Description

This is a very long tachi from the late Kamakura period, attributed to Joshu Sueyuki, a student of Ayanokoji Sadatoshi. It features a high sori and a clear ko-itame hada with utsuri. The hamon is ko-nie deki with low ko-midare, and contains sunagashi and kinsuji.

AS25004 太刀: 無銘(城州末行)(特別保存刀剣)
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AS25004 太刀: 無銘(城州末行)(特別保存刀剣)

Tachi

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Tracked across 76 dealers worldwide · price history · sold archive

Specifications

Nagasa

88.3 cm

Sori

3.2 cm

Motohaba

3.26 cm

Sakihaba

2.33 cm

About the maker

Ayanokoji Sueyuki末行

3 Jūyō Tōken

Osafune Sadamitsu was a Sue-Bizen smith active during the late Muromachi period, known primarily through joint works (*gassaku*) produced with his contemporary Katsumitsu of the Osafune lineage. Sword reference works record three generations of the name extending through the Kakitsu era, yet Sadamitsu's existence around the Meio period could not previously be confirmed; the surviving dated *naginata* of Meio 8 (1499), produced in collaboration with Katsumitsu, serves to fill that documentary gap and stands as an important reference for research into Sue-Bizen production networks. The workmanship of the Katsumitsu-Sadamitsu collaboration displays the characteristic Sue-Bizen style of complex, compound *gunome* formations. The *kitae* shows *itame-hada* with a flowing tendency (*nagare-gokoro*), with *mokume* mixed in places; fine *ji-nie* adheres thickly, with delicate *chikei*, and *midare-utsuri* stands out. The *hamon* is based on open-at-the-base (*koshi no hiraita*) gunome, mixed with *togari-ba* and *ko-gunome*-like elements. The tempering band is broad with conspicuous undulations, while *ashi* and *yo* enter frequently; *ko-nie* adheres, and small *tobiyaki*, *sunagashi*, and *kinsuji* appear. The *nioiguchi* is bright and clear. Katsumitsu's particular contribution is noted as achieving a more florid and brilliant workmanship than other Sue-Bizen smiths by mixing abundant *choji* within the irregular pattern. The designation records emphasize the powerful and splendid carvings that accompany these works -- including *bonji* in superimposed carving (*kasanebori*) with *rendai*, and shrine dedication inscriptions -- as distinctive features of Sue-Bizen production. The supplementary inscriptions naming the Miyake clan, a lineage that continued into the Ukita family with its base in Kojima in Bizen, further elevate these works as important sources for understanding the relationship between Sue-Bizen smiths and the warrior clans who patronized them.

Dealer

Aoi Art

aoijapan.com

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