¥330,000

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About the school

Seki School関派

Seki (関), in Mino Province, grew from two roots set down in the Nanbokuchō period and rose to become the great center of mass sword production in the late medieval age. The published sources trace the wellspring of Mino swordmaking to Kinju (whose name the commentary also reads Kaneshige), counted since antiquity among the *Masamune Jittetsu*, the ten disciples of Sōshū Masamune, and to Kaneuji of the Shizu line; the *Kokon Meizukushi* records Kinju as a native of Tsuruga in Echizen who "crossed over to Seki and resided there," carrying the *Sōshū-den* manner east. Beneath that Sagami inheritance lay a Yamato foundation, legible in the Tegai descent of the Seki Zensada line through Kaneyoshi, so that the *Mino-den* the Seki workshops forged stands as a fusion of Yamato grain and Sōshū activity in *nie*. From this Nanbokuchō founding the name multiplied across the Muromachi period into Sue-Seki, the last and largest body of the tradition; its representative masters at the close of the old-sword age were Magoroku Kanemoto, famed for the *sanbonsugi*, and Izumi no Kami Kanesada, the smith called Nosada, while the Kanefusa, Ujifusa and Daidō hands worked beside them and the move of Wakasa no Kami Ujifusa to Kiyosu carried the Mino body to the threshold of Owari *shintō*. A common Mino vocabulary binds the Seki body, however widely its members range. The forging is an *itame* that stands and runs to *masame*, often mixed with *mokume* and *nagare*, over which rises the cool whitish *shirake-utsuri* of Mino steel rather than the bright *midare-utsuri* of Bizen; this pale, standing *jigane* is the constant tell the judges read first, present alike on Kinju's Nanbokuchō katana, Kaneyoshi's Ōei tachi and Nosada's late-Muromachi blades. Over it the smiths temper *gunome* into which the pointed *togariba* of Mino enters, with *ko-nie* clinging to a tight *nioiguchi*, *ashi* and *yō*, and *sunagashi* streaming through; the *bōshi* answers in *midare-komi* turning to a pointed or *jizō*-cast *ko-maru* swept with *hakikake*. From this shared grammar the individual hands diverge. Kanemoto fixed the regular three-cedar *sanbonsugi* of pointed teeth; Kanefusa devised the rounded-head, constricted-waist "Kanefusa *midare*"; Kinju and the early founders held a calmer, rounder *gunome* away from the restless Shizu line, their work laid with thicker *ji-nie* and dry, standing grain. The late masters carried the manner to a higher finish: Nosada wove *togariba* among rounder forms for a broader temper than Kanemoto's one-sided file, and turned at times to a slender Rai-styled *suguha* with a hidden *gunome*; Kaneyoshi held instead to a cool *ito-suguha*, the disciplined Yamato face of late Seki, lightly broken with *ko-gunome*. A collector seeks Seki because it is the connoisseur's ground for reading *Mino-den* across a vast body of signed and attributed work. The *kantei* runs through the *jigane* first: the standing, *masame*-leaning *itame* and the whitish *shirake* separate a Seki blade from Bizen and Yamashiro, after which the pointed *togariba*, the dry *nie*, and the pointed or *jizō* *bōshi* confirm the province; the discriminations the judges draw, Kinju held apart from Shizu by his rounder *gunome*, Nosada parted from Kanemoto by his breadth, give the eye its anchors. Within the school the standing of the best members is settled: Magoroku Kanemoto for the *sanbonsugi*, Nosada whom the swordbooks call simply "an excellent master" and the most accomplished of the several Kanesada hands, and the early Kinju as a rare and precious founding name, his record running through the Jūyō tier with the signed pieces few and the long blades attributed *den*. Signature works carry real provenance: a Kinju *tantō* presented to the Tokugawa shogunal house in 1679, a Nosada katana borne by a chief retainer of the Kii Tokugawa and a tachi forged for the father of Takeda Shingen, a Kaneyoshi tachi transmitted in the Chikuzen Kuroda family. Beyond connoisseurship, Seki's blades earned a battlefield reputation for cutting; the full *hiraniku* and stout build of the Sue-Seki katana, made to sever, set the *wazamono* standing that made Mino the working sword of its age.

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