This is a signed wakizashi by Kawachi no Kami Yasunaga, who worked in the latter half of the 17th century and was part of the Kii Ishido School. The blade features a ko itame nashiji hada and a bright toranba hamon with ko-nie, mounted in a good quality shirasaya with a silver foil habaki. It comes with a Tokubetsu Kicho paper from the NBTHK, dated 1977, attesting to its signature and quality.
NihontoWatchmei · Kii Ishido · Shinto · nagasa 45.5cm · sori 1.3cm
Shinto · Settsu · around 1661-1673
Fujishiro Jo saku · Tōken Taikan top 76%
1 piece on the market now
Where Yasunaga stands among comparable artisans: across all of nihontō, and within tradition, era, and period. The tiers (Foremost · Leading · Major · Notable) weigh official designations from the NBTHK and Japan's Agency for Cultural Affairs, together with historical honors of lasting repute such as the Sansaku and Meibutsu-chō.
Select a lens to see how it's measured.
Shinto · Settsu
2 pieces on the market now
Settsu Province, and Osaka in particular, gathered the smiths the setsumei group under the name Osaka Ishido (大坂石堂). " Within that movement the setsumei trace a clear chain of teaching. Bicchu no Kami Yasuhiro stood at the head of the Kishu group, his followers sharing the "yasu"[[c:1]] element in their names; Kawachi no Kami Yasunaga, styled Hachizaemon, studied under Yasuhiro, moved from Kishu to Osaka, and took the title Kawachi no Kami. " Hanabusa Bizen no Kami Sukekuni and his nephew Sukeharu, also originally of the Kishu Ishido group, are named among the same body. The unifying aim the setsumei attach to all of them is the revival of Kamakura Bizen Ichimonji choji, "the Ishido lineage's traditional specialty," carried into the shinto era. The shared vocabulary is consistent across the register. " The temper divides into two modes the setsumei repeatedly distinguish: a flamboyant choji-midare aimed at Ichimonji, mixing o-choji, juka-choji-like blossoms, ko-choji, gunome, and togariba, with ashi and yo entering vigorously; and a gunome with an opened "waist" (koshi no hiraita) compounded in fukushiki-fu manner, taking Sue-Bizen, and Yosazaemon no Jo Sukesada in particular, as its model. Through both runs a ko-nie-deki, nioi-dominant edge whose nioiguchi tends to tighten yet stays bright and clear, with tobiyaki, fine sunagashi, and kinsuji.
Sukekuni and Sukeharu are set slightly apart, working nie-laden gunome, notare mixed with gunome, hako-ba, and toran-like o-gunome, with suguha also frequent. To recognize the hand, the setsumei point to the boshi that enters midare-komi, sharpens to a point, and returns deeply, together with the tightening nioiguchi and intermixed togariba. " Nagayuki's Sue-Bizen copies are said to reproduce even the sugata and nakago, with compact proportions and sakizori capturing the late-Bizen silhouette; one example was thought aimed at Katsumitsu, in whom choji stands out. Named works anchor the standing of the group. A matched daisho dated Jokyo 3 (1686) bears the inscription "forged using Chigusa iron" (chigusa-tetsu), a piece read as a special commission; a dated katana of Jokyo 4 carries an added "nanban-tetsu" inscription; one blade holds a kinpun-mei reading "White Cloud / Tatara"[[c:2]]. Two Ujinagayuki katana descend from General Tani Tateki, the Meiji military figure and sword enthusiast. On the strength of his command of the choji edge and the Bizen tradition, the register names Tatara Nagayuki the leading master of Bizen-den among shinto smiths. Learn more →
| Smith | Era | Designated |
|---|---|---|
| Nagayuki長幸 | 1673-1681 | 10 |
| Sukekuni祐國 | 1661-1673 | 1 |
| Yasunaga康永 | 1661-1673 | 1 |
| Sukeharu祐春 | 1661-1690 | 0 |
Ōsaka: swords for the merchant capital
Ōsaka was the merchant capital, and its swords followed the money: luxury wakizashi for townsmen permitted no more than one, and the brilliant showpieces of Sukehiro’s tōranba and of Shinkai, called the Ōsaka Masamune. Swords made, frankly, to be looked at.
This work carries older NBTHK “Kichō”-era papers, which the NBTHK no longer issues and now regards as unreliable. To confirm the attribution, submission to an official Japanese examination body (such as the NBTHK or NTHK) for modern certification could be considered.
3-day return window from receipt.
This is a signed wakizashi by Kawachi no Kami Yasunaga, who worked in the latter half of the 17th century and was part of the Kii Ishido School. The blade features a ko itame nashiji hada and a bright toranba hamon with ko-nie, mounted in a good quality shirasaya with a silver foil habaki. It comes with a Tokubetsu Kicho paper from the NBTHK, dated 1977, attesting to its signature and quality.
NihontoWatchmei · Kii Ishido · Shinto · nagasa 45.5cm · sori 1.3cm
Shinto · Settsu · around 1661-1673
Fujishiro Jo saku · Tōken Taikan top 76%
1 piece on the market now
Where Yasunaga stands among comparable artisans: across all of nihontō, and within tradition, era, and period. The tiers (Foremost · Leading · Major · Notable) weigh official designations from the NBTHK and Japan's Agency for Cultural Affairs, together with historical honors of lasting repute such as the Sansaku and Meibutsu-chō.
Select a lens to see how it's measured.
Shinto · Settsu
2 pieces on the market now
Settsu Province, and Osaka in particular, gathered the smiths the setsumei group under the name Osaka Ishido (大坂石堂). " Within that movement the setsumei trace a clear chain of teaching. Bicchu no Kami Yasuhiro stood at the head of the Kishu group, his followers sharing the "yasu"[[c:1]] element in their names; Kawachi no Kami Yasunaga, styled Hachizaemon, studied under Yasuhiro, moved from Kishu to Osaka, and took the title Kawachi no Kami. " Hanabusa Bizen no Kami Sukekuni and his nephew Sukeharu, also originally of the Kishu Ishido group, are named among the same body. The unifying aim the setsumei attach to all of them is the revival of Kamakura Bizen Ichimonji choji, "the Ishido lineage's traditional specialty," carried into the shinto era. The shared vocabulary is consistent across the register. " The temper divides into two modes the setsumei repeatedly distinguish: a flamboyant choji-midare aimed at Ichimonji, mixing o-choji, juka-choji-like blossoms, ko-choji, gunome, and togariba, with ashi and yo entering vigorously; and a gunome with an opened "waist" (koshi no hiraita) compounded in fukushiki-fu manner, taking Sue-Bizen, and Yosazaemon no Jo Sukesada in particular, as its model. Through both runs a ko-nie-deki, nioi-dominant edge whose nioiguchi tends to tighten yet stays bright and clear, with tobiyaki, fine sunagashi, and kinsuji.
Sukekuni and Sukeharu are set slightly apart, working nie-laden gunome, notare mixed with gunome, hako-ba, and toran-like o-gunome, with suguha also frequent. To recognize the hand, the setsumei point to the boshi that enters midare-komi, sharpens to a point, and returns deeply, together with the tightening nioiguchi and intermixed togariba. " Nagayuki's Sue-Bizen copies are said to reproduce even the sugata and nakago, with compact proportions and sakizori capturing the late-Bizen silhouette; one example was thought aimed at Katsumitsu, in whom choji stands out. Named works anchor the standing of the group. A matched daisho dated Jokyo 3 (1686) bears the inscription "forged using Chigusa iron" (chigusa-tetsu), a piece read as a special commission; a dated katana of Jokyo 4 carries an added "nanban-tetsu" inscription; one blade holds a kinpun-mei reading "White Cloud / Tatara"[[c:2]]. Two Ujinagayuki katana descend from General Tani Tateki, the Meiji military figure and sword enthusiast. On the strength of his command of the choji edge and the Bizen tradition, the register names Tatara Nagayuki the leading master of Bizen-den among shinto smiths. Learn more →
| Smith | Era | Designated |
|---|---|---|
| Nagayuki長幸 | 1673-1681 | 10 |
| Sukekuni祐國 | 1661-1673 | 1 |
| Yasunaga康永 | 1661-1673 | 1 |
| Sukeharu祐春 | 1661-1690 | 0 |
Ōsaka: swords for the merchant capital
Ōsaka was the merchant capital, and its swords followed the money: luxury wakizashi for townsmen permitted no more than one, and the brilliant showpieces of Sukehiro’s tōranba and of Shinkai, called the Ōsaka Masamune. Swords made, frankly, to be looked at.
This work carries older NBTHK “Kichō”-era papers, which the NBTHK no longer issues and now regards as unreliable. To confirm the attribution, submission to an official Japanese examination body (such as the NBTHK or NTHK) for modern certification could be considered.
3-day return window from receipt.
