AS23164 Katana:Mumei(judged as Hoju)(NBTHK Tokubetsu Hozon Token)

Ordering number: AS23164
Katana in Shirasaya(NBTHK Tokubetsu Hozon Token)

Signature: Mumei(judged as Hoju)
無銘(宝寿)

(We divide 4 sections for each sword as Saijyo saku, Jyojyo saku Jyo saku and regular saku)
This sword belongs to Jyo Jyo saku ranking.
Habaki: Silver single Habaki.
The blade is polished by high ranking polisher.
Blade length:82.5 cm or 32.48inches.
Sori:3.4cm or 1.33inches.
Mekugi:2
Width at the hamachi:3.17cm or 1.24inches.
Width at the Kissaki:1.77cm or 0.69inches.
Kasane:0.61cm or 0.24inches.
The weight of the sword:760grams
Era: 1219 around the time of Jou-oh in the Kamakura period
Shape: It’s almost Ubu mumei’s work, and it’s a work that has a graceful appearance, with a deep warp and a slightly curved tip.
Jigane: You can see the heather grain firmly on the itame.
Hamon: Niedeki Nioikuchi becomes a straight blade and becomes Bo-shi, Komaru becomes Hakikake.

Special feature: The Hoju period also exists from the Kamakura period to the Muromachi period. The Hoju period also exists from the Kamakura period to the Muromachi period. I think that what can be appreciated more than anything in this work is the appearance of the sword. Most of Ubu nakago’s works from the Kamakura period are rare, and it’s good that it’s in good shape, and it’s well represented by polishing. It is 82.5cm long: which is
extraordinary, while it has also a wonderful shape. It must be satisfying to you all.

From Aoi Art: Hoju is produced by many swordsmiths from the ancient Heian period to the Muromachi period. It is a work that makes you feel old with the blade crest that becomes the straight blade and the Umi heart, and the Bo-shi’s small circle and the front sweeping. The material is old and the rust makes it feel old, and it has a large warp. The shape is almost Ubu style, and you can see the layout at that time. The base iron is also darkened, and the workmanship is very good.

NBTHK Tokubetsu Hozon Token paper
Aoi Art estimation paper: whole Oshigata by Ayaka Tsuruta
translated by Kazushige Tsuruta