Edo was the sword’s age of connoisseurship: the Hon’ami appraisers, the shogunal register of famous blades of 1719, and a thriving literature turned the sword into an object of study even as it ceased to be drawn in war.
NihontoWatchNihontoWatchShoken Motooki was the grandson of Sumi Daihachi Motooki and was called Sumi Daisuke. Because his father, Sumi Daiji Hidekuni, died young at the age of 26, he succeeded to his grandfather's mei. The first generation Sumi Daihachi became a disciple of Suishinshi Masahide in Edo to learn sword forging, and by order of the Aizu Domain went to Satsuma, became a pupil of Motohira, and changed his mei to Motooki. It is thought that the second generation Shoken Motooki initially learned sword making techniques from Aizu swordsmiths such as Michitoki and others; also, in Ansei 4, he entered the school of the seventh generation Ishido Unju Korekazu as an entrusted disciple from the Matsudaira family of the Aizu Domain. Gassaku with Korekazu are also seen. In Ansei 6, he entered the priesthood and took the go "Shoken," and in Keio 2, July, he received the title "Yamato no Kami" while also changing his name to "Hidekuni" like his grandfather, and died in Meiji 24, March, at the age of 80. Shoken Motooki is known as being particularly skilled even among the Aizu swordsmiths who were gathered masters, leaving behind swords of superior workmanship that are more skillful than the first generation, and his name is known as a high-ranking smith who radiated exceptional talent among the Aizu swordsmiths gathered with masters. Amidst the turmoil of the Bakumatsu, when the Aizu Domain Lord, Matsudaira Katamori Ko, assumed the post of Kyoto Shugoshoku and went to the capital leading Aizu Domain soldiers to restore public order in Kyoto, Shoken Motooki also went to the capital just like Aizu eleventh generation Izumi no Kami Kanesada and others, and Kyo-uchi forged in Kyoto for Aizu Domain retainers and Shinsengumi members are seen; it is also handed down that among the haito of the Shinsengumi commander Kondo Isami and vice-commander Hijikata Toshizo, there were swords with the "Yamato no Kami Hidekuni" mei. This katana has a well-proportioned width difference between the moto and saki with a chu-kissaki. Katana-hi are carved through on the omote and ura following old works, raised close to the koshinogi, with deep sori and a long nakago, a tsukurikomi emphasizing use with a two-handed grip; the jigane is a masame-hada well-tightened with jinie attached strongly and thickly, and the hamon is baked with gunome and ko-gunome accompanied by gunome-choji, with ashi, and overall nie is attached thickly and strongly, the inside of the ha is covered in nie, with kinsuji, and sunagashira running in multiple layers, showing excellent workmanship; it is a style reminiscent of his teacher Ishido Unju Korekazu with no flaws, a work that boasts the high level of Motooki's skill. The accompanying han-tachi koshirae is accompanied by golden o-seppa, adding flair to its simple and rugged nature. The menuki have a well-colored shakudo sai (unicorn) wrapped in. When drawn from the saya and held in a stance, the center of gravity is at the hand with good balance, making one feel its ease of handling. Tsuba-nari is present. No rattling in the tsuka.
Offered by Toushin
2 on the market
As written by the shop
Machine translation from the shop's Japanese · may contain errors ·
Iwashiro · around 1818-1830
Fujishiro Jo saku · Tōken Taikan top 39%
2 pieces on the market now
The Edo period (1615 to 1868)
Edo was the sword’s age of connoisseurship: the Hon’ami appraisers, the shogunal register of famous blades of 1719, and a thriving literature turned the sword into an object of study even as it ceased to be drawn in war.
Certifies a genuine blade worth preserving: a signature confirmed correct, or, if unsigned, an era, province, and school that the NBTHK can reliably identify.
The NBTHK (Nihon Bijutsu Tōken Hozon Kyōkai, the Society for the Preservation of Japanese Art Swords) is a public-interest incorporated foundation founded in 1948 and supervised by Japan’s Agency for Cultural Affairs (Bunkachō); it is based at the Japanese Sword Museum in Tokyo. Its expert panels physically examine each submitted work (shinsa) and issue a certificate (kanteishō) ranking it by artistic and historical merit. NBTHK papers are the most widely recognized standard of authentication for Japanese swords and fittings.
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¥880,000
Certificate reading — 無銘（会津元興）