Shinto katana in koshirae, Toshinaga

Early Edo Period, circa 1675-1680

Signed: Mutsu (no) Kami Fujiwara Toshinaga


NBTHK Tokubetsu Hozon Tōken


Nagasa [length]: 67.5 cm

Sori [curvature]: 1.3 cm

Motohaba [bottom width]: 3 cm

Sakihaba [top width]: 2.2 cm

Motokasane [bottom thickness]: 7 mm


Sugata [configuration]: Shinogi-zukuri, iori-mune, shallow sori

Kitae [forging pattern]: Itame hada with chikei

Hamon [tempering pattern]: Gunome midare in nioi-deki. Ashi, , sunagashi.

Boshi [point]: Notarekomi with komaru.

Nakago [tang]: Ubu with machi-okuri, kengyo, sujikai yasurime; two mekugi-ana;

Mei: Mutsu (no) Kami Fujiwara Toshinaga

Origami [paper]: The blade comes with a Tokubetsu Hozon Tōken (Sword Particularly Worth of Preserving) certificate issued by the Nihon Bijutsu Token Hozon Kyokai. 

Koshirae [mounts]: The sword is accompanied by a good antique handachi koshirae with high level fittings decorated with bows and arrows.

Mutsu no Kami Fujiwara Toshinaga was a highly esteemed swordsmith who flourished during the early Edo period, from 1673 to 1681. Born as the second son of the first-generation Toshinaga, he hailed from Tokushima but eventually made a name for himself in Kyoto, where he achieved great success. His blades were renowned for their sharpness, which contributed to his popularity among samurai of the time.

Toshinaga's exceptional craftsmanship earned him the prestigious ranking of chu-jo saku in Fujishiro's sword appraisal and his swords are rated wazamono for their superior cutting ability. 

Throughout his career, Toshinaga not only gained recognition for his craftsmanship but also his association with influential figures and clans. He worked for the Todo clan in Tsu, Ise province, catering exclusively to their sword-forging needs. The Todo clan, led by Todo Takatora, held significant influence during the early Edo period, further attesting to Toshinaga's remarkable skill and reputation.

When examining Toshinaga's blades, several notable features stand out. The forging pattern display a distinctive itame hada with the the presence of nie-based activities, resulting in prominent chikei. Toshinaga’s hamon (tempering pattern) featured a large gunome nie-based structure. The temper line is tall and occasionally extended close to the shinogi-ji ridge. Deep nioi activities in a whitish color adorn the interior of the hamon, which is further accentuated by the frequent and long ashi and sunagashi. The boshi exhibits a wide line, culminating in komaru.

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