon, running midare-komi to a ko-maru or a pointed tendency with a turnback, and across both faces lie the devotional carvings of Sue-Bizen, a kurikara, bonji with suken, and shrine names such as Hachiman Daibosatsu and Amaterasu Kotaijin, which the sources are careful to ascribe to collaborating horimonoshi rather than to the smiths' own hands. Within this shared Bizen-den idiom the masters diverge by degree.
The Katsumitsu hands mix choji into the gunome most freely, the published record placing the conspicuous choji first in Katsumitsu and next in Munemitsu, for a more flamboyant effect than the plainer compound gunome general to the group; Munemitsu, by contrast, holds an established reputation as a superior maker of suguha, working a bright, smaller-scaled straight temper over an archaic-flavoured steel with standing utsuri. Harumitsu carries a quieter, more legible version of the same opened gunome, occasionally reaching back toward the older Oei-Bizen manner. To kantei a Katsumitsu blade is to weigh the high-grade chumon-uchi of the named masters against the bulk output of the Sukesada-era forges. The signed and dated pieces of the senior hands, with their bright choji-mixed gunome, their command of a clear suguha, and their fine devotional horimono, mark the upper edge of late-Bizen workmanship; Fujishiro grades both Katsumitsu hands Jo-jo saku and Harumitsu at the Jo-saku level. The school's signed and dated work survives in fair number, and its standing rests on documented joint blades and special-order commissions: the joint naginata-zukuri with Yosozaemon-no-jo Sukesada, dated Eisho 18 and incised Hagun-no-ken and Sanshin-soku-ittai, commissioned by Ukita Yoshie and treasured as an heirloom of the Sendai Date family; the Munekatsu katana and wakizashi, several forged on campaign at Kojima in Bitchu and valued for the light they throw on the smiths' movements; and the joint Katsumitsu-Harumitsu tanto and katana, prized as documentary material for the late Osafune genealogy. The patrimony runs through blades signed Bishu Osafune Katsumitsu recorded in Honma's inventory of the Imperial collection, through the joint katana inscribed Ichigo-ikkoshi held at Nogi Shrine, and through the old daimyo houses, each grounded in its own provenance. A signed Jirozaemon-no-jo or Ukyo-no-suke Katsumitsu, a dated Munemitsu, or a stout Harumitsu naginata comes to market only from time to time, and a dated, devotionally carved example, the kind on which one smith once wrote that nothing could surpass it, is a rewarding thing for a collector of late Bizen to encounter. Learn more →
| Smith | Era | Designated |
|---|---|---|
| Katsumitsu勝光 | 1490-1529 | 29 |
| Katsumitsu勝光 | 1469-1487 | 12 |
| Katsumitsu勝光 | 1528-1532 | 0 |
| Katsumitsu勝光 | 1492-1501 | 2 |
Bizen in the Muromachi period
War at home and trade abroad made Muromachi Bizen the busiest forge region in Japan: a century of Sengoku demand after the Ōnin War, and export missions to Ming China carrying blades by the tens of thousands.
A Hozon-certified blade judged to show notably superior workmanship and a better state of preservation. The bar is higher: re-tempered blades and most unsigned Muromachi/Edo works are excluded.
The NBTHK (Nihon Bijutsu Tōken Hozon Kyōkai, the Society for the Preservation of Japanese Art Swords) is a public-interest incorporated foundation founded in 1948 and supervised by Japan’s Agency for Cultural Affairs (Bunkachō); it is based at the Japanese Sword Museum in Tokyo. Its expert panels physically examine each submitted work (shinsa) and issue a certificate (kanteishō) ranking it by artistic and historical merit. NBTHK papers are the most widely recognized standard of authentication for Japanese swords and fittings.
NBTHK official siteIf, due to our fault, the item differs significantly from its proper condition, the item may be returned. Cooling-off is within one week of the item's arrival.
¥1,200,000