¥1,200,000

Tracked across 76 dealers worldwide · price history · sold archive

Specifications

About the school

Shizu School志津派

The Shizu tradition originated in Mino Province during the late Kamakura period when Kaneuji—originally of the Yamato Tegai school—relocated from his studies under Masamune of Sagami to the village of Shizu in Tagai District. Taking the place-name as his appellation, he became known as Shizu Saburō Kaneuji, and established a lineage that would become one of the most celebrated branches among the so-called *Masamune Jittetsu* (Ten Great Disciples of Masamune). While Kaneuji himself is often considered the paramount master of this group, the designation "Shizu" came to be applied broadly to unsigned works displaying the characteristic manner of this school, encompassing not only Kaneuji but also his contemporaries and successors working within the same stylistic orbit. A related category, Yamato Shizu, refers either to Kaneuji's early production before settling in Mino—when his work retained stronger Yamato Tegai characteristics—or to smiths of the Kanetsugu lineage who remained in Yamato rather than migrating to Mino. The collective hallmarks of Shizu workmanship reveal a distinctive synthesis of *Sōshū-den* brilliance and Yamato structural sensibilities. The forging typically displays flowing *itame-hada* mixed with *mokume*, frequently tending toward *hada-dachi* (standing grain), with areas where *masame* inclinations appear along the edge. A defining feature is the dense application of fine *ji-nie*, often described as thickly adhering, accompanied by abundant *chikei* that enter repeatedly to produce a notably clear and bright appearance. The *hamon* favors shallow *notare* as a foundation, mixed with *gunome*, *ko-gunome*, and pointed elements (*togariba*), forming compositions that range from gentle undulations to boldly disturbed patterns. The temper is richly *nie*-based, with vigorous *sunagashi* streaming through the pattern, frequent *kinsuji*, and in many examples a "wet" quality (*nureba*) within the tempered area. Characteristic activities include *hotsure* along the *habuchi*, occasional *nijūba* (double-temper) effects that recall Yamato influence, and in some works the presence of linked *gunome* sequences. The *bōshi* commonly enters in *midare-komi* or *notare-komi*, turning back with pointed or rounded forms, and frequently displays *hakikake* at the tip. Among the upper tier of *Sōshū-den* productions, works attributed to the Shizu lineage are particularly valued for the way their gleaming *ha-nie* activities create patterns that are both vigorous and refined. The thick *ji-nie* and prominent *chikei* in the forging, combined with the bright, clear *nioiguchi* in the temper, result in blades that are described as *saeru*—possessing a luminous clarity that distinguishes superior examples. While the style stands closest to Masamune among his disciples, the Shizu manner retains its own individuality: the blending of Yamato characteristics into the *Sōshū* tradition produces a distinctive temperament in both *ji* and *ha* that connoisseurs recognize at a glance. Many extant examples survive only as greatly shortened (*ō-suriage*) and unsigned (*mumei*) blades, yet the workmanship in such pieces typically remains sound and well-preserved (*kenzen*), testifying to the fundamental excellence of forging and tempering that defines this celebrated school.

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