This is a Katana by Higo-no-kami Kuniyasu, son of the 1st-generation Kawachi no Kami Kunisuke. The blade features a wide and thick shape with shallow curvature, showcasing a Koitame hada with fine Ji-nie and chikei. The Hamon is Gunome and fist-shaped Choji midare with ko-nie, typical of his work from the early Edo period.
NihontoWatchmei · Kanbun (1661-1673) · nagasa 69.7cm · sori 1.52cm
Osaka Shinto (Kawachi no Kami Kunisuke line) · Settsu · around 1661-1673
Tōken Taikan top 60%
4 pieces on the market now
Higo no Kami Kuniyasu, commonly called Genzaemon, signed his blades with a five-character mei and was the third son of the first-generation Kawachi no Kami Kunisuke of Osaka, the younger brother of the second generation whom the published sources call Naka-Kawachi. He worked in Settsu during the Kanbun years of the early Edo period, in the choji wing of the Osaka Shinto school. That line descends through Kunisuke from the Ishido tradition, which had revived the koto Bizen choji in new-sword steel, and Kuniyasu carries the manner one remove from its second-generation peak. The published record places him in skill just below his elder brother, observing that comparatively few of his works reach Naka-Kawachi in the quality of both ji and ha, while granting that the best of them approach him closely. On one katana the judges go further, finding the work so fully his own that it is 「中河内と選ぶところがない」[[c:1]], a piece that may be chosen without distinction from Naka-Kawachi.
What marks his hand first is the choji-midare and the fist-headed clove set within it. Over a suguha yakidashi that opens the temper above the hamachi, the ha rises into a choji-midare mixed with gunome, and into the pattern Kuniyasu sets the kobushi-gata choji, the clenched-fist heads that the second-generation Kunisuke had made the ornament of the line. On more than half his designated blades the judges name this feature as the point that exhibits his characteristic work, and on his richest katana the midare crests align further into juka-choji and admit the large-tasselled o-busa-choji, the temper running tall with marked rises and falls. The straight yakidashi at the base is the quiet tell that separates this from the old Bizen choji it otherwise recalls, an Edo Osaka convention rather than a Kamakura habit. Ashi enter the ha well, yo are sometimes mixed in, ko-nie adhere, and through the pattern run kinsuji and sunagashi, the nioiguchi staying bright and clear.
The jigane is a tight ko-itame, closely forged and laid with ji-nie, here and there opening into a patch of larger hada. On his finest work the ji-nie gathers fine and thick with delicate chikei, a forging the published sources call 「如何にも大阪新刀らしい」[[c:2]], thoroughly characteristic of Osaka shinto, beautiful and clear. The bohi and naginata-hi cut on one blade, and the double grooves on another, are the carving of a careful late hand. Over so animated an edge the boshi stays restrained, running straight and turning back in a small ko-maru rather than following the midare into the point, the calm finish the Osaka smiths favored. The sugata is the Kanbun-Shinto build, the mihaba slightly wide with little taper from base to tip, the kasane somewhat thick, the sori shallow and the chu-kissaki compact; one long katana extends past two shaku six sun in a dignified and well-balanced taihai whose thick kasane gives a real sense of weight in the hand.
The corpus the published record preserves is small and remarkably consistent: seven designated katana, all but one signed, all on ubu nakago carrying the five-character Higo no Kami Kuniyasu signature near the mune of the omote. There is no mumei or daimei problem to untangle and no dated survival to anchor a chronology, so the kantei rests entirely on the work, and the work is of one settled manner seen at two settings. At the everyday setting the choji-midare is regular and the kobushi-gata choji intermittent; at the best, on the late Reiwa-designated pieces, the temper broadens, the kobushi heads cluster and align, and the judges reach for their fullest praise. The phrase they apply to his most worked blade is exact: it is a 「拳形丁子乱れを焼いた典型作」[[c:3]], a quintessential example of his work in which the fist-shaped choji-midare is tempered above a yakidashi placed at the base.
Within the Kawachi-no-kami line Kuniyasu is the chief hand carrying the choji manner alongside and just beneath his brother. The resemblance the judges draw is to Naka-Kawachi, again and again, and it is a true one, grounded in the shared kobushi-gata choji, the dense ji-nie ko-itame and the bright nioiguchi the two brothers worked from the same workshop. His own blades are told within that closeness by degree rather than by a different feature: where his temper holds its rises and falls and avoids the rigidity into which the fist-shaped choji can stiffen, the result gains a natural texture and a depth of taste, and on one katana the published sources find his technical level revealed in 「殊更に拳形丁子を交えた華やかな丁子乱れに国康の技術の高さ」[[c:4]], the high skill shown in the gorgeous choji-midare with its fist-shaped heads. They call that blade a superior work that approaches Naka-Kawachi, 「中河内に迫る優品」[[c:5]].
In the connoisseurship he is a smith of the middle tiers rather than the summit, his record one of seven blades that have reached Juyo, none yet raised to Tokubetsu Juyo and none standing in the higher designations above it. None of the seven carries a recorded provenance or a named former owner, so his blades are encountered for the quality of their workmanship rather than for the houses they passed through. That makes him an accessible point of entry into the Osaka Shinto choji manner: a signed, sound Kanbun katana by Kuniyasu comes to the serious collector with some regularity, far more readily than the rare survivals of his father or the prized work of his brother Naka-Kawachi, and it offers the line's distinctive kobushi-gata choji on a blade that the judges themselves at their warmest set beside the second generation. The published sources give his common name as 「源左衛門」 and fix his place as the third son of the first Kawachi no Kami Kunisuke; the seven katana on record carry that lineage in steel, a careful and at moments brilliant hand working the brightest choji of the early Osaka school.
Where Kuniyasu 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.
Shinto · Settsu
77 pieces on the market now
Osaka in the early-to-mid Edo period was a merchant capital, a city of commerce and capital rather than a castle town tied to a single daimyo house, and the swordsmiths who gathered there worked for a wealthy townsman clientele as much as for warriors. The grouping known as Osaka Shinto (大坂新刀) took shape in Settsu from two feeder currents. One was the Horikawa line of Kyoto: Izumi no Kami Kunisada, the elder Kunisada whom later sources call the Oya-Kunisada, came down to Osaka after the death of his master Horikawa Kunihiro in Keicho 19 (1614), and with him came Kawachi no Kami Kunisuke, a late disciple of the same Kunihiro. The other was the Ishido tradition of Settsu and Ise, which had revived the koto Bizen choji in new-sword steel; the Kunisuke house traced its descent to that group, and its second generation, known as Naka-Kawachi, turned the line decisively toward the Ishido clove. From these beginnings the school grew through the Kanbun, Enpo, and Genroku years into the most coherent regional manner of the shinto age. What binds these smiths is a shared steel before any shared temper. The forging is the bright, packed Osaka ko-itame, sometimes called the Osaka-gitae, a jihada so tightly worked that the grain scarcely shows, the ji-nie adhering minutely and fine chikei threading the surface, the jigane clear and lustrous. A second constant is the start of the temper: nearly every blade opens with a straight suguha yakidashi at the base before the hamon declares its individual pattern, and a deep, bright nioiguchi runs the length above it. Within that common grammar the great hands diverge.
Tsuda Echizen no Kami Sukehiro founded the billowing toranba, the surging-wave toran-midare that became the school's most imitated signature. Inoue Shinkai, called the Osaka Masamune, tempered no wave at all but a deeply nie-laden suguha shading into shallow notare, with kinsuji and sunagashi entering vigorously, and the published sources pair the two by contrast as the school's two great champions, Sukehiro outstanding for nioi and Shinkai for fine ko-nie. Ikkanshi Tadatsuna carried the Sukehiro wave into his own sudareba, the surging temper that reads like a hanging bamboo blind, and matched it with the relief carving treasured as Ikkanshi-bori. The Echigo no Kami Kanesada line followed Sukehiro's toran so faithfully that the second generation is read as approaching the model, marking his own work with a leaning katayama-midare and three linked gunome below the yokote; Naka-Kawachi and his brothers Higo no Kami Kuniyasu and Ise no Kami Kuniteru held the rival clove wing, the flamboyant choji crowned by the fist-shaped kobushigata-choji over a beautifully ordered ji. A collector seeks Osaka Shinto for the union of bright steel and brilliant edge, an art-sword (bijutsu-token) appeal in which the jigane itself is half the pleasure. The grouping reads at kantei from its own grammar: look first for the Osaka-gitae, the lustrous near-muji ko-itame, then for the straight yakidashi opening the temper, then for the deep clear nioiguchi; the individual hand follows from the pattern above, Sukehiro's and Kanesada's and Tadatsuna's toran, Shinkai's nie-deep suguha, the Kunisuke wing's fist-shaped clove. The standing of the best members is high in the NBTHK register: Shinkai is rated Sai-jo saku, Tadatsuna and Kunisuke Jo-jo saku, and the line of the second Kanesada is held to rank immediately after Sukehiro and Shinkai, with later admirers such as the shinshinto smith Nagato no Kami Suketaka still copying the toranba a century on. Many of these blades are signed and dated, so their inscriptions double as documentary anchors for the whole tradition, and provenance, where it survives, runs through known houses and modern collectors, the Yamauchi of Tosa, the Itakura, the Imperial collection, and the Meiji sword-lover General Tani Tateki. A signed Shinkai of the Enpo prime or a dated Tadatsuna carrying his own carving is a landmark when it appears, while the productive clove masters of the Kunisuke wing offer a more attainable entry into the brightest steel and edge the early Osaka school produced. Learn more →
| Smith | Era | Designated |
|---|---|---|
| Shinkai真改 | 1649-1682 | 79 |
| Tadatsuna忠綱 | 1673-1717 | 53 |
| Kanesada包貞 | 1673-1682 | 78 |
| Kunisuke國助 | 1658-1663 | 10 |
| Kanesada包貞 | 1648-1652 | 10 |
Ōsaka: swords for the merchant capital
Ōsaka was the merchant capital, and its swords followed the money: luxury wakizashi for townsmen permitted no more than one, and the brilliant showpieces of Sukehiro’s tōranba and of Shinkai, called the Ōsaka Masamune. Swords made, frankly, to be looked at.
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 siteIf you wish to return an item, please notify us within 3 days of receipt. After this period we cannot accept cancellations. Please ship the return to us within 5 business days. Cancellation is conditional on the item being kept in the same condition as at the time of sale, so please handle it with care.
¥700,000
This is a Katana by Higo-no-kami Kuniyasu, son of the 1st-generation Kawachi no Kami Kunisuke. The blade features a wide and thick shape with shallow curvature, showcasing a Koitame hada with fine Ji-nie and chikei. The Hamon is Gunome and fist-shaped Choji midare with ko-nie, typical of his work from the early Edo period.
NihontoWatchmei · Kanbun (1661-1673) · nagasa 69.7cm · sori 1.52cm
Osaka Shinto (Kawachi no Kami Kunisuke line) · Settsu · around 1661-1673
Tōken Taikan top 60%
4 pieces on the market now
Higo no Kami Kuniyasu, commonly called Genzaemon, signed his blades with a five-character mei and was the third son of the first-generation Kawachi no Kami Kunisuke of Osaka, the younger brother of the second generation whom the published sources call Naka-Kawachi. He worked in Settsu during the Kanbun years of the early Edo period, in the choji wing of the Osaka Shinto school. That line descends through Kunisuke from the Ishido tradition, which had revived the koto Bizen choji in new-sword steel, and Kuniyasu carries the manner one remove from its second-generation peak. The published record places him in skill just below his elder brother, observing that comparatively few of his works reach Naka-Kawachi in the quality of both ji and ha, while granting that the best of them approach him closely. On one katana the judges go further, finding the work so fully his own that it is 「中河内と選ぶところがない」[[c:1]], a piece that may be chosen without distinction from Naka-Kawachi.
What marks his hand first is the choji-midare and the fist-headed clove set within it. Over a suguha yakidashi that opens the temper above the hamachi, the ha rises into a choji-midare mixed with gunome, and into the pattern Kuniyasu sets the kobushi-gata choji, the clenched-fist heads that the second-generation Kunisuke had made the ornament of the line. On more than half his designated blades the judges name this feature as the point that exhibits his characteristic work, and on his richest katana the midare crests align further into juka-choji and admit the large-tasselled o-busa-choji, the temper running tall with marked rises and falls. The straight yakidashi at the base is the quiet tell that separates this from the old Bizen choji it otherwise recalls, an Edo Osaka convention rather than a Kamakura habit. Ashi enter the ha well, yo are sometimes mixed in, ko-nie adhere, and through the pattern run kinsuji and sunagashi, the nioiguchi staying bright and clear.
The jigane is a tight ko-itame, closely forged and laid with ji-nie, here and there opening into a patch of larger hada. On his finest work the ji-nie gathers fine and thick with delicate chikei, a forging the published sources call 「如何にも大阪新刀らしい」[[c:2]], thoroughly characteristic of Osaka shinto, beautiful and clear. The bohi and naginata-hi cut on one blade, and the double grooves on another, are the carving of a careful late hand. Over so animated an edge the boshi stays restrained, running straight and turning back in a small ko-maru rather than following the midare into the point, the calm finish the Osaka smiths favored. The sugata is the Kanbun-Shinto build, the mihaba slightly wide with little taper from base to tip, the kasane somewhat thick, the sori shallow and the chu-kissaki compact; one long katana extends past two shaku six sun in a dignified and well-balanced taihai whose thick kasane gives a real sense of weight in the hand.
The corpus the published record preserves is small and remarkably consistent: seven designated katana, all but one signed, all on ubu nakago carrying the five-character Higo no Kami Kuniyasu signature near the mune of the omote. There is no mumei or daimei problem to untangle and no dated survival to anchor a chronology, so the kantei rests entirely on the work, and the work is of one settled manner seen at two settings. At the everyday setting the choji-midare is regular and the kobushi-gata choji intermittent; at the best, on the late Reiwa-designated pieces, the temper broadens, the kobushi heads cluster and align, and the judges reach for their fullest praise. The phrase they apply to his most worked blade is exact: it is a 「拳形丁子乱れを焼いた典型作」[[c:3]], a quintessential example of his work in which the fist-shaped choji-midare is tempered above a yakidashi placed at the base.
Within the Kawachi-no-kami line Kuniyasu is the chief hand carrying the choji manner alongside and just beneath his brother. The resemblance the judges draw is to Naka-Kawachi, again and again, and it is a true one, grounded in the shared kobushi-gata choji, the dense ji-nie ko-itame and the bright nioiguchi the two brothers worked from the same workshop. His own blades are told within that closeness by degree rather than by a different feature: where his temper holds its rises and falls and avoids the rigidity into which the fist-shaped choji can stiffen, the result gains a natural texture and a depth of taste, and on one katana the published sources find his technical level revealed in 「殊更に拳形丁子を交えた華やかな丁子乱れに国康の技術の高さ」[[c:4]], the high skill shown in the gorgeous choji-midare with its fist-shaped heads. They call that blade a superior work that approaches Naka-Kawachi, 「中河内に迫る優品」[[c:5]].
In the connoisseurship he is a smith of the middle tiers rather than the summit, his record one of seven blades that have reached Juyo, none yet raised to Tokubetsu Juyo and none standing in the higher designations above it. None of the seven carries a recorded provenance or a named former owner, so his blades are encountered for the quality of their workmanship rather than for the houses they passed through. That makes him an accessible point of entry into the Osaka Shinto choji manner: a signed, sound Kanbun katana by Kuniyasu comes to the serious collector with some regularity, far more readily than the rare survivals of his father or the prized work of his brother Naka-Kawachi, and it offers the line's distinctive kobushi-gata choji on a blade that the judges themselves at their warmest set beside the second generation. The published sources give his common name as 「源左衛門」 and fix his place as the third son of the first Kawachi no Kami Kunisuke; the seven katana on record carry that lineage in steel, a careful and at moments brilliant hand working the brightest choji of the early Osaka school.
Where Kuniyasu 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.
Shinto · Settsu
77 pieces on the market now
Osaka in the early-to-mid Edo period was a merchant capital, a city of commerce and capital rather than a castle town tied to a single daimyo house, and the swordsmiths who gathered there worked for a wealthy townsman clientele as much as for warriors. The grouping known as Osaka Shinto (大坂新刀) took shape in Settsu from two feeder currents. One was the Horikawa line of Kyoto: Izumi no Kami Kunisada, the elder Kunisada whom later sources call the Oya-Kunisada, came down to Osaka after the death of his master Horikawa Kunihiro in Keicho 19 (1614), and with him came Kawachi no Kami Kunisuke, a late disciple of the same Kunihiro. The other was the Ishido tradition of Settsu and Ise, which had revived the koto Bizen choji in new-sword steel; the Kunisuke house traced its descent to that group, and its second generation, known as Naka-Kawachi, turned the line decisively toward the Ishido clove. From these beginnings the school grew through the Kanbun, Enpo, and Genroku years into the most coherent regional manner of the shinto age. What binds these smiths is a shared steel before any shared temper. The forging is the bright, packed Osaka ko-itame, sometimes called the Osaka-gitae, a jihada so tightly worked that the grain scarcely shows, the ji-nie adhering minutely and fine chikei threading the surface, the jigane clear and lustrous. A second constant is the start of the temper: nearly every blade opens with a straight suguha yakidashi at the base before the hamon declares its individual pattern, and a deep, bright nioiguchi runs the length above it. Within that common grammar the great hands diverge.
Tsuda Echizen no Kami Sukehiro founded the billowing toranba, the surging-wave toran-midare that became the school's most imitated signature. Inoue Shinkai, called the Osaka Masamune, tempered no wave at all but a deeply nie-laden suguha shading into shallow notare, with kinsuji and sunagashi entering vigorously, and the published sources pair the two by contrast as the school's two great champions, Sukehiro outstanding for nioi and Shinkai for fine ko-nie. Ikkanshi Tadatsuna carried the Sukehiro wave into his own sudareba, the surging temper that reads like a hanging bamboo blind, and matched it with the relief carving treasured as Ikkanshi-bori. The Echigo no Kami Kanesada line followed Sukehiro's toran so faithfully that the second generation is read as approaching the model, marking his own work with a leaning katayama-midare and three linked gunome below the yokote; Naka-Kawachi and his brothers Higo no Kami Kuniyasu and Ise no Kami Kuniteru held the rival clove wing, the flamboyant choji crowned by the fist-shaped kobushigata-choji over a beautifully ordered ji. A collector seeks Osaka Shinto for the union of bright steel and brilliant edge, an art-sword (bijutsu-token) appeal in which the jigane itself is half the pleasure. The grouping reads at kantei from its own grammar: look first for the Osaka-gitae, the lustrous near-muji ko-itame, then for the straight yakidashi opening the temper, then for the deep clear nioiguchi; the individual hand follows from the pattern above, Sukehiro's and Kanesada's and Tadatsuna's toran, Shinkai's nie-deep suguha, the Kunisuke wing's fist-shaped clove. The standing of the best members is high in the NBTHK register: Shinkai is rated Sai-jo saku, Tadatsuna and Kunisuke Jo-jo saku, and the line of the second Kanesada is held to rank immediately after Sukehiro and Shinkai, with later admirers such as the shinshinto smith Nagato no Kami Suketaka still copying the toranba a century on. Many of these blades are signed and dated, so their inscriptions double as documentary anchors for the whole tradition, and provenance, where it survives, runs through known houses and modern collectors, the Yamauchi of Tosa, the Itakura, the Imperial collection, and the Meiji sword-lover General Tani Tateki. A signed Shinkai of the Enpo prime or a dated Tadatsuna carrying his own carving is a landmark when it appears, while the productive clove masters of the Kunisuke wing offer a more attainable entry into the brightest steel and edge the early Osaka school produced. Learn more →
| Smith | Era | Designated |
|---|---|---|
| Shinkai真改 | 1649-1682 | 79 |
| Tadatsuna忠綱 | 1673-1717 | 53 |
| Kanesada包貞 | 1673-1682 | 78 |
| Kunisuke國助 | 1658-1663 | 10 |
| Kanesada包貞 | 1648-1652 | 10 |
Ōsaka: swords for the merchant capital
Ōsaka was the merchant capital, and its swords followed the money: luxury wakizashi for townsmen permitted no more than one, and the brilliant showpieces of Sukehiro’s tōranba and of Shinkai, called the Ōsaka Masamune. Swords made, frankly, to be looked at.
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 siteIf you wish to return an item, please notify us within 3 days of receipt. After this period we cannot accept cancellations. Please ship the return to us within 5 business days. Cancellation is conditional on the item being kept in the same condition as at the time of sale, so please handle it with care.
¥700,000
