Tokubetsu Hozon Token 『 Bushu ju Minamoto no MASAO saku Ansei sannen hachigatsu hi 』 Token Type 『Katana』 Mei 『Bushu ju Minamoto no MASAO saku Ansei sannen hachigatsu hi』 『Bushu ju Minamoto no MASAO saku』 Certificate 『Nihon Bijutsu Token Hozon Kyokai Tokubetsu Hozon Token』 NBTHK 『Tokubetsu Hozon Paper』 Era 『Ansei sannen』 Production age 『1857』 Minamoto no Masao (Suzuki Jiro Minamoto no Masao) was a prominent student of Minamoto Kiyomaro, a master swordsmith of the late Edo period. He was a master who most closely resembled his teacher Kiyomaro, and boasted the best skill among Kiyomaro's disciples. The fact that he signed "Masao" suggests that he was a disciple since Kiyomaro signed "Masayuki," and he is thought to be a veteran member of the school. He became independent in Kaei six and lived in Shitaya Okachimachi, Edo. His style inherits that of his teacher, but it is characterized by the low waist of the *gunome*, and the *mei* is in a fluent cursive style. This work features large *gunome midare* with deep *nie*, a bright and clear blade, *sunagashi* and *kinsuji* frequently running through the heads of the *gunome*, and from the *monouchi* it takes on a Soshu-den style with rough *nie* and violent *midare*, with layers of *kinsen* and a bright and clear *nioiguchi*. It is the best work of Masao, and a masterpiece that is in no way inferior to the masterpieces of Minamoto Kiyomaro. It is a rare sword that maintains the best condition from the perspective of soundness. 『Shape』Shinogi-zukuri, iori-mune, the *mihaba* is normal and does not drop to the *saki*, there is little *hiraniku*, there is a feeling of *fumbari*, the *sori* is deep, and the *o-kissaki* is elongated. 『Kitae』Ko-itame hada flowing with *mokume*, thick *ji-nie*, rough *ji-nie* in places, *jikei* enters well, well-forged and beautiful, with moisture in the *ji*. 『Hamon』Large *gunome midare* with deep *nie*, a bright and clear blade, *sunagashi* and *kinsuji* frequently running through the heads of the *gunome*, and from the *monouchi* it takes on a Soshu-den style with rough *nie* and violent *midare*, with layers of *kinsen* and a bright and clear *nioiguchi*. 『Boshi』Shallow *midarekomi*, the *omote* *saki* is violently *midare* and swept vigorously, the *ura* *saki* is flame-like and swept finely with a pointed tendency. 『Nakago』Ubu, *saki-kurijiri*, *yasurime* *sujikai*, *mekugi ana* 1, large *tagane* and bold cursive *mei* in the center of the *omote* and *ura*. 『Habaki』Gold-clad double 『Size』 Nagasa (Blade length) 69.7cm Ni shaku san sun, Sori 2cm Width of moto 3.1cm, Width of saki 2.5cm, Thickness of moto 0.7cm Thickness of saki 0.55cm
Certificate reading — 銘 武州住源正雄作 安政三年八月日
NihontoWatchmei · Shin-shinto · nagasa 69.7cm · sori 2cm
Shinshinto · Musashi · around 1844-1857
Fujishiro Jo-jo saku · Tōken Taikan top 31%
3 pieces on the market now
Yamaura Masao was born in Bunka 1 (1804) in Akaiwa village, Komoro, Shinano Province, the eldest son of the rural samurai Yamaura Nobukaze and elder brother of the celebrated Kiyomaro. Together with Kiyomaro, he studied under the Ueda domain smith Kawamura Toshitaka, signing early works as Kanri and Toshimasa before adopting the name Masao, then Shin'o, and finally Toshinaga in his later years. He used art names including "Tennenshi," "Yushaken," and "Yuunsai," and died in Meiji 7 (1874) at seventy-one.
His stylistic trajectory followed that of his brother: beginning with choji in the manner of Toshitaka, then shifting decisively toward Soshu-den. The setsumei consistently note a forging of itame-hada with thick ji-nie and conspicuous chikei, and a tempering of gunome mixed with ko-notare, richly laden with nie, kinsuji, and sunagashi. His finest katana (Juyo, 58th Session) is described as possessing "a powerful forging -- thick with ji-nie and heavily interwoven with chikei" in which "kinsuji and sunagashi activities are richer than usual even for this maker's work." Yet the NBTHK observes that "in comparison with Kiyomaro, his work tends to show fewer chikei in the ji and fewer sunagashi and kinsuji within the hardened area, and the overall quality does not reach Kiyomaro's level."
Despite this candid assessment, Masao's designated works demonstrate a smith of real accomplishment, particularly in the Soshu-den mode where nie is vigorously expressed and his shobuzukuri wakizashi display the sharp fukura-kare profile he favored. His output spans both katana of bold construction and wakizashi of refined character, and his commissions from named patrons attest to the regard in which he was held during the shinshinto era.
Where Masao 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.
Years he was demonstrably active, proven by signed-and-dated blades
Shinshinto · Musashi
13 pieces on the market now
The Kiyomaro school gathered in the workshops of Yotsuya in Edo around the middle of the nineteenth century, its founder Yamaura Kiyomaro (清麿) born in Bunka 10 (1813) at Akaiwa village in the Komoro district of Shinano, the second son of the country gentry-warrior Yamaura Nobukaze. Learn more →
| Smith | Era | Designated |
|---|---|---|
| Kiyomaro清麿 | 1839-1854 | 52 |
| Nobuhide信秀 | 1857-1867 | 34 |
| Kiyondo清人 | 1848-1868 | 8 |
| Masao真雄 | 1844-1866 | 6 |
| Masanao正直 | 1865-1868 | 3 |
A Hozon-certified blade judged to show notably superior workmanship and a better state of preservation. The bar is higher: re-tempered blades and most unsigned Muromachi/Edo works are excluded.
The NBTHK (Nihon Bijutsu Tōken Hozon Kyōkai, the Society for the Preservation of Japanese Art Swords) is a public-interest incorporated foundation founded in 1948 and supervised by Japan’s Agency for Cultural Affairs (Bunkachō); it is based at the Japanese Sword Museum in Tokyo. Its expert panels physically examine each submitted work (shinsa) and issue a certificate (kanteishō) ranking it by artistic and historical merit. NBTHK papers are the most widely recognized standard of authentication for Japanese swords and fittings.
NBTHK official siteWhen the item reaches you, please check immediately for damage and that it matches your order. We bear the shipping cost for a return; please send it freight-collect. Costs other than the item price cannot be refunded.
Tokubetsu Hozon Token 『 Bushu ju Minamoto no MASAO saku Ansei sannen hachigatsu hi 』 Token Type 『Katana』 Mei 『Bushu ju Minamoto no MASAO saku Ansei sannen hachigatsu hi』 『Bushu ju Minamoto no MASAO saku』 Certificate 『Nihon Bijutsu Token Hozon Kyokai Tokubetsu Hozon Token』 NBTHK 『Tokubetsu Hozon Paper』 Era 『Ansei sannen』 Production age 『1857』 Minamoto no Masao (Suzuki Jiro Minamoto no Masao) was a prominent student of Minamoto Kiyomaro, a master swordsmith of the late Edo period. He was a master who most closely resembled his teacher Kiyomaro, and boasted the best skill among Kiyomaro's disciples. The fact that he signed "Masao" suggests that he was a disciple since Kiyomaro signed "Masayuki," and he is thought to be a veteran member of the school. He became independent in Kaei six and lived in Shitaya Okachimachi, Edo. His style inherits that of his teacher, but it is characterized by the low waist of the *gunome*, and the *mei* is in a fluent cursive style. This work features large *gunome midare* with deep *nie*, a bright and clear blade, *sunagashi* and *kinsuji* frequently running through the heads of the *gunome*, and from the *monouchi* it takes on a Soshu-den style with rough *nie* and violent *midare*, with layers of *kinsen* and a bright and clear *nioiguchi*. It is the best work of Masao, and a masterpiece that is in no way inferior to the masterpieces of Minamoto Kiyomaro. It is a rare sword that maintains the best condition from the perspective of soundness. 『Shape』Shinogi-zukuri, iori-mune, the *mihaba* is normal and does not drop to the *saki*, there is little *hiraniku*, there is a feeling of *fumbari*, the *sori* is deep, and the *o-kissaki* is elongated. 『Kitae』Ko-itame hada flowing with *mokume*, thick *ji-nie*, rough *ji-nie* in places, *jikei* enters well, well-forged and beautiful, with moisture in the *ji*. 『Hamon』Large *gunome midare* with deep *nie*, a bright and clear blade, *sunagashi* and *kinsuji* frequently running through the heads of the *gunome*, and from the *monouchi* it takes on a Soshu-den style with rough *nie* and violent *midare*, with layers of *kinsen* and a bright and clear *nioiguchi*. 『Boshi』Shallow *midarekomi*, the *omote* *saki* is violently *midare* and swept vigorously, the *ura* *saki* is flame-like and swept finely with a pointed tendency. 『Nakago』Ubu, *saki-kurijiri*, *yasurime* *sujikai*, *mekugi ana* 1, large *tagane* and bold cursive *mei* in the center of the *omote* and *ura*. 『Habaki』Gold-clad double 『Size』 Nagasa (Blade length) 69.7cm Ni shaku san sun, Sori 2cm Width of moto 3.1cm, Width of saki 2.5cm, Thickness of moto 0.7cm Thickness of saki 0.55cm
Certificate reading — 銘 武州住源正雄作 安政三年八月日
NihontoWatchmei · Shin-shinto · nagasa 69.7cm · sori 2cm
Shinshinto · Musashi · around 1844-1857
Fujishiro Jo-jo saku · Tōken Taikan top 31%
3 pieces on the market now
Yamaura Masao was born in Bunka 1 (1804) in Akaiwa village, Komoro, Shinano Province, the eldest son of the rural samurai Yamaura Nobukaze and elder brother of the celebrated Kiyomaro. Together with Kiyomaro, he studied under the Ueda domain smith Kawamura Toshitaka, signing early works as Kanri and Toshimasa before adopting the name Masao, then Shin'o, and finally Toshinaga in his later years. He used art names including "Tennenshi," "Yushaken," and "Yuunsai," and died in Meiji 7 (1874) at seventy-one.
His stylistic trajectory followed that of his brother: beginning with choji in the manner of Toshitaka, then shifting decisively toward Soshu-den. The setsumei consistently note a forging of itame-hada with thick ji-nie and conspicuous chikei, and a tempering of gunome mixed with ko-notare, richly laden with nie, kinsuji, and sunagashi. His finest katana (Juyo, 58th Session) is described as possessing "a powerful forging -- thick with ji-nie and heavily interwoven with chikei" in which "kinsuji and sunagashi activities are richer than usual even for this maker's work." Yet the NBTHK observes that "in comparison with Kiyomaro, his work tends to show fewer chikei in the ji and fewer sunagashi and kinsuji within the hardened area, and the overall quality does not reach Kiyomaro's level."
Despite this candid assessment, Masao's designated works demonstrate a smith of real accomplishment, particularly in the Soshu-den mode where nie is vigorously expressed and his shobuzukuri wakizashi display the sharp fukura-kare profile he favored. His output spans both katana of bold construction and wakizashi of refined character, and his commissions from named patrons attest to the regard in which he was held during the shinshinto era.
Where Masao 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.
Years he was demonstrably active, proven by signed-and-dated blades
Shinshinto · Musashi
13 pieces on the market now
The Kiyomaro school gathered in the workshops of Yotsuya in Edo around the middle of the nineteenth century, its founder Yamaura Kiyomaro (清麿) born in Bunka 10 (1813) at Akaiwa village in the Komoro district of Shinano, the second son of the country gentry-warrior Yamaura Nobukaze. Learn more →
| Smith | Era | Designated |
|---|---|---|
| Kiyomaro清麿 | 1839-1854 | 52 |
| Nobuhide信秀 | 1857-1867 | 34 |
| Kiyondo清人 | 1848-1868 | 8 |
| Masao真雄 | 1844-1866 | 6 |
| Masanao正直 | 1865-1868 | 3 |
A Hozon-certified blade judged to show notably superior workmanship and a better state of preservation. The bar is higher: re-tempered blades and most unsigned Muromachi/Edo works are excluded.
The NBTHK (Nihon Bijutsu Tōken Hozon Kyōkai, the Society for the Preservation of Japanese Art Swords) is a public-interest incorporated foundation founded in 1948 and supervised by Japan’s Agency for Cultural Affairs (Bunkachō); it is based at the Japanese Sword Museum in Tokyo. Its expert panels physically examine each submitted work (shinsa) and issue a certificate (kanteishō) ranking it by artistic and historical merit. NBTHK papers are the most widely recognized standard of authentication for Japanese swords and fittings.
NBTHK official siteWhen the item reaches you, please check immediately for damage and that it matches your order. We bear the shipping cost for a return; please send it freight-collect. Costs other than the item price cannot be refunded.
