¥2,200,000

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Specifications

About the school

Yamato Shizu School大和志津派

Within the broad family of Shizu work, the setsumei reserve the name "Yamato Shizu" (大和志津) for a specific subset. In the original sense, the term denotes the blades Shizu Saburō Kaneuji (兼氏 / 包氏) made while still resident in Yamato Province, before he settled at Shizu in Tagi District of Mino, during the years he signed with the characters read Kanetsugu (包氏). Kaneuji had trained first in the Yamato tradition of the Tegai line before entering the workshop of Masamune, becoming counted among the Masamune Juttetsu, and his Yamato roots persisted in the work he produced prior to the Mino removal. The setsumei extend the name further: even after Kaneuji relocated to Shizu, smiths who remained in Yamato succeeded to the Kanetsugu name-line (名跡), and in the broader usage their blades are likewise gathered under "Yamato Shizu." The corpus accordingly spans the late Kamakura through the *Nanbokuchō* period, and most surviving examples are *mumei*, *ō-suriage* katana whose attribution rests on workmanship rather than signature. The shared vocabulary across these blades is consistent. The *kitae* is *itame* that flows and inclines toward *masame*, the grain often standing (*hada-dachi*), with *mokume* and *nagare* mixed in; near the edge the *masame* grows conspicuous. Thick *ji-nie* adheres, *chikei* enter frequently, the steel is sometimes slightly blackish, and a faint *nie-utsuri* or *jifu*-like texture may appear. The *hamon* rests on a *suguha* or *ko-notare* base into which *gunome*, *ko-gunome*, and a pointed edge (*togariba*, *togari-gokoro*) are mixed, with *ashi* and *yō* entering well. *Nie* adheres thickly, the *nioiguchi* is bright, and along the *habuchi* the setsumei repeatedly note *hotsure*, *nijūba*, *kuichigai-ba*, *uchi-noke*, and *yubashiri*, with *tobiyaki* in places. *Kinsuji* and *sunagashi* run conspicuously, and the *bōshi* tends to *hakikake*, often turning toward *yakizume* or a flame-like (*kaen-fū*) form, sometimes finishing *ko-maru*. The judges describe this as a *Yamato-den* temperament intermingled with *Soshu-den* and Mino character. Recognition turns on that balance: against Shizu proper, the Yamato coloration shows in the high *shinogi*, the *masame*-laden flowing grain, the *hotsure* and *kuichigai-ba* along the edge, and the swept, flame-like *bōshi*; against Naoe Shizu, the work reads earlier and more *nie*-laden, closer to Kaneuji's own hand than to the later, calmer Mino continuation. In kantei the diagnostic weight falls on the *masame*-inclined standing grain, the *suguha*-to-*ko-notare* edge carrying *gunome* and *togariba*, and the dense Yamato-type *habuchi* activity (*nijūba*, *kuichigai-ba*, *uchi-noke*, *yubashiri*) coupled with bright *nie* and frequent *kinsuji* and *sunagashi*; the *yakizume* or *kaen*-style *bōshi* confirms the reading, and one judge likened a particularly fine ground to Hōenaga (包永) of the Yamato homeland. The signed tantō bear out the lineage: the Kanetsugu *tantō* with the *gō* "Sansui" (三睡), and another signed piece bestowed by the shogunal house upon the Makino family, both anchor the group to a documented name-line, while certain *midare* passages were judged to recall the *meibutsu* Bunbe Shizu. Provenance recorded in the setsumei reaches into prominent houses: a katana transmitted in the Chōfu Mōri family of Nagato, and a blade held as the personal sword of Ōmura Masujirō. Taken together, the Yamato Shizu blades occupy a distinct position between the Yamato schools that formed Kaneuji and the Soshu manner he carried into Mino, a grouping the NBTHK treats as readily affirmable on the strength of its grain and its activity.

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