This item is not for sale.
Morikami Museum 2014
Shinto Kantei, Markus Sesko
This sword was featured as a kantei blade in the Token Bijutsu and also included in Markus Sesko’s publication on Shinto Kantei. Description reproduced from the Token Bijitsu below.
mei: Korekazu (是一)
nagasa: 64,2 cm, sori 1,8 cm, shinogi-zukuri, iori-mune
ji: ko-itame-hada with much nagare which tends almost to masame, in addition ji-nie and a midare-utsuri
hamon: chōji-midare in nioi-deki mixed with ko-gunome and small togariba, partially also with small dimensioned midare, the yakiba gets wider towards the tip, in addition ashi and yō and sunagashi along the lower half of the blade
bōshi: midare-komi over the yokote which turns into sugu with a ko-maru-kaeri.
The varied and vivid chōji-midare, the utsuri and the sori are the first what catches the eye on this blade. But the sori does not tend towards a koshizori and so we rather don´t have here a Kamakura period tachi. And the compact nioiguchi and the fewer and not so conspicious hataraki within the ha speak also for a shintō-period Bizen work, and so we arrive at the Ishidō school.
The Bizen tradition was somehow neglected during the Keichō era (慶長, 1596-1615) but was more or less soon revived by the Ishidō school which flourished in Edo, Ōsaka, Kishū, Fukuoka and also other places. The kantei blade is now a typical work of the Edo-Ishidō branch and goes back to the 1st gen. Musashi no Daijō Korekazu (武蔵大掾是一).
The 1st gen. Korekazu forged a kitae which strongly tends to masame and applied a hamon in chōjimidare. So he is somewhat out of the ordinary of his school´s style and demonstrates a strongpersonality which can be grasped on this blade in pure form. Also typical for him is a slanting hamon, that the individual elements of the hamon are rather small dimensioned, and that the yakiba gets wider towards the monouchi.
The vast majority got that right and went atari for Korekazu but because of the sori and the partially larger dimensioned yakiba there were also bids on Koretsugu (是次) and Moritsugu (守次) from the Fukuoka-Ishidō branch. Both were namely students of Korekazu and so it is no surprise that they demonstrated a similar workmanship. But in general they applied larger hamon elements which are also arranged into certain groups or which go beyond the shinogi in places. That means they laid an emphasis on very noticeable ups and downs. Also they applied the peculiar ika no atama (lit. „squid heads“). But a bōshi in midare-komi which turns into a sugu or shallow notare and which ends in a roundish kaeri is typical for the Edo-Ishidō school. There were also some bids on Edo-Ishidō Mitsuhira (光平). But he did not forge in such a strong masame and his midareba is with its ups and downs more close to the kotō-period Ichimonji originals.
By the way, this blade bears a niji-mei without the honorary title „Musashi no Daijō“. And as also the signature style differs a bit it is assumed that this is one of his few extant blades from his time before he received his honorary title.