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Description

This is a tachi by Bisyu Osafune Hidemitsu from the late Nanbokucho period. It features a deep sori and beautiful tachi figure with mokume hada and a suguha-style hamon with kataochi-gunome. The nioiguchi is bright and clear, making it one of Hidemitsu's greatest masterpieces.

NBTHK Setsumei

Juyo-Token, 68th Session — Designated November 2, 2022 Tachi, mei: Hidemitsu (秀光) Measurements Nagasa 71.2 cm, sori 1.7 cm, motohaba 2.8 cm, sakihaba 1.85 cm, kissaki-nagasa 3.0 cm, nakago-nagasa 19.8 cm Description Keijo: shinogi-zukuri, iori-mune; standard mihaba with little difference between base and tip widths; standard thickness; koshizori with additional curvature toward the tip; chu-kissaki. Kitae: itame-hada mixed with mokume, overall tightly forged; fine ji-nie adhering; frequent chikei; bo-utsuri appears. Hamon: A mid suguha basis mixed with gunome, ko-gunome, and angular kaku-gunome; places show a reverse tendency; frequent ashi and yo, with saka-ashi intermingled; the nioiguchi tends toward tightness and is nioi-gachi; nie gathers at the hamoto; within the temper there appear faint, nijuba-like lines of nie; kinsuji enters; the nioiguchi is bright and clear. Boshi: sugu; on the omote it turns back in ko-maru, and on the ura it shows a slightly pointed tendency; in both, the return is short. Horimono: None. Nakago: uekiri tip; katte-sagari file marks; three mekugi-ana; on the omote, above the third mekugi-ana (the original hole) and close to the mune side, there is a long signature. Artisan Osafune Hidemitsu Era Late Nanbokuchō period Explanation According to the reference works on signatures, Osafune Hidemitsu is treated as a lineage beginning with a first generation active in the Kenmu era, followed thereafter by smiths of the same name in the Ōan, Shitoku, and Ōei eras—four generations in all. However, a rigorous separation of these generations remains a matter that must await further research. This blade, judging from its workmanship and from the surviving dated examples by this line, corresponds to a Bizen swordsmith active in the closing phase of the Nanbokuchō period. In form, the blade has a standard width with little conspicuous taper from the base to the tip; it shows koshizori with somewhat more curvature toward the tip and concludes in chu-kissaki, thus presenting the style of the late Nanbokuchō period. The jigane is itame mixed with mokume, tightly forged, with fine ji-nie and frequent chikei, displaying an excellent forging, and bo-utsuri is evident. The hamon, based on mid suguha, mixes gunome and shows a reverse tendency, closely resembling the manner of the neighboring Aoe school. Above all, the bright and clear, vigorous nioiguchi throughout the ji and ha is especially appealing, and this sword stands out as an outstanding work by this smith. Setsumei by Ito (伊藤)

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Swords›Bizen-den›Kozori›Tachi: Bisyu Osafune Hidemitsu Juyo Token
tachiJūyō
Kozori School

Tachi: Bisyu Osafune Hidemitsu Juyo Token

mei · Osafune · Kenmu (1334-1338) ND · nagasa 71.2cm · sori 1.7cm

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Measurements & details
Smith
Kozori School
Type
Tachi
School
Kozori
Period
Kenmu (1334-1338) ND
Province
Bizen
Signature
Signed(0% of this smith's designated works are signed)
Measurements
Nagasa 71.2cmSori 1.7cmMotohaba 2.95cmSakihaba 1.9cmKasane 0.6cmWeight 700g
Description

This is a tachi by Bisyu Osafune Hidemitsu from the late Nanbokucho period. It features a deep sori and beautiful tachi figure with mokume hada and a suguha-style hamon with kataochi-gunome. The nioiguchi is bright and clear, making it one of Hidemitsu's greatest masterpieces.

NBTHK Zufu Commentary

Juyo #68

AI translation — may contain errors

-, 68th Session — Designated November 2, 2022

, : Hidemitsu (秀光)

Measurements 71.2 cm, 1.7 cm, 2.8 cm, 1.85 cm, 3.0 cm, 19.8 cm

Description Keijo: , ; standard with little difference between base and tip widths; standard thickness; with additional curvature toward the tip; . : mixed with , overall tightly forged; fine adhering; frequent ; appears. : A mid basis mixed with , , and angular ; places show a reverse tendency; frequent and , with intermingled; the tends toward tightness and is ; gathers at the hamoto; within the temper there appear faint, -like lines of ; enters; the is bright and clear. : ; on the it turns back in , and on the it shows a slightly pointed tendency; in both, the return is short. : None. : uekiri tip; file marks; three ; on the , above the third (the original hole) and close to the side, there is a long signature.

Artisan Hidemitsu

Era Late period

Explanation According to the reference works on signatures, Hidemitsu is treated as a lineage beginning with a first generation active in the Kenmu era, followed thereafter by smiths of the name in the , Shitoku, and Ōei eras—four generations in all. However, a rigorous separation of these generations remains a matter that must await further research. This blade, judging from its workmanship and from the surviving dated examples by this line, corresponds to a swordsmith active in the closing phase of the period.

In form, the blade has a standard width with little conspicuous taper from the base to the tip; it shows with somewhat more curvature toward the tip and concludes in , thus presenting the style of the late period. The is mixed with , tightly forged, with fine and frequent , displaying an excellent forging, and is evident. The , based on mid , mixes and shows a reverse tendency, closely resembling the manner of the neighboring school. Above all, the bright and clear, vigorous throughout the and is especially appealing, and this sword stands out as an outstanding work by this smith.

by (伊藤)

About the school

Kozori

古曽利

Bizen-den · Bizen

24 pieces on the market now

›

The Kozori (小反り) form a loose body of Bizen smiths who worked at and around Osafune in the closing decades of the Nanbokucho period and on into early Muromachi, and the NBTHK defines them less by descent than by exclusion: they are the late-Osafune hands who fall outside the specific lineages of Kanemitsu, Chogi, Motoshige and the Omiya group, gathered under one name as a convenience. Learn more →

42 recorded smiths148 designated works
Leading smiths
SmithEraDesignated
Hidemitsu秀光1375-139219
Iesuke家助1394-142811
Iemori家守1377-140615
Nariie成家1352-136221
Moromitsu師光1375-13907
Explore the Kozori school →
NBTHK Certificate
Jūyō Tōken重要刀剣
Important Sword
›

A blade of top-grade workmanship and condition, formally judged to rank with a nationally recognized Important Art Object (Jūyō Bijutsuhin). Awarded only at the NBTHK’s competitive annual examination.

Of Japan’s roughly 2.5 million registered swords, only 12,307 (about 1 in 203) have ever attained Jūyō.

About the NBTHK›

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 site→
Seller
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Return policy

Returns/exchanges/cancellations not accepted after shipment except for significant defects; if defective, return/exchange possible within 3 days of arrival (return shipping paid by customer).

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Description

This is a tachi by Bisyu Osafune Hidemitsu from the late Nanbokucho period. It features a deep sori and beautiful tachi figure with mokume hada and a suguha-style hamon with kataochi-gunome. The nioiguchi is bright and clear, making it one of Hidemitsu's greatest masterpieces.

NBTHK Setsumei

Juyo-Token, 68th Session — Designated November 2, 2022 Tachi, mei: Hidemitsu (秀光) Measurements Nagasa 71.2 cm, sori 1.7 cm, motohaba 2.8 cm, sakihaba 1.85 cm, kissaki-nagasa 3.0 cm, nakago-nagasa 19.8 cm Description Keijo: shinogi-zukuri, iori-mune; standard mihaba with little difference between base and tip widths; standard thickness; koshizori with additional curvature toward the tip; chu-kissaki. Kitae: itame-hada mixed with mokume, overall tightly forged; fine ji-nie adhering; frequent chikei; bo-utsuri appears. Hamon: A mid suguha basis mixed with gunome, ko-gunome, and angular kaku-gunome; places show a reverse tendency; frequent ashi and yo, with saka-ashi intermingled; the nioiguchi tends toward tightness and is nioi-gachi; nie gathers at the hamoto; within the temper there appear faint, nijuba-like lines of nie; kinsuji enters; the nioiguchi is bright and clear. Boshi: sugu; on the omote it turns back in ko-maru, and on the ura it shows a slightly pointed tendency; in both, the return is short. Horimono: None. Nakago: uekiri tip; katte-sagari file marks; three mekugi-ana; on the omote, above the third mekugi-ana (the original hole) and close to the mune side, there is a long signature. Artisan Osafune Hidemitsu Era Late Nanbokuchō period Explanation According to the reference works on signatures, Osafune Hidemitsu is treated as a lineage beginning with a first generation active in the Kenmu era, followed thereafter by smiths of the same name in the Ōan, Shitoku, and Ōei eras—four generations in all. However, a rigorous separation of these generations remains a matter that must await further research. This blade, judging from its workmanship and from the surviving dated examples by this line, corresponds to a Bizen swordsmith active in the closing phase of the Nanbokuchō period. In form, the blade has a standard width with little conspicuous taper from the base to the tip; it shows koshizori with somewhat more curvature toward the tip and concludes in chu-kissaki, thus presenting the style of the late Nanbokuchō period. The jigane is itame mixed with mokume, tightly forged, with fine ji-nie and frequent chikei, displaying an excellent forging, and bo-utsuri is evident. The hamon, based on mid suguha, mixes gunome and shows a reverse tendency, closely resembling the manner of the neighboring Aoe school. Above all, the bright and clear, vigorous nioiguchi throughout the ji and ha is especially appealing, and this sword stands out as an outstanding work by this smith. Setsumei by Ito (伊藤)

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Swords›Bizen-den›Kozori›Tachi: Bisyu Osafune Hidemitsu Juyo Token
tachiJūyō
Kozori School

Tachi: Bisyu Osafune Hidemitsu Juyo Token

mei · Osafune · Kenmu (1334-1338) ND · nagasa 71.2cm · sori 1.7cm

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Measurements & details
Smith
Kozori School
Type
Tachi
School
Kozori
Period
Kenmu (1334-1338) ND
Province
Bizen
Signature
Signed(0% of this smith's designated works are signed)
Measurements
Nagasa 71.2cmSori 1.7cmMotohaba 2.95cmSakihaba 1.9cmKasane 0.6cmWeight 700g
Description

This is a tachi by Bisyu Osafune Hidemitsu from the late Nanbokucho period. It features a deep sori and beautiful tachi figure with mokume hada and a suguha-style hamon with kataochi-gunome. The nioiguchi is bright and clear, making it one of Hidemitsu's greatest masterpieces.

NBTHK Zufu Commentary

Juyo #68

AI translation — may contain errors

-, 68th Session — Designated November 2, 2022

, : Hidemitsu (秀光)

Measurements 71.2 cm, 1.7 cm, 2.8 cm, 1.85 cm, 3.0 cm, 19.8 cm

Description Keijo: , ; standard with little difference between base and tip widths; standard thickness; with additional curvature toward the tip; . : mixed with , overall tightly forged; fine adhering; frequent ; appears. : A mid basis mixed with , , and angular ; places show a reverse tendency; frequent and , with intermingled; the tends toward tightness and is ; gathers at the hamoto; within the temper there appear faint, -like lines of ; enters; the is bright and clear. : ; on the it turns back in , and on the it shows a slightly pointed tendency; in both, the return is short. : None. : uekiri tip; file marks; three ; on the , above the third (the original hole) and close to the side, there is a long signature.

Artisan Hidemitsu

Era Late period

Explanation According to the reference works on signatures, Hidemitsu is treated as a lineage beginning with a first generation active in the Kenmu era, followed thereafter by smiths of the name in the , Shitoku, and Ōei eras—four generations in all. However, a rigorous separation of these generations remains a matter that must await further research. This blade, judging from its workmanship and from the surviving dated examples by this line, corresponds to a swordsmith active in the closing phase of the period.

In form, the blade has a standard width with little conspicuous taper from the base to the tip; it shows with somewhat more curvature toward the tip and concludes in , thus presenting the style of the late period. The is mixed with , tightly forged, with fine and frequent , displaying an excellent forging, and is evident. The , based on mid , mixes and shows a reverse tendency, closely resembling the manner of the neighboring school. Above all, the bright and clear, vigorous throughout the and is especially appealing, and this sword stands out as an outstanding work by this smith.

by (伊藤)

About the school

Kozori

古曽利

Bizen-den · Bizen

24 pieces on the market now

›

The Kozori (小反り) form a loose body of Bizen smiths who worked at and around Osafune in the closing decades of the Nanbokucho period and on into early Muromachi, and the NBTHK defines them less by descent than by exclusion: they are the late-Osafune hands who fall outside the specific lineages of Kanemitsu, Chogi, Motoshige and the Omiya group, gathered under one name as a convenience. Learn more →

42 recorded smiths148 designated works
Leading smiths
SmithEraDesignated
Hidemitsu秀光1375-139219
Iesuke家助1394-142811
Iemori家守1377-140615
Nariie成家1352-136221
Moromitsu師光1375-13907
Explore the Kozori school →
NBTHK Certificate
Jūyō Tōken重要刀剣
Important Sword
›

A blade of top-grade workmanship and condition, formally judged to rank with a nationally recognized Important Art Object (Jūyō Bijutsuhin). Awarded only at the NBTHK’s competitive annual examination.

Of Japan’s roughly 2.5 million registered swords, only 12,307 (about 1 in 203) have ever attained Jūyō.

About the NBTHK›

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 site→
Seller
E
Eirakudo
🇯🇵Ships from Japan
›
✓Verified dealereirakudo.shop
✓Ships worldwide✓English supportWire transferCredit card
Return policy

Returns/exchanges/cancellations not accepted after shipment except for significant defects; if defective, return/exchange possible within 3 days of arrival (return shipping paid by customer).

View all of Eirakudo’s listings→View this item on the dealer’s site→

Previously sold — Kozori School

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Katana - by Kozori School - Koto Katana: Bishu Osafune Mori (attributed to Morimitsu) - 65.7cm with Imperial Japanese Navy Officer's Saber-style KoshiraeKatana - by Kozori School - Koto Katana: Bishu Osafune Mori (attributed to Morimitsu) - 65.7cm with Imperial Japanese Navy Officer's Saber-style Koshirae
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Katana

ByKozori School
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Swords of Japan
Wakizashi - by Kozori School - Kozori Bizen Wakizashi with Tomomitsu SayagakiWakizashi - by Kozori School - Kozori Bizen Wakizashi with Tomomitsu Sayagaki
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Wakizashi

ByKozori School
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Choshuya
Katana - by Kozori School - O-suriage Mumei: Osafune Tsunehiro (Ryowazamono)Katana - by Kozori School - O-suriage Mumei: Osafune Tsunehiro (Ryowazamono)
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ByKozori School
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Tantō

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Tanto - Tokuho - by Kozori Iesuke - IesukeTanto - Tokuho - by Kozori Iesuke - Iesuke

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Katana - Jūyō - by Osafune Kanemitsu - Kanemitsu with Gold Inlay InscriptionKatana - Jūyō - by Osafune Kanemitsu - Kanemitsu with Gold Inlay Inscription

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