Edo was the sword’s age of connoisseurship: the Hon’ami appraisers, the shogunal register of famous blades of 1719, and a thriving literature turned the sword into an object of study even as it ceased to be drawn in war.
Weight: 1047g (excluding saya) It has arrived, it has arrived—a precious wazamono katana by Fujiwara Kuniyuki of Bungo has arrived. Since olden times, Kuniyuki's swords were so skillfully made that they rivaled the works of the master smiths of Hizen. It is a precious meito by Fujiwara Kuniyuki, of whom it is said that his works were so excellent they were often re-signed (gimei) in later generations as masterpieces by Hizen no Kuni Omi Daijo Tadahiro or Hizen no Kuni Mutsu no Kami Tadayoshi. The swordsmith Fujiwara Kuniyuki received the title of Yamato no Daijo, and there are works where he signed his mei as "Bungo Funai-ju Yamato no Daijo Fujiwara Kuniyuki." During the Kanbun era of the Edo period (circa 1661, 365 years ago), he resided in Funai, Bungo (modern-day central Oita City). Bungo Funai was originally the site of the 120,000-koku Funai Castle (Oita Castle, a "sea castle"), which later became the jinya of the Matsudaira clan, a fudai daimyo; there, swordsmiths demonstrated their great skill producing swords within the castle town. This katana is a tokubetsu chumon-hin (special order item) suited for nukiuchi (quick-draw). Its sugata features a wide motohaba with a significant difference at the sakihaba and shallow sori, exhibiting the typical Kanbun Shinto style of the period, similar to the works of Kotetsu in Edo. The jigane is a finely packed ko-itame hada with ji-nie, resulting in a konuka-hada with chikei, forged into a powerful steel. The hamon is a spirited nioi-deki with ko-nie, a suguha-tone temper line synchronized with the style of Hizen no Kuni Omi Daijo Tadahiro, consistently and skillfully baked from the moto to the saki. The Edo-period koshirae further adds splendor to this Fujiwara Kuniyuki katana. This Kuniyuki katana has been cherished for generations by an old family in its local Oita Prefecture. As they have grown old, they have entrusted it to us, asking that this 360-year-old sword be passed on at an affordable price to someone who will treasure it. Therefore, we are offering it at a special discount price. Please enjoy this precious meito by the renowned master smith Bungo-ju Yamato no Daijo Fujiwara Kuniyuki.
NihontoWatchEdo · nagasa 64.1cm · sori 1.2cm
Bizen-den · Bungo · around 1661-1673
Fujishiro Chu-jo saku · Tōken Taikan top 87%
3 pieces on the market now
Bizen-den · Bungo
43 pieces on the market now
In Bungo Province on Kyushu, the early Kamakura masters Sadahide and Yukihira appeared and then, for a span, distinguished makers ceased; the setsumei repeatedly mark this gap before the line that became the Takada school took hold. The school was founded in the Nanbokuchō period by Tomoyuki, who arose at Takada Manor (Takada-shō) and signed in the long form "Hōshū Takada-shō Fujiwara Tomoyuki," with dated work surviving from the Shōhei (1349) and Jōji eras into the 1360s. Beside him the registers place Tokiyuki, said to be his son or disciple, and Masayuki, thought to belong to a separate line, whose Kentoku 2 (1371) tantō carries Southern Court dating and a Kurikara relief following the example of Yukihira. From these Nanbokuchō roots the lineage ran continuously through Muromachi and on into the shintō era. The naming itself tracks the periods: Nanbokuchō smiths prefixed Fujiwara; from Muromachi they signed Taira and shared the characters 盛・守・鎮・統, so the group is broadly called Taira-Takada (Heike or Hira-Takada); late in the line they returned to Fujiwara, and that stream, carried into the Edo period, is distinguished as Fujiwara-Takada. Named Muromachi hands in the setsumei include Taira Naomori (a ken dated Ōnin 3, 1469), Taira Nagamori, Takada Tatemori (Meiō 10, 1501), Taira Shizunori, and Fujiwara Shinkiyo. Across the blades a consistent vocabulary recurs. The jihada is itame mixed with mokume, frequently tending toward standing grain (hada-dachi) and, in the early work, drifting toward masame or nagare; ji-nie and chikei appear, the steel often carries a darkish kanagu tone with patches of jifu, and a whitish shirake-utsuri (sometimes a faint midare-utsuri) stands out conspicuously.
The temper runs from suguha and chū-suguha mixed with ko-gunome up to gunome-midare, with nie adhering and ashi and yō entering; kinsuji and sunagashi run through, and in fuller-tempered work tobiyaki, muneyaki and hitatsura develop (as in Nagamori's Eishō wakizashi). Founder-period Tomoyuki work is recognized by angular gunome spaced at wide intervals, an overall subdued (shizumi) impression, strong shirake with jifu, and a manner the setsumei liken to Sue-Sa and the Samonji group; the school as a whole shows Bizen-leaning utsuri, Yamato-tinged masame and nagare, and at its summit, in Shizunori, work judged to take Rai Kuniyuki as its model. Branch and period read off the signature prefix and the shape: deep curvature with an arched, upturned profile through mid-Muromachi, then broader blades with shallower sori and an extended chū-kissaki in the later phase. " Among the smiths the setsumei single out Nagamori as the most accomplished of the Heike-Takada, a suguha specialist with notably good jigane and skilled horimono, his name carried across several generations and dated freely in the Eishō and Daiei eras; one of his blades was bestowed by Shimazu Tsugutoyo of Kagoshima on the retainer Honda Chikaaki, and Tatemori is rated near him. The line reached into early shintō through Kunifusa, a disciple of Shizumasa of Takada who moved to Uwajima in Iyo, served Date Hidemune, and worked in a Horikawa manner. Provenance runs through the descriptions: Masayuki's tantō was transmitted in the Shōnai Sakai family with a Hon'ami Kōchū origami of Kyōhō 6 and recorded in the Kōzan oshigata and Umetada Meikan, and Nagamori's tachi survives with a maki-e and raden scabbard. The cutting-oriented robustness of the work, weighty in hand with thick kasane and a sturdy build, reflects the taste of an age of warfare, and these blades served as practical arms across Kyushu. The setsumei are candid that Takada has drawn a generally low evaluation in the field, and several of the registered pieces are framed expressly as answering that judgment, restoring the standing of a long lineage on the strength of its best surviving work. Learn more →
| Smith | Era | Designated |
|---|---|---|
| Tomoyuki友行 | 1350-1367 | 15 |
| Kunifusa國房 | 1615-1624 | 5 |
| Norishige則重 | 1558-1570 | 0 |
| Sadayuki貞行 | 1658-1661 | 0 |
| Masamori正盛 | 1573-1592 | 1 |
The Edo period (1615 to 1868)
Edo was the sword’s age of connoisseurship: the Hon’ami appraisers, the shogunal register of famous blades of 1719, and a thriving literature turned the sword into an object of study even as it ceased to be drawn in war.
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 siteFor returns due to customer circumstances, the cost is the customer's responsibility. For returns due to our mis-shipment or a defective item, we bear the cost.
¥850,000
Weight: 1047g (excluding saya) It has arrived, it has arrived—a precious wazamono katana by Fujiwara Kuniyuki of Bungo has arrived. Since olden times, Kuniyuki's swords were so skillfully made that they rivaled the works of the master smiths of Hizen. It is a precious meito by Fujiwara Kuniyuki, of whom it is said that his works were so excellent they were often re-signed (gimei) in later generations as masterpieces by Hizen no Kuni Omi Daijo Tadahiro or Hizen no Kuni Mutsu no Kami Tadayoshi. The swordsmith Fujiwara Kuniyuki received the title of Yamato no Daijo, and there are works where he signed his mei as "Bungo Funai-ju Yamato no Daijo Fujiwara Kuniyuki." During the Kanbun era of the Edo period (circa 1661, 365 years ago), he resided in Funai, Bungo (modern-day central Oita City). Bungo Funai was originally the site of the 120,000-koku Funai Castle (Oita Castle, a "sea castle"), which later became the jinya of the Matsudaira clan, a fudai daimyo; there, swordsmiths demonstrated their great skill producing swords within the castle town. This katana is a tokubetsu chumon-hin (special order item) suited for nukiuchi (quick-draw). Its sugata features a wide motohaba with a significant difference at the sakihaba and shallow sori, exhibiting the typical Kanbun Shinto style of the period, similar to the works of Kotetsu in Edo. The jigane is a finely packed ko-itame hada with ji-nie, resulting in a konuka-hada with chikei, forged into a powerful steel. The hamon is a spirited nioi-deki with ko-nie, a suguha-tone temper line synchronized with the style of Hizen no Kuni Omi Daijo Tadahiro, consistently and skillfully baked from the moto to the saki. The Edo-period koshirae further adds splendor to this Fujiwara Kuniyuki katana. This Kuniyuki katana has been cherished for generations by an old family in its local Oita Prefecture. As they have grown old, they have entrusted it to us, asking that this 360-year-old sword be passed on at an affordable price to someone who will treasure it. Therefore, we are offering it at a special discount price. Please enjoy this precious meito by the renowned master smith Bungo-ju Yamato no Daijo Fujiwara Kuniyuki.
NihontoWatchEdo · nagasa 64.1cm · sori 1.2cm
Bizen-den · Bungo · around 1661-1673
Fujishiro Chu-jo saku · Tōken Taikan top 87%
3 pieces on the market now
Bizen-den · Bungo
43 pieces on the market now
In Bungo Province on Kyushu, the early Kamakura masters Sadahide and Yukihira appeared and then, for a span, distinguished makers ceased; the setsumei repeatedly mark this gap before the line that became the Takada school took hold. The school was founded in the Nanbokuchō period by Tomoyuki, who arose at Takada Manor (Takada-shō) and signed in the long form "Hōshū Takada-shō Fujiwara Tomoyuki," with dated work surviving from the Shōhei (1349) and Jōji eras into the 1360s. Beside him the registers place Tokiyuki, said to be his son or disciple, and Masayuki, thought to belong to a separate line, whose Kentoku 2 (1371) tantō carries Southern Court dating and a Kurikara relief following the example of Yukihira. From these Nanbokuchō roots the lineage ran continuously through Muromachi and on into the shintō era. The naming itself tracks the periods: Nanbokuchō smiths prefixed Fujiwara; from Muromachi they signed Taira and shared the characters 盛・守・鎮・統, so the group is broadly called Taira-Takada (Heike or Hira-Takada); late in the line they returned to Fujiwara, and that stream, carried into the Edo period, is distinguished as Fujiwara-Takada. Named Muromachi hands in the setsumei include Taira Naomori (a ken dated Ōnin 3, 1469), Taira Nagamori, Takada Tatemori (Meiō 10, 1501), Taira Shizunori, and Fujiwara Shinkiyo. Across the blades a consistent vocabulary recurs. The jihada is itame mixed with mokume, frequently tending toward standing grain (hada-dachi) and, in the early work, drifting toward masame or nagare; ji-nie and chikei appear, the steel often carries a darkish kanagu tone with patches of jifu, and a whitish shirake-utsuri (sometimes a faint midare-utsuri) stands out conspicuously.
The temper runs from suguha and chū-suguha mixed with ko-gunome up to gunome-midare, with nie adhering and ashi and yō entering; kinsuji and sunagashi run through, and in fuller-tempered work tobiyaki, muneyaki and hitatsura develop (as in Nagamori's Eishō wakizashi). Founder-period Tomoyuki work is recognized by angular gunome spaced at wide intervals, an overall subdued (shizumi) impression, strong shirake with jifu, and a manner the setsumei liken to Sue-Sa and the Samonji group; the school as a whole shows Bizen-leaning utsuri, Yamato-tinged masame and nagare, and at its summit, in Shizunori, work judged to take Rai Kuniyuki as its model. Branch and period read off the signature prefix and the shape: deep curvature with an arched, upturned profile through mid-Muromachi, then broader blades with shallower sori and an extended chū-kissaki in the later phase. " Among the smiths the setsumei single out Nagamori as the most accomplished of the Heike-Takada, a suguha specialist with notably good jigane and skilled horimono, his name carried across several generations and dated freely in the Eishō and Daiei eras; one of his blades was bestowed by Shimazu Tsugutoyo of Kagoshima on the retainer Honda Chikaaki, and Tatemori is rated near him. The line reached into early shintō through Kunifusa, a disciple of Shizumasa of Takada who moved to Uwajima in Iyo, served Date Hidemune, and worked in a Horikawa manner. Provenance runs through the descriptions: Masayuki's tantō was transmitted in the Shōnai Sakai family with a Hon'ami Kōchū origami of Kyōhō 6 and recorded in the Kōzan oshigata and Umetada Meikan, and Nagamori's tachi survives with a maki-e and raden scabbard. The cutting-oriented robustness of the work, weighty in hand with thick kasane and a sturdy build, reflects the taste of an age of warfare, and these blades served as practical arms across Kyushu. The setsumei are candid that Takada has drawn a generally low evaluation in the field, and several of the registered pieces are framed expressly as answering that judgment, restoring the standing of a long lineage on the strength of its best surviving work. Learn more →
| Smith | Era | Designated |
|---|---|---|
| Tomoyuki友行 | 1350-1367 | 15 |
| Kunifusa國房 | 1615-1624 | 5 |
| Norishige則重 | 1558-1570 | 0 |
| Sadayuki貞行 | 1658-1661 | 0 |
| Masamori正盛 | 1573-1592 | 1 |
The Edo period (1615 to 1868)
Edo was the sword’s age of connoisseurship: the Hon’ami appraisers, the shogunal register of famous blades of 1719, and a thriving literature turned the sword into an object of study even as it ceased to be drawn in war.
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 siteFor returns due to customer circumstances, the cost is the customer's responsibility. For returns due to our mis-shipment or a defective item, we bear the cost.
¥850,000
