¥1,650,000

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About the school

Koyama Munetsugu School固山宗次派

Born in Kyōwa 3 (1803) at Shirakawa in Ōshū, Koyama Munetsugu (固山宗次) carried a smith's name read variously in the setsumei as Munobei or Sōbei, working under the art-names Issensai and Seiryōsai. He came up alongside elder brothers Munehira and Munetoshi, and although his teacher is traditionally given as Katō Tsunahide, the NBTHK readers repeatedly note that the hand of Katō Tsunatoshi shows through his work more plainly. He first served the Matsudaira house of Shirakawa as a retained smith; when that domain was transferred to Kuwana in Ise, he settled in Edo at Azabu Nagasaka and forged as a Kuwana domain smith. In Kōka 2 (1845) he received the court title Bizen no Suke, the signature *Bizen no Suke Fujiwara Munetsugu* recurring on the dated katana from that point. His production runs from the latter half of *Bunsei* into the early Meiji years, and the program it serves is the Bakumatsu *fukko* revival of *Bizen-den*: a deliberate return, from an Edo workshop, to the *chōji* tempering of the old Bizen masters. The shared idiom is consistent across the line. Construction tends to a wide *mihaba*, thick *kasane*, shallow *sori* and an extended *chū-kissaki* or *ō-kissaki*, giving the heavy-in-hand *shinshintō* bearing the readers call *taihai*. The ground is a tightly packed *ko-itame*, sometimes flowing toward *nagare* or *masame*, carrying extremely fine *mijin*-grade *ji-nie* and frequent *chikei*; faint *utsuri* rises on a number of blades. The temper is the heart of the recognition: a *nioi*-dominant *chōji-midare* or *gunome-chōji*, with *ko-chōji*, *togariba* and angular heads mixed in, long *ashi* and *yō* entering, fine *sunagashi* and *kinsuji*, and a bright, clear *nioiguchi*. To read his hand, the setsumei flag particular *chōji* shapes (the *kawazuko* tadpole-head and the *kobushi* fist-shaped *chōji* clustered near Keiō-dated work), a *midare-komi bōshi* turning in *ko-maru* with *hakikake*, and the bold, thick-chiseled signatures with prominent chisel-pillows. Cutting-test inscriptions are common, several tied to the connoisseur Iga Norishige, who is recorded learning swordmaking from Munetsugu. His pupils carry the same vocabulary: Tairyūsai Sōkan (宗寛, also Munekane), son of Ōno Heizō and later a Koga/Furukawa domain smith, whose blades add a faint *midare-utsuri* and a smaller-pattern late temper; and the likely student Kongōsai Munehiro, who copied the same shrine original his master did. For kantei, the discriminating points are the orderly yet varied *chōji* arrayed shoulder-to-shoulder, the *nie*-laden Tenpō-era pieces whose *habuchi* has not yet settled, and a deliberate allusion to the second-generation Kunisuke when *kobushi*-like *chōji* appear. The named works root the line in documented copying: an *utsushi* of the National Treasure Koryū Kagemitsu, reconstructed to its original *ubu* state with *kurikara* and *bonji* carved by Sōkan; and a Tenpō 11 (1840) wakizashi copying the *hōchō*-shaped Masamune of Egara Tenmangū in Kamakura, carved by Tōryūsai Seiju and dedicated by Nomura Toshikatsu, a rare pairing of two Edo masters. Provenance inscriptions name patrons such as Miyake Takuma and the Furukawa domain on the Sōkan side. Across the NBTHK register, the work stands as a disciplined Edo restatement of the Bizen *chōji* tradition, prized for the brightness of its *nioiguchi* and for the documentary value of its dated, commissioned and trial-cut tangs.

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