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About the maker

Horikawa Kunitsugu國次

Echigo no Kami Kunitsugu was a disciple of Horikawa Kunihiro, and one tradition holds that he was Kunihiro's nephew. The *Kokon Kaji Biko* records that he was "born in Obi in Hyuga Province and resided at Ichijo Horikawa in Joshu" and was "a maker of good workmanship." The *Shinto Shokan Yoroku* adds that "Masahiro and Kunitsugu appear to have been disciples who followed from Hyuga to the capital region." He is regarded as the youngest among Kunihiro's disciples and is seen as, in effect, the mentor who guided fellow-school smiths Izumi no Kami Kunisada and Kawachi no Kami Kunisuke -- an inference drawn from the close resemblance of their early workmanship and signature mannerisms to Kunitsugu's own. A separate smith of the same line, Echizen Daijo Kunitsugu, was among the outstanding students of Dewa Daijo Kunimichi, and it is conjectured that in Kunimichi's later years this Kunitsugu likely served in the capacity of producing *daisaku* (substitute forging) and *dai-mei* (substitute signing). A further tradition connects the same individual with the name Hokyo Rai Kunitsugu Nyudo Jutetsu. While many Horikawa works are understood as aiming toward the manner of higher-ranked *Soshu-den* masters such as Shizu and Sadamune, Kunitsugu is distinctive in presenting a style strongly imbued with Mino character -- particularly suggesting an emulation of Izumi no Kami Kaneyuki and the late-Seki mode. His forging shows two broad types: one with prominent grain and a rough *zanguri* texture typical of Horikawa works generally, and another with more tightly forged *jigane* in dense *ko-itame*. The *hamon* characteristically begins with a *suguha* *yakidashi*, followed by *ko-notare* mixed with *gunome*, angular, and pointed elements. The *nioiguchi* tends to tighten and shows a *shizumi* (subdued) tendency, with *nie* adhering and fine *sunagashi* running through. The *boshi* forms a shallow *notare*, returning roundly and deeply, often with *hakikake*. Horimono of *koshi-bi*, *naginata-hi*, *gomabashi*, and *suken* are frequently encountered. His signature is invariably cut as the seven characters "Echigo no Kami Fujiwara Kunitsugu," and no dated works are known. The arrangement of the signature is slightly distorted, with characters gradually growing larger as they descend -- a point especially worth noting in his tang construction. Relative to the blade, the tang tends to be short, and within the Horikawa group his chisel is described as the finest. Forms such as *unokubi-zukuri* and *kanmuri-otoshi-zukuri* are frequently encountered in his output, and blades in which "both *ji* and *ha* are *kenzen* (sound and well-preserved)" recur as a consistent note of praise. The NBTHK has assessed individual works as "a masterpiece among Kunitsugu's oeuvre," and collectively his production demonstrates a smith whose individuality is fully expressed within the Horikawa tradition.

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