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About the maker

Kiyomaro Nobuhide信秀

Kurihara Kenji Nobuhide was born at Sanjō in Echigo and began life as a maker of metal mirrors, turning to the sword only around Kaei 3 when he entered the Edo workshop of Yamaura Kiyomaro at Yotsuya. Of the master's pupils he is the one the published sources place nearest the source: examining a blade made before he took his title, the NBTHK writes that 'his technique was, among the members of that school, the closest to approaching the level of his master' (その技術は一門中、最も師に迫るものであり). He received the honorary title Chikuzen no Kami in the fifth month of Keiō 1, lived three years at Osaka, returned to Edo, and after the Haitōrei went home to Echigo and forged only a little until his death in Meiji 13. He signed Nobuhide, often Taira Nobuhide and, after the title, Kurihara Chikuzen no Kami Taira Nobuhide. With Kiyondo he is one of the two hands who carried the Kaei-era Sōshū revival of the Yotsuya Masamune into the Bakumatsu and early Meiji. What he aimed at is his teacher's manner, and within it the Shizu vein Kiyomaro favoured most. The published commentary states plainly that his workmanship 'resembles his teacher and excels in the Shizu tradition' (師に似て志津伝を得意としている). The temper is a *gunome-midare* into which he sets *togariba* and an angular *kaku-gunome*, a *chōji* feeling entering and at times mixing in, with *ashi* and *yō* well in. The activity is that of a deep *nie* edge: *ko-nie* adheres well, *sunagashi* streams through, and long *kinsuji* enter frequently, the *nioiguchi* bright and clear. The *bōshi* runs *midare-komi* and turns with a pointed tendency, often with *hakikake*, sometimes thrusting up to a small round. On a wide *hira-zukuri* wakizashi the judges read exactly this hand at full strength, 'a work full of commanding spirit, *sunagashi* and *kinsuji* operating repeatedly, giving a powerful impression' (覇気あふれる出来で、砂流し、金筋頻りに働いて力強い). The *jigane* is where his closeness to Kiyomaro tells most. Over an *itame* that flows and stands a little, at times mixed with *masame* and *mokume*, he lays a thick *ji-nie* with *chikei* entering frequently, the steel clear. There is no *utsuri*: this is a *shinshintō* hand reaching back to Sōshū through Shizu, not a Bizen one, and the brightness lives in the *nie* of *ji* and *ha* rather than in any reflection. His swords are imposing in shape, wide in body, the *kasane* often thin and the *sori* shallow, the *kissaki* extended or run to an *ō-kissaki*, several with a *sakizori* tendency. Set against this strength the published sources are candid about the limit of the inheritance: his spirit and forcefulness, they note more than once, do not reach his master's, even as the deftness of the work is beyond question. His own tell, the feature that is his alone in the school, is the carving. The mirror-maker's training gave him a hand for metal that the others lacked, and the NBTHK records that within the Yamaura line 'there are no blades but his that bear carvings' (山浦一派では彼の刀以外に彫物がない). The motifs are diverse and distinctively his: a grass-style *kurikara*, a jewel-chasing dragon, a dragon-riding Kannon, Ame-no-Uzume-no-Mikoto and mountain cherry at the *koshimoto*, *bonji* and *suken* beneath *futasuji-hi* and *bō-hi*. From Meiji 1, after study with the metal-artist Kanō Natsuo, his carving changes markedly into a shallow, low-relief manner. The form that accompanies the carving is the *katakiriba-zukuri*, which the published sources note is not uncommonly encountered among his swords, alongside the wide *hira-zukuri sunobi* wakizashi. Carving was so much the point of his work that on one entirely uncarved katana the judges turn the absence into praise: with no *horimono* to occupy the eye, they write, the blade is 'all the more such that it could be mistaken for his teacher Kiyomaro' (却って師清麿に見紛う程の出来). What separates him from his teacher is named in the commentary itself, and it is a matter of degree, not of kind. He works the same flowing *itame* with thick *ji-nie* and *chikei*, the same *gunome-midare* deep in *nie* with *sunagashi* and *kinsuji*, the same pointed *bōshi*; but where Kiyomaro's hand is read as overwhelming in spirit, Nobuhide's is read as the most skillful approach to it, the closest the school came. Among the Kiyomaro pupils his is the carved hand, the Osaka and Echigo wandering hand, the one whose blades can be dated and placed by their signatures and titles. He is therefore the open, knowable face of a school whose founder is the more mythologized for his short and violent life. For the collector he is an attainable Kiyomaro-school name of real quality. Fujishiro grades him Jō-jō saku, and the Tōkō Taikan values his work highly among *shinshintō* smiths. He has no National Treasures and no Important Cultural Properties; his record runs instead through the Jūyō Tōken rank, where something over thirty of his signed katana, wakizashi and naginata are designated. His provenance is grounded and historically resonant rather than broad: one *katakiriba* wakizashi of Keiō 1, the published sources record, 'was presented to Shogun Yoshinobu' (将軍慶喜に献上のものである), and a blade is preserved at the Hachiman shrine of his native Sanjō in Echigo. Most designated blades are held rather than traded, and only a small share fall in the tradeable tier, so a signed Nobuhide reaches the market only from time to time. When one does, it is among the most rewarding ways a collector can hold the Kiyomaro Sōshū manner, signed, dated, and often carried by his own carving.

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