AS21370-Wakizashi: Taishin Ho-kyo Mitsuhira.

Wakizashi in Shirasaya(NBTHK Hozon Token)
Signature:　Taishin Ho-kyo Mitsuhira.
泰信法橋光平

Shinto: Jyo saku: Ryo Wazamono
(We divide 4 sections for each sword as Saijyo saku, Jyo-jyo saku Jyo saku and regular saku)
This sword belongs to Jyo-jyo ranking.
The blade was polished.
Habaki:　Gold failed J single habaki.
Blade length:　31.8　cm or 12.52 inches.
Sori : 0.3 cm or 0.12 inches.
Mekugi: 　2
Width at the hamachi: 3.17cm or 1.25inches.
Kasane : 0.7cm or 0.276 inches.
The weight of the sword: 345grams.
Era: Edo period Sho-ou era. 1652.
Shape: The blade is wide and thick with small sori and Mitsu Munetsugu style Hirachi Sunnobi Tanto which very rear.
Jigane: Koitame hada well grained with jinie attach and Utsuri appear.
Hamon :Niedeki kogunome miarę kocyoujz miarę mixed and in Hamon, sunagashi, small kinsuji work. Bo-shi Midarekomi yakizume style.

Special feature:Hioki (Heki) Mitsuhira is thought to have moved from Omi to Edo along with Tsunemits, Munehiro, and Ishido Korekazu, who was born in Gamo, Omi and are said to be swordsmiths at Ishido school. Nowadays, it is generally accepted that Mitsuhira, Tsunemitsu, and Ishido school moved to Edo after staying in Kyoto. Previously,
Tsunemitsu and Mitsuhira were thought to be brothers, but recently there has been some disagreement from the inscription. In any case, there is no doubt that Tsumnemitsu and Mitsuhira were the swordsmiths who made the most Ichimonji in the Edo period.

From Aoi Art: Tanto, which can be said to be rare. He is believed to have copied the work of the Nanbokucyo era. It is
exactly the work of Mitsuhira’s excellent old sword copy. This is a work I would definitely recommend. In the middle of the Edo period, the production of tanto decreased sharply, and most sword makes stopped producing in Tanto. It must have been a peaceful era. If you don’t need it, no one wants it. In a peaceful era, many sword makers were worried about unemployment and moved to Kyoto and Edo in search of employment. The same is true for them, who initially emigrated from Omi to find a job in Kyoto, but they probably couldn’t achieve their purpose. Perhaps they had to move to Edo, which must have been quite painful in Edo, but fortunately, they had the technology to create Ichimonji the style works, and I think that this technology was sought after by high-ranking samurai in Edo. .. There was no swordsmith in Edo to put Utsuri on a Japanese sword From that point on, they gained a lot of customers, and their momentum was highly evaluated in Shinshu, leaving behind a masterpiece of Tenna 2 years called Shinshu Matsushiro. See page 722 of Shinto Taikan
The swordsmith who creates such a work cannot be left alone.
There were sword makers that flourished as many swordsmiths dropped out.

NBTHK Hozon Token
Aoi Art estimation paper: whole Oshigata.