{"product_id":"antique-japanese-katana-sword-signed-hiromasa-showa-era-gold-makie-nagoya-koshirae","title":"Antique Japanese Katana Sword signed Hiromasa - Showa Era - Gold Makie Nagoya Koshirae","description":"\u003csection class=\"product\"\u003e\u003cheader\u003e\u003c\/header\u003e\n\u003csection id=\"specs\"\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eSignature (Mei):\u003c\/strong\u003e \u003cspan lang=\"ja\"\u003e豫州北条住博正作\u003c\/span\u003e Yoshū Hōjō-jū Hiromasa saku — \"Made by Hiromasa, residing in Hōjō, Iyo Province\"\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eSwordsmith:\u003c\/strong\u003e Hiromasa (博正) — birth name Toriū Kamesabu (鳥生亀松); pupil of Takahashi Yoshimune; Imperial Army commissioned swordsmith\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eSchool \/ Tradition:\u003c\/strong\u003e Bizen-den — chōji-midare \/ Ichimonji-utsushi tradition\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003ePeriod:\u003c\/strong\u003e Shōwa Era \/ Hōjō-chō, Onsen-gun, Iyo Province (Ehime Prefecture)\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eAwards:\u003c\/strong\u003e Prime Minister's Award (\u003cem\u003eSōri Daijin-shō\u003c\/em\u003e) and multiple other prizes\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eMounting:\u003c\/strong\u003e High-grade \u003cem\u003enagoya-goshirae\u003c\/em\u003e — gold \u003cem\u003ehiramaki-e\u003c\/em\u003e black lacquer saya; dragon-motif shakudō fuchi-kashira with gilt; dragon menuki with gilt; geometric sukashi marugata iron tsuba; silver \u003cem\u003eniju habaki\u003c\/em\u003e; shirasaya included\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eBlade Length (Nagasa):\u003c\/strong\u003e 63.5 cm (2 shaku 1 sun weak)\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eCurvature (Sori):\u003c\/strong\u003e 1.5 cm\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eMekugi-ana:\u003c\/strong\u003e 1\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eShape:\u003c\/strong\u003e Shinogi-zukuri, ko-kissaki\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eMotohaba:\u003c\/strong\u003e 3.01 cm \/ \u003cstrong\u003eSakihaba:\u003c\/strong\u003e 2.03 cm\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eMotokasane:\u003c\/strong\u003e 5.88 mm \/ \u003cstrong\u003eSakikasane:\u003c\/strong\u003e 4.60 mm\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eBlade Weight (naked):\u003c\/strong\u003e 572 g \/ \u003cstrong\u003eTotal koshirae length:\u003c\/strong\u003e 101.8 cm\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eHamon:\u003c\/strong\u003e Ko-notare with gunome elements, active nie along the habuchi\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eBoshi:\u003c\/strong\u003e Ko-maru with composed turnback into a compact ko-kissaki\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eCondition:\u003c\/strong\u003e Polished approximately 60 years ago; minor surface wear; overall relatively sound. Accompanied by silver habaki and shirasaya.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/section\u003e\n\u003csection id=\"description\"\u003e\n\u003cp\u003eThis distinguished \u003cstrong\u003eKatana\u003c\/strong\u003e is a signed work by \u003cstrong\u003eHiromasa\u003c\/strong\u003e (\u003cspan lang=\"ja\"\u003e博正\u003c\/span\u003e) of Hōjō in Iyo Province — one of the most talented and tragically short-lived swordsmiths of the Shōwa era, whose expertise in the Bizen tradition and relatively small surviving output lend each of his blades exceptional rarity and collector significance. Measuring \u003cstrong\u003e63.5 cm\u003c\/strong\u003e with a refined \u003cstrong\u003e1.5 cm sori\u003c\/strong\u003e, the blade presents a well-proportioned \u003cem\u003eshinogi-zukuri\u003c\/em\u003e form with a composed \u003cem\u003eko-kissaki\u003c\/em\u003e of classical purity. The relatively broad \u003cem\u003emotohaba\u003c\/em\u003e of 3.01 cm tapers with elegant authority to a \u003cem\u003esakihaba\u003c\/em\u003e of 2.03 cm, the geometry throughout informed by Hiromasa's deep engagement with the great Bizen masterworks of the Kamakura period that defined his artistic vision.\u003c\/p\u003e\n\u003cp\u003eThe \u003cem\u003ehamon\u003c\/em\u003e is accomplished and confident — a gently undulating \u003cem\u003eko-notare\u003c\/em\u003e with integrated \u003cem\u003egunome\u003c\/em\u003e elements moving along the \u003cem\u003ehabuchi\u003c\/em\u003e with rhythmic evenness, the boundary line animated by fine \u003cem\u003enie\u003c\/em\u003e that catch the light in shifting constellations. The dark, well-forged \u003cem\u003eji\u003c\/em\u003e provides an ideal ground, its close grain consistent along the entire length of the blade. The \u003cem\u003ekissaki\u003c\/em\u003e is compact and precisely formed — a neat \u003cem\u003eko-kissaki\u003c\/em\u003e with a clean \u003cem\u003efukura\u003c\/em\u003e — the \u003cem\u003eboshi\u003c\/em\u003e turning back in a composed \u003cem\u003eko-maru\u003c\/em\u003e that speaks to the controlled, scholarly hand at work throughout this blade.\u003c\/p\u003e\n\u003cp\u003eThe single \u003cem\u003emekugi-ana\u003c\/em\u003e and the clear diagonal \u003cem\u003eyasurime\u003c\/em\u003e on the well-preserved \u003cem\u003enakago\u003c\/em\u003e are consistent with Hiromasa's documented works. The signature \u003cspan lang=\"ja\"\u003e豫州北条住博正作\u003c\/span\u003e is carved with confident, legible strokes — the inscription of a craftsman proud of his province, his teacher, and his name. A \u003cstrong\u003esilver habaki\u003c\/strong\u003e of high quality accompanies the blade, along with a \u003cstrong\u003eshirasaya\u003c\/strong\u003e for correct long-term storage.\u003c\/p\u003e\n\u003c\/section\u003e\n\u003csection id=\"koshirae\"\u003e\n\u003ch3\u003eKoshirae Details: Nagoya-Goshirae\u003c\/h3\u003e\n\u003cp\u003eThe koshirae accompanying this blade belongs to the distinguished \u003cstrong\u003enagoya-goshirae\u003c\/strong\u003e (\u003cspan lang=\"ja\"\u003e名古拵え\u003c\/span\u003e) tradition — the prestigious mounting style associated with the highest level of samurai presentation, recorded in the original documentation as \u003cem\u003ekōkyū nagoya-goshirae sakaeru deki migoto\u003c\/em\u003e (\u003cspan lang=\"ja\"\u003e高級名古拵え栄える出来見事\u003c\/span\u003e): \"a splendid example of high-grade Nagoya-style mounting in full flower,\" from the collection of a distinguished family (\u003cem\u003emeika\u003c\/em\u003e). Every component has been selected and executed to honor a blade of recognized merit.\u003c\/p\u003e\n\u003cp\u003eThe \u003cstrong\u003esaya\u003c\/strong\u003e commands immediate attention. Lacquered in deep, lustrous black \u003cem\u003eurushi\u003c\/em\u003e, its surface is adorned with \u003cstrong\u003egold \u003cem\u003ehiramaki-e\u003c\/em\u003e\u003c\/strong\u003e — the celebrated technique in which powdered gold is worked into layers of wet lacquer to create decorative forms that seem to glow from within the surface itself. Scattered gold blossom clusters — each composed of overlapping petals of varying scale — float against the midnight-black ground with a warmth that shifts as the lacquer catches the light. This is lacquerwork conceived as an independent artistic statement, entirely consistent with the finest Edo-period \u003cem\u003emakie\u003c\/em\u003e production.\u003c\/p\u003e\n\u003cp\u003eThe \u003cstrong\u003etsuba\u003c\/strong\u003e is a work of bold geometric iron \u003cem\u003esukashi\u003c\/em\u003e in the \u003cem\u003emarugata\u003c\/em\u003e (round) form. A central diamond connects via four radiating arms to four large oval apertures arranged symmetrically around the perimeter, creating a wheel-like composition of striking graphic power. The smooth, deeply patinated iron surface and the precision of the openwork speak to a specialist \u003cem\u003etsubashi\u003c\/em\u003e at the height of their craft — a design simultaneously rooted in classical form and strikingly modern in its compositional confidence.\u003c\/p\u003e\n\u003cp\u003eThe \u003cstrong\u003efuchi-kashira\u003c\/strong\u003e set presents a vigorous \u003cstrong\u003edragon in roiling clouds\u003c\/strong\u003e (\u003cem\u003eryū-zu\u003c\/em\u003e) motif in dark \u003cem\u003eshakudō\u003c\/em\u003e with silver and gilt. The \u003cem\u003ekashira\u003c\/em\u003e dragon is deeply carved in bold relief — scales, claws, and fierce expression worked with the confident chisel of a skilled \u003cem\u003ekinko\u003c\/em\u003e artisan, cloud forms sweeping dynamically around the figure. The \u003cem\u003efuchi\u003c\/em\u003e continues the program with scrolling elements and gold punctuation. The \u003cstrong\u003emenuki\u003c\/strong\u003e sustain the dragon iconography in paired \u003cem\u003eshakudō\u003c\/em\u003e and gilt figures. The \u003cstrong\u003etsuka-ito\u003c\/strong\u003e is wrapped in aged amber-gold silk over white \u003cem\u003esame\u003c\/em\u003e (ray skin) in the classic \u003cem\u003ehishi-maki\u003c\/em\u003e braid — its warm honey tone creating a sophisticated chromatic dialogue with the dark fittings and the brilliant gold of the saya lacquer.\u003c\/p\u003e\n\u003c\/section\u003e\n\u003csection id=\"smith-background\"\u003e\n\u003ch3\u003eSwordsmith Biography: Toriū Kamesabu \/ Hiromasa\u003c\/h3\u003e\n\u003cp\u003e\u003cstrong\u003eHiromasa\u003c\/strong\u003e (\u003cspan lang=\"ja\"\u003e博正\u003c\/span\u003e), whose full given name was \u003cstrong\u003eToriū Kamesabu\u003c\/strong\u003e (\u003cspan lang=\"ja\"\u003e鳥生亀松\u003c\/span\u003e), was born and resided in Hōjō-chō, Onsen-gun, Iyo Province — present-day Ehime Prefecture on the island of Shikoku. He trained under \u003cstrong\u003eTakahashi Yoshimune\u003c\/strong\u003e, acquiring through that distinguished lineage a mastery of \u003cstrong\u003eBizen-den\u003c\/strong\u003e that would define his entire career and reputation. His specialty within that tradition was the \u003cem\u003echōji-midare\u003c\/em\u003e hamon — the exuberant, clove-pattern tempering most closely associated with the great Ichimonji school of the Kamakura period — and his \u003cstrong\u003eIchimonji-utsushi\u003c\/strong\u003e works earned him recognition as \u003cstrong\u003eone of the leading masters of the Shōwa era\u003c\/strong\u003e in that demanding genre.\u003c\/p\u003e\n\u003cp\u003eAppointed as an \u003cstrong\u003eImperial Army commissioned swordsmith\u003c\/strong\u003e (\u003cem\u003egen rikugun jusei tōkō\u003c\/em\u003e), Hiromasa distinguished himself even within that select group as a craftsman of exceptional technical ability — his swords noted particularly for their suitability for \u003cem\u003etameshigiri\u003c\/em\u003e (test cutting), a mark of practical as well as aesthetic excellence. He was the recipient of the \u003cstrong\u003ePrime Minister's Award\u003c\/strong\u003e (\u003cem\u003eSōri Daijin-shō\u003c\/em\u003e) and numerous other prizes, and was regarded widely as one of the most promising figures of his generation.\u003c\/p\u003e\n\u003cp\u003eIn \u003cstrong\u003eShōwa 28 (1953)\u003c\/strong\u003e, Toriū Kamesabu died at the age of \u003cstrong\u003eforty-five\u003c\/strong\u003e. His early death left his body of work comparatively small — a circumstance that today lends each surviving signed blade exceptional rarity. He was, as contemporaries noted, a swordsmith from whom great things were expected; what he left behind is more than sufficient to confirm that expectation was fully justified.\u003c\/p\u003e\n\u003c\/section\u003e\n\u003csection id=\"school-history\"\u003e\n\u003ch3\u003eHistorical Context: Bizen-den and the Ichimonji Tradition\u003c\/h3\u003e\n\u003cp\u003eThe \u003cstrong\u003eIchimonji school\u003c\/strong\u003e of Bizen Province, active principally during the Kamakura period (1185–1333), produced what many connoisseurs regard as the most beautiful hamon in the entire history of Japanese swordsmanship. Their characteristic \u003cem\u003echōji-midare\u003c\/em\u003e — exuberant clove-shaped lobes rising in profusion from the \u003cem\u003eyakigashira\u003c\/em\u003e, suffused with \u003cem\u003enioi\u003c\/em\u003e and animated by \u003cem\u003eashi\u003c\/em\u003e and \u003cem\u003esunagashi\u003c\/em\u003e — represents the supreme expression of Bizen-den differential hardening. The finest Ichimonji works, held today as National Treasures and Important Cultural Properties, have served as the ultimate benchmark for Bizen-tradition smiths across all subsequent centuries.\u003c\/p\u003e\n\u003cp\u003eThe \u003cstrong\u003eIchimonji-utsushi\u003c\/strong\u003e — faithful evocation of these great originals — is among the most demanding challenges in Japanese sword-making. Recreating the organic exuberance of genuine Kamakura \u003cem\u003echōji\u003c\/em\u003e requires not merely technical skill but a deep intuitive understanding of the original aesthetic. Smiths who achieved genuine success in this genre are few across the entire history of Japanese sword-making, and Hiromasa's recognition as one of the Shōwa era's pre-eminent practitioners places him in exceptional company. To acquire a documented Hiromasa is to acquire a piece of one of the Shōwa era's most poignant interrupted legacies — the work of a master at or near his creative peak, fixed in time by a fate the Japanese sword world has never ceased to mourn.\u003c\/p\u003e\n\u003c\/section\u003e\n\u003c\/section\u003e","brand":"Tokyo Nihonto","offers":[{"title":"Default Title","offer_id":56670158782788,"sku":"KATANA70","price":3700.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0753\/4080\/8516\/files\/Katana70_178K_0037_GenerativeFill3.jpg?v=1776403491","url":"https:\/\/tokyo-nihonto.com\/de\/products\/antique-japanese-katana-sword-signed-hiromasa-showa-era-gold-makie-nagoya-koshirae","provider":"Tokyo Nihonto","version":"1.0","type":"link"}