KANEUJI (兼氏), Tensho , (1573), Mino – “Kaneuji” (兼氏), “Kaneuji saku” (兼氏作), “Nōshū-jū Kaneuji” (濃州住兼氏), Akasaka school, according to tradition this Tensho-era Kaneuji was the son or the grandson of a Kaneuji who moved from Naoe to Akasaka, wazamono, chū-jō-saku

An exquisite late koto blade signed Kaneuji. The Kaneuji line of swordsmiths are famous and date back to the EARLY koto era.  They were known to make fine quality swords that cut very well.  This sword measures in at 15 5/8″ . This blade is a beautiful example of a late koto sword with great activity and a wonderful hada covered in ji-nie. The hamon is a vibrant gunome-midare filled with sunagashi, kinsuji and ko-nie abounds. The hada has beautiful thick nioi guchi that is vibrant and bright, loaded with layers of sunagashi. There is an active itame O-mokume mix with flowing itame throughout the blade. Shirrake utsuri can clearly be seen. There is masame in the shinogi-ji. Chikei can be seen all over as well as being peppered with ji-nie. The blade is signed and papered to Kane Uji and given an approximate date of 1573. The longish kissaki has a boshi that is ko-maru finished in hakikake style with kinsuji. The hada has a perfect burl effect and a pleasure to behold. .

AN EXCERPT FROM:
Yamanaka’s Nihonto Newsletter:General: No specific Mino section which is in the format of the other books. Instead, In Vol II, two issues were dedicated to discussing the specific characteristics of the key schools and smiths. The key smiths and schools are as follows: Kaneuji and his school, Naoe Shizu (Kaneuji’s followers), Kaneshige (worked in Soshu and Mino traditions), Zenjo School (founded by Kaneyoshi who came from Yamato province) , Kanemoto School, Kanesada School (famous 2nd generation “No-sada”), Akasaka Senjuin (Yamato province, Senjuin School, founder is Kuninaga who moved to Mino province, Hachiya School (founded by Kanesada, different kanji than other “No-sada” group.

Kaneuji:
Hada: Steel grain will show up clearly, much uruoi, ko-mokume with o-hada mixed together, shinogi-ji will have masame, some muneyaki
Hamon: narrow, worked in nie, small designs of gunome-midare w/nie kuzure, rough nie, inazuma, sunagashi in small places, tagariba mixed in places, midare will be small,
Boshi: shallow in midare-komi ending in yakizume or slight kaeri, kaen is seen on some works.
Naoe Shizu work resembles the 1st and 2nd Kaneuji work, with hamon becoming wider.

The Fuchi-Kashira and tsuba have a bug and floral motif. The mounts are of a very good quality from tsuka to saya. The fuchi / kashira are bug themed with a gold dust like back drop with floral tsuba that beautifully finish the tsuka with an exceptional deep gold tsukaito wrap and brown sageo. The saya is an exquisite sea shell suspended in lacquer with mother of pearl (radon) inlay in the form of bugs. There is a signed kodzuka blade and kodzuka of bug motif also to finish this theme,. The floral motif was often used as a theme for Asian art. Mythological subjects and auspicious symbols were sometimes used as motifs for Japanese sword furniture. Floral motifs could stand alone as designs unto themselves, particularly if they had seasonal or symbolic associations, but they were also used as decorative patterns surrounding or backing more pictorial motifs such as bugs etc. There is a silver foil habaki and seppa.

The blade also is mounted in a beautiful older shirasaya trimmed with horn and ivory mekugi ana ringlet. The blade is papered by the NTHK-NPO and is in an exquisite polish.