NihontoWatchIncluded: Solid gold habaki (18k, 59 grams), or silver habaki, shirasaya Please note that the sale price is 2,750,000 yen for the sword body + solid gold habaki (market price). The swordsmith Fujiyasu Masahira was born in Date District, Fukushima Prefecture in Showa 21. In Showa 41, he became a disciple of the late Ningen Kokuho, Miyairi Akihira, a swordsmith in Sakaki Town, Nagano Prefecture. In Showa 50, he became independent and opened a forge in Tatsukoyama, Fukushima Prefecture. Since then, he has accumulated research and practice in sword making, receiving the Nihon Bijutsu Token Hozon Kyokai Excellence Award 3 times, the Encouragement Award 6 times, and the Effort Award 7 times. In Heisei 2, he received the Nihon Bijutsu Token Hozon Kyokai Chairman's Award. In Heisei 14, he received the Nihon Bijutsu Token Hozon Kyokai Kanzan Award. He has performed dedication forging at many shrines such as Owari Atsuta Jingu and Nara Gokoku Jinja, and in Heisei 20, he performed a Japanese sword dedication forging at Hitachi Kashima Jingu for the first time in approximately one thousand three hundred years since the sword making of Sabi no Otamaro in 704. In the autumn of Showa 59, he also took on the major role of serving in the respectful production of the Goshinho tachi for the 61st Shikinen Sengu of Ise Jingu, and he also put great effort into supporting the reconstruction of Okoto Jinja in Minamisoma, Fukushima Prefecture, which suffered great damage in the recent earthquake, serving in the respectful production of a chokuto to become a Goshinho; most recently, with the reconstruction forging of the large chokuto excavated from the Miyajidake Tumulus in Fukuoka, he possesses sword making techniques that are among the best of contemporary Japanese swordsmiths. He has a strong desire to reproduce koto from the Heian and Kamakura periods and has worked on research and practice for many years; he has abundant knowledge and insight into Kokuyo, Juyo Bunkazai, and similar swords, as well as iron sand and iron culture across the country, and he creates accurate and beautiful sugata no matter which he works on, such as tachi, katana, tanto, wakizashi, naginata, or ancient chokuto. The skill of his jitetsu and yakiba is also vivid, boasting a wide range of production abilities, and his nakago-shitate such as the nakago-yasurime and meibun are the best among contemporary swordsmiths; after the death of his master Akihira, he took charge of his master's biological son, Miyairi Kozaemon Yukihira (Miyairi Megumi), and had him undergo sword forging training as a disciple, a history that shows his master's deep trust and speaks to the high level of his skill. In recent years, he has also worked on research into Nara period swords such as the chokuto and teboko housed in the Nara Shosoin, and the reconstruction production of the Meibutsu Tsurumaru Kuninaga, Yagen Toshiro, and Ichigo Hitofuri. This sword is a Sadamune utsushi by Masahira forged in Heisei 8. The jitetsu with a standing itame has a faint utsuri and chikei, and the hamon is a notare-style gunome-midare with a deep nioiguchi that gives a sense of the softness unique to koto; within the ha, whirlpool-like hataraki entwined with the ha-hada can be seen, along with long kinsuji and inazuma, and delicate sunagashi and uchioke, truly allowing one to feel the enthusiasm of the swordsmith Masahira, who advocates for the reproduction of koto. One of the characteristics of Masahira's works is that he uses a forging method that considers the social conditions of koto production as weapons—how to forge skillfully and in a short time to respond to sudden large orders during eras of war—so unlike the flamboyant contemporary sword works without kizu that are currently mainstream, rough parts can be seen in the jitetsu and ha. Every time such spots appear through polishing, he researches the forging methods of old eras while comparing them with the kizu of famous old swords. As mentioned above, small kizu and rough areas of hada can be seen in this sword, but for that reason, the deki is koto itself. In fact, some of Masahira's works are even good enough to be confused with works from the Kamakura period. Currently, a simple polishing has been applied so that the appearance of kizu can be observed, but it is also possible to refinish it with a saijo polishing to make small kizu less noticeable. Of course, the clarity of the jiba will also change. *The polishing fee is 300,000 yen (tax included). If you also wish for a new jo-shirasaya, we will accept it for 410,000 yen (tax included). The habaki is accompanied by a masterpiece of luxury made of solid gold (18k), and its weight is 59 grams. The habaki alone has considerable value. It is truly a sword suitable as a treasure sword or family heirloom. If you wish for delivery with a solid silver habaki, please specify so. Habaki solid gold 59g
Offered by Toushin
25 on the market
As written by the shop
Machine translation from the shop's Japanese · may contain errors ·
Fukushima · Showa-Reiwa
25 pieces on the market now
Shōwa to the present: destruction and revival
The twentieth century nearly killed the craft twice: wartime distortion, then the occupation ban. The NBTHK’s founding in 1948 and licensed forging from 1953 rebuilt the sword as an art, crowned by Living National Treasures and the mukansa rank.
We could not find an authenticity certificate on the seller’s listing. Japanese swords and fittings are normally papered by the NBTHK (or the NTHK). Without one, the attribution is the seller’s own assessment and has not been independently verified — treat it with caution and ask the dealer about certification before buying.
As a rule we do not accept returns, except when we have sent a different item from the one ordered or when there is a significant discrepancy between the description and the item. If you wish to return an item, please contact us within 3 days of its arrival and then send it back.
¥2,750,000