AS21446-刀:四王大権現造兼乕 刃淬遊雲斎真雄

Katana in Shirasaya(NBTHK Tokubetsu Hozon Token)
Signature : Shio Dai Kengen Zou Kanetora.
Ha sai Yuensai Saneo
梵字 四王大権現造兼乕 刃淬遊雲斎真雄

(We divide 4 sections for each sword as Saijyo saku, Jyo-jyo saku Jyo saku and regular
saku)
This sword belongs to Jyo Jyo Saku ranking.
The blade was polished.
Habaki : Copper single habaki.
Blade length : 73.36cm or 28.9 inches.
Sori :1.67 cm or 0.66inches.
Mekugi : 1
Width at the hamachi : 3.24cm or 1.28 inches.
Width at the Kissaki : 2.17 cm or 0.68inches.
Kasane : 0.7 cm or 0.276
The weight of the sword 865 grams.
Era: Edo period Kaei era.
Shape: The blade is wide and thick with suitable sori and longer kissaki nice looking shape.
Jigane: Koitame hada well grained with jinie attach and chikei work actively and visible to see the texture well.
Shinogi ji The gigante is almost as sama as Jigane.
Hamon: Nie deki suguha, and kogunome midare and small Ashi work and also kuichigai hamon clear bright hamon.

Special feature:Yamaura Saneo is a swordsmith of goods, and his younger brother,
Kiyomaro, who was born in Komoro as the eldest son of Yamaura Haruemon
Toshimasa, is famous.
Saneo returns inscriptions such as Yuunsai, Tennnshi Toshimasa, and Masao, who
have changed their inscriptions. He was originally good at swordsmanship, so he aimed
to create a Japanese sword. He is thought to have been on good terms with his brothers
and enters the gate of Kawamura Jyukaku (Toshinori), a swordsmith in Ueda, with his
younger brother Kiyomaro. He later went up to Edo in 1837, entered Hamabe Toshizane,
and the following year he made swords in Kyoto. It is thought that these eras were the
times when sword production was quite troublesome, and it is thought that it was the era
of agony before the So-syu den was acquired away from the tight Cyoji midare of
Nioikuchi.

From Aoi Art :Kiyomaru’s early works are modeled after Kawamura Jyukaku
(toshinori)’s Nioideki Cyoji midare, and are completely different from the styles of both
Kiyomaro and Saneo. Eventually, the brothers will end up producing a fierce work by
Sosyu den. On the other hand, Saneo is making Japanese swords in various ways with
the fierce Sosyu den.
I think this work is just one example. old sword Kongo hyoei It is thought that the meeting
place became Jigane like other swords and was produced with an emphasis on
sharpness. This work is a very valuable material in collaboration with his son Kanetora.
Yamaura Kanetora, a child of Yamaura saneo, was born in Akaiwa, Chiisagata-gun,

Shinshu. Eventually, from 1849, he learned sword technique from his uncle Minamoto
Kiyomaro, and when his teacher Shimada Toranosuke died, he devoted himself to sword
making. He became a Matsushiro feudal lord in 1859. In 1871, he was transferred to
Ueda by his father.
Saneo died in 1874 at the age of 71.
Please refer to the reference documents listed in book Kiyomaro Taikan (pages 185 to
205).
Their older brother and his older brother’s son were masters of kendo, but his father,
Koyomaro, decided to work a lifetime to make swords, so his son Kanetora eventually
learned about his father and became a disciple of kiyomaro and trained, but Kanaga
After 7 years when Kiyomaro self-harmed. Became a Matsushiro feudal lord in 1859.
Yamaura Saneo worked with his son to create a joint sword for his father and son. This
work is not a fierce work of Kiyomaro style, but it has succeeded in seeking a copy of old

swords in search of sharpness. shinogi ji is Itame hada and is considered to be a well-
thought-out work rather than Shinshin to’s unique Masame hada. It is a very valuable work, and I highly recommend the work of the collaboration between my father Yamaura
Saneo and Yamaura Kanetora.