-, 42nd Session — Designated November 14, 1996
, : no Kami Tachibana Yasuhiro (備中守橘康広)
Measurements 74.1 cm, 1.4 cm, 3.15 cm, 2.2 cm, 3.4 cm, 23.0 cm, extremely slight
Description Keijō: , ; slightly wide with a noticeable taper from base to tip; high with a suggestion of ; shallow ; . : tightly forged, mixed with a tendency toward flowing grain; fine ; faint appears. : Begins with ; above this is mixed with , angular elements, , and ; and enter well, producing a flamboyant effect; in places it shows a reverse tendency; -dominant with a tightening tendency, and the is bright. : Straight with ; the tip shows slight ; the return is deep on the and somewhat deep on the . : None. : ; tip in -shaped style; are with decorative () finish; one ; on the , below the peg hole and toward the , is a rather large six-character signature; on the , centered below, is a chrysanthemum crest ().
Artisan no Kami Tachibana Yasuhiro (Kishū Ishidō lineage)
Era Early period
Explanation no Kami Yasuhiro—whose personal name was Tomita Gorōzaemon—was a representative smith of the Kishū Ishidō group. He later moved from Kishū to Osaka and became the founder of the Osaka Ishidō line. His workmanship follows what may be termed the hereditary specialty of the school: the tradition, with a forging pattern in which is clearly expressed, and with as his particular forte.
Regarding signatures, in his early period he cut such inscriptions as “Kōshū ni oite Yasuhiro” and “ no Yasuhiro,” and there are also examples in which he prefixes “Tōichi,” signing “ no Tōichi Yasuhiro.” After receiving the honorary title no Kami, he sometimes divided his inscriptions between the two sides of the tang, and as seen on the present work, he also carved a chrysanthemum crest on the reverse.
This shows a tightly forged mixed with a flowing tendency, together with a forging texture in which rises faintly. Over this he has hardened a and intermingled , angular elements, , and ; and enter vigorously, the tempering becomes brilliant, it is -dominant with a tightening tendency, and the is bright—thus displaying a fully characteristic performance. Compared with his customary works, one can observe greater height variation in the hardened edge, and the forms within the do not become merely small patterns; rather, the result is flamboyant and rich in spirit and force.
Moreover, although the present blade’s tempering reveals a reverse tendency, Yasuhiro’s work at times does show this feature, and it can be regarded as one of his distinctive traits. This is a sword in which no Kami Yasuhiro’s true strengths are displayed without reserve, and it exhibits an outstanding level of workmanship among his works.
