Late Kamakura Katana attributed to Sueyuki for sale | Samurai Museum Shop
SOLD
Tracked across 81 dealers worldwide · price history · sold archive
Specifications
69.5 cm
1.8 cm
About the maker
Ayanokoji Sueyuki末行
Working in the Kyoto Yamashiro tradition around the Kagen era of the late Kamakura period, Sueyuki (末行) belonged to the Ayanokoji group, the early Kyoto school whose style is represented by Sadatoshi. The NBTHK setsumei note that the name "Sueyuki" appears in the *meikan* across several unrelated lineages (Ayanokoji, Senjuin, Taima, Ko-Bizen, and Ko-Aoe), but the workmanship of these blades, in *jigane*, *hamon*, and signature manner, places this smith firmly within the Ayanokoji group. The references describe him as a follower of Ayanokoji Sadatoshi, and one setsumei connects the quality of the *jiba* and overall bearing to Sadayoshi of the same group, inheriting the classically archaic style of the line. The forging is *itame-hada*, in places tending toward *hada-dachi* or mixed with *mokume*, *o-itame*, and a *jifu*-like grain; fine *ji-nie* adheres thickly, and a standing *nie-utsuri* (or *jifu-utsuri*) is a recurring feature typical of Kyo-mono. The *hamon* is founded on *suguha-cho* mixed with *ko-midare*, *ko-gunome*, *ko-choji*-like forms, and shallow *notare*, with *ashi* and *yo* entering and a bright *nioiguchi*. *Nie* covers the *habuchi*, which shows *hotsure*, small *tobiyaki*, and *yubashiri* that in places produce a *nijuba*-like impression, while *kinsuji* and *sunagashi* run as reliable *hataraki*. The *boshi* varies from straight with *maru* and slight *hakikake* to *midare-komi* tending toward *yakizume*. Sugata is an elegant tachi with high *koshizori* and remaining *funbari*. For collectors, the decisive kantei points are the Kyo character of the work: the densely adhering fine *ji-nie* raising *nie-utsuri*, the reverse-slanting (*saka-gakari*, *Kyo-saka-ashi*) tendency of the irregularities toward the point, and the *wazori*-like curvature that separates this hand from Bizen and Bicchu production. Extant signed works are few, so the surviving two-character *mei* examples carry particular weight, and even the *mumei* *ubu*-tang tachi is valued as the piece that should most properly be appraised as Sueyuki. One signed tachi is traditionally said to have been formerly owned by the Mizoguchi family, lords of the Shibata domain.
