AS25242 Katana:Koyama Munetsugu with Cutting test(NBTHK Tokubetsu Hozon Token)

Katana in Shirasaya with Koshirae (NBTHK Tokubetsu Hozon Token)

Signature: Ou Noriyoshi Ju
Koyama Munetsugu Saku
Tenpo 11 Nen 10 Gatsu 13 Nichi
Oite Senju Taitai Dotanbarai
應則美需固山宗次作
天保十一年十月十三日
於千住太々土壇拂

Explanation: On October 13, 1840, at Senju, made by Koyama Munetsugu on request from Noriyoshi.
The cutting test inscription states that “the blade cut through the area passing the shoulder blades of the torso and continued down, severing the supporting stand as well.

Shinshinto: Jyojyo Saku: Musashi
Habaki: Double-layered gold-covered
Blade Length: 71.5 cm (28.15 in)
Curvature: 1.73 cm (0.68 in)
Mekugi Hole: 1
Width at Base (Motohaba): 3.11 cm (1.22 in)
Width at Tip (Sakihaba): 2.18 cm (0.86 in)
Thickness of rim (Kasane): 0.75 cm (0.30 in)
Era: Late Edo period
Shape: A wide and thick blade with solid construction, moderate curvature, and an extended kissaki, forming an excellent shape.
Jigane: Fine ko-itame hada well-forged with ji-nie, forming a beautiful and dense steel surface.
Hamon: Nioi-based gunome-midare mixed with choji-midare, consistent without flaws, and the boshi shows irregular midare patterns extending into the tip.

Features:　Koyama Munetsugu was born in 1803 in Shirakawa and was initially known as Sohee.
He first served as a retained swordsmith for the Shirakawa-Matsudaira family but later moved to Edo and became a smith for the Kuwana domain.
A considerable number of his works remain, all of which are of high quality, with virtually no inferior pieces.
Notably, there are no examples of poorly forged blades, and his surviving works demonstrate excellent craftsmanship.
His style is characterized predominantly by gunome-midare with a boshi that enters in midare-komi (irregular patterns into the tip).
His style is similar to that of Nagatoshi Tsunatoshi, though Tsunatoshi’s hamon typically has bifurcated heads in the gunome patterns—a trait not found in Munetsugu’s work.
Also, Munetsugu’s boshi always features midare-komi; if one encounters a perfectly rounded boshi, the signature should be questioned.
Aside from that, the stylistic similarity suggests a very close relationship between the two.
Another of his consistent traits is his unwavering adherence to gunome-midare throughout his work.
He had older brothers named Koyama Munetaira and Munitoshi, whose works also share similar stylistic elements.
It is assumed that he must have regretted being forced to abandon swordsmithing due to the Haitorei Edict of 1876.
This sword is a Jyojyo Saku-level work among the Shinshinto category and strongly resembles the Sue-Bizen style—particularly that of Osafune Yosazaemon no Jo Sukesada—demonstrating Munetsugu’s remarkable success in faithfully recreating the Sue-Bizen tradition.

Koshirae:
Tsuba: Iron tsuba in a rounded square shape (nadeshiko-gata), carved with a dragon motif and decorated with gold iroe (colored metalwork).
Fuchikashira: Shakudo nanako-ji base, carved with a dragon design and adorned with gold iroe.
Menuki: High-relief carving of a dragon motif, finished with gold iroe.
Saya (Scabbard): Vermilion lacquered saya.

Aoi Art’s Comment:　This sword has a wide body with an extended kissaki and excellent overall shape, complemented by a remarkable hamon.
It is a piece forged during the Tenpō era, considered the peak of Koyama Munetsugu’s swordsmithing career.
The cutting test inscription “at Senju, Taidai Dotanbari” is also of great value.
“Taidai” refers to the region around the shoulder blades, while “Dotanbari” indicates the severing of both the body and the supporting platform.

Historical Background:　In 1867 (Keiō 3), the Tokugawa shogunate returned power to the emperor, ushering in the Meiji era the following year.
The Haitorei Edict banning the wearing of swords was issued in 1871.

NBTHK Tokubetsu Hozon Token
Aoi Art estimation paper
Whole Oshigata