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Specifications

About the maker

Fukuoka Ichimonji Sadatoshi定利

Sadatoshi (定利) is transmitted as a Kyōto smith who resided on Ayakōji around the Bun'ei era (1264–1275) of the Kamakura period. His position within the Ayakōji tradition — a lineage of capital-based smiths — places him among the Kyōto-mono makers whose works are prized for their refined character and distinctive forging. The NBTHK sources describe Sadatoshi as an established smith with a recognizable individual style, one whose works are sufficiently numerous and consistent to permit meaningful comparison between examples. Published references to his blades appear in *Kunzan Nichinisshō*, *Kyō-mono no Komeisaku*, *Tōken to Rekishi*, and *Tōken Bijutsu*, reflecting sustained scholarly attention. Sadatoshi's characteristic forging is an *itame-hada*, at times with a slight *nagare* (flowing) tendency, in which *chikei* are visible and *ji-nie* is abundant. Both the jihada and the hardened edge retain what the NBTHK describes as an archaic, old-style taste — termed *kōchō* in character. His hamon is a *nie-deki* composition of ko-chōji mixed with ko-midare, and the *nioiguchi* characteristically takes on an *urumi* — a moist, softly diffused quality — that is identified as a distinguishing feature of this smith. In certain works, the nioiguchi is noted as being especially bright and clear relative to his broader output. The bōshi may show a tendency toward nie becoming disordered (nie-kuzure). The shinogi is sometimes broader and set higher than is ordinarily seen among his peers, and the curvature can vary, with some tachi displaying shallower sori than is typical. While hi (grooves) are occasionally encountered, horimono of other types are described as uncommon on Sadatoshi's works. The NBTHK evaluations consistently emphasize that Sadatoshi's works "clearly express the characteristic features of this smith," with the archaic ko-chōji and ko-midare composition and the urumi quality of the nioiguchi serving as reliable points of attribution. His blades are valued both as accomplished works of the Kyōto tradition and as documentary material for the Ayakōji school, a lineage where securely signed examples carry particular scholarly weight.

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