|
Kantei #1 ANSWER -- Posted August 1, 2009
Tametsugu Juyo Token, 46 th Session
Keijo: Shinogi zukuri with mitsumune. The mihaba is wide with only slight difference between motohaba and sakihaba. The sori is deep and the kissaki long. Kitae: Mokume mixed with itame. There is abundant jinie with chikei frequently inserted Hamon: Gunome displayed on a notare toned pattern, with ko-ashi, abundant nie throughout and copious sunagashi accompanied by kinsuji. The nioiguchi tends to be shizumi (subdued). Boshi: Midarekomi, saki returns in komaru. The kaeri is slightly shorter on the sashiomote Horimono: Futatsujihi with ends in kakinagashi on both sashiomote and sashiura. Nakago: Mumei, O-suriage with sujikai yasurime, 2 mekugiana Although there are conflicting theories among various sources, Tametsugu is most commonly thought to be the son of Go Yoshihiro, and the student of Etchu Norishige. The relationship of Yoshihiro to Norishige and their proximity to each other could support the theory that Tametsugu was taken in by Norishige perhaps as a result of Yoshihiros death at a young age, which is thought to have been about 27 -30 years old. As with many other smiths and schools in the Koto period, the working time frames lead to questions regarding this, and more study is needed. Examining Tametsugu’s works, one can readily recognize the influence of Soshu Den and specifically the Norishige School. The mokume and itame is hadatachi (“stands up” or conspicuous) and carries much nie and chikei. Where there is great similarity, also stands a defining difference by comparison in that Tametsugu’s works are noted to have a “shizumi”, or more subdued yakiba (in the context of being less bright, or appearing to be below the surface), and the jigane lends to less vibrancy than Norishige. Albert Yamanaka notes that Tametsugu works were very similar to Norishige though slightly inferior, probably a statement driven by this subdued nature of Tametsugu’s yakiba and jigane. Given the quality that Norishige achieved, the description of “slightly inferior” by comparison still clearly illustrates a skilled and highly notable work in and of itself. Additional merit to this smith is seen in a comment Albert Yamanaka also wrote regarding Go Yoshihiro; …of the very few smiths that followed [GO] YOSHIHIRO and his style, probably the most outstanding and whose works we often encounter is that of TAMETSUGU and in many cases, the better of TAMETSUGU’s works are passed off as YOSHIHIRO, though actually, there is a world of difference in the skill of these two smiths, like the sun and the moon. So what we can derive from these various statements is that if at first glance the work looks like a Norishige, but does not quite reach the same impact, it may well be Tametsugu, but certainly not Yoshihiro. Tametsugu is thought to have entered the Norishige mon about Ryakuo (1338-1342 Northern Dynasty dating) has signed and dated works starting from Enbun Ni Nen (1357 ND). He moved to Mino province eventually and due to the fact that a work he signed Echizen no Kuni Fujiwara Tametsugu dated Oan Ni Nen (1369 ND) and another he signed Noshu ju Fujiwara Tametsugu dated Oan Shichinen (1375 ND) it can be seen that he moved sometime within this span of about 6 years. When Tametsugu left Etchu province for Mino, and his contemporary of the Norishige mon, Sanekage, moved to Kaga, this left the Uda School as the only notable kaji in Etchu province. Notes Regarding Kantei The form of this sword should lead one to Nambokucho period and specifically the second part of the Nambokucho era with a wide mihaba, long kissaki, and little difference in width from the motohaba and sakihaba. Also of note is the thinness of kasane, which is a feature of this period and not necessarily just a product of polishing over time. Nikuoki will also be less full even in healthy states. This sword exhibits good health for its age and this thickness is a notable point of health for the period and style. The mitsumune should be noted as well. Examining the jigane, one should immediately see the influences of Norishige in the well forged large mokume patterns reminiscent of Matsukawa-hada, the plentiful presence of chikei and ji-nie. The darkness of the steel also hints to the smiths along the Hokurikudo which include the three “Etchi” provinces (Echizen, Etchu, and Echigo), and Kaga. The width of the yakiba and boshi, in conjunction with the strength and dense distribution of nie and chikei, also indicates the good state of health in this work. The fact that Tametsugu works display a habuchi that is less bright than Norishige is a point to remember, but not a fault, because as this work shows a healthy form, the yakiba is naturally indicative of the same health and merely reflects a work style difference. Similar workmanship will be seen in another Norishige student, Sanekage of Kaga province, and yet again some Ko-Uda works can look a great deal like Norishige school works, but in general, Uda works lack the strength and continuity of forging. Dozen would be earned for a call to: Norishige, Sanekage (Kaga Province), or Uda-School (Kunifusa, Kinimune, Kunihisa, etc.) Kuni Iri Yoku would be earned for a call to: Etchu Province Tori Yoku would be earned for a call to: Hokurikudo Echizen Province, or Chiyozuru school. Kaga Province, inclusive of, Fujishima Tomoshige, Yukimitsu, Nobunaga, Kiyomitsu, Katsuie, or Kagemitsu. Echigo Province, inclusive of, Momokawa Nagayoshi, the Yamamura school (Masanobu), Yasunobu, Hata Chogi, Nagayoshi.
|
Copyright © 2010 NBTHK American Branch
Contact Webmaster