NihontoWatchAs the saying "three sun of the point" suggests, a yari intended for stabbing retains sufficient lethal capability even with a point length of about three sun. Especially in narrow places such as indoors, an attack that aims and stabs a single point is effective, and this yari with its modest tsuka dimensions can be called a weapon that pursued maneuverability. The mei reads Masatsuna, and the smith listed in the Nihonto Meikan as "Masatsuna. Shogunal retainer Omori Tatsutaro Minamoto Bairo. Resident of Koishikawa Tozaki-cho. Around Genji" is likely this craftsman (Note). The nakago is long compared to the point, the area below the machi is made thick for robustness, and the point has a solid structure with an equilateral triangle cross-section. The jigane is a well-tightened ko-itame kitae, a hi is carved and applied with shu-urushi, and a suguha with a tightened nioiguchi is tempered to withstand fierce combat. The hyotan-shaped saya, finished in Negoro-style suminagashi-nuri mixing black with shu, truly reminds one of a gourd itself but is made of wood carving, with fine aogai scattered on the surface and samegawa wrapped around the constricted part to enhance its aesthetic beauty. The tsuka has aogai applied over the entire surface, designed with a mesh pattern in kuro-urushi. It was likely hung on a nageshi and used as protection in case of emergency; the tsuka dimensions are moderate, and it has an excellent texture as an indoor decoration. Note... Perhaps a confusion between the characters for Tsuna and Nawa. There is a wakizashi chiseled as "Tadanawa" among the early works of the first generation Awataguchi Omi no Kami Tadatsuna. Published in Ginza Joho Issue 320.
NihontoWatchOffered by Choshuya
Machine translation from the shop's Japanese · may contain errors ·
The Shinshintō revival
Around 1800 Suishinshi Masahide argued in his writings that the craft must return to the old masters’ methods: the fukkotō revival. His greatest successor Naotane worked convincingly in Bizen and Sōshū manners that had been dead for centuries.
Certifies a genuine blade worth preserving: a signature confirmed correct, or, if unsigned, an era, province, and school that the NBTHK can reliably identify.
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.
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