SOSHU
A SOSHU TANTO

Details
A SOSHU TANTO
KAMAKURA PERIOD (CIRCA 1300), SIGNED KUNIMITSU

Configuration (sugata): flat (hira-zukuri) with tri-bevelled back (mitsu-mune) and a slight drop of the back towards the tip (uchizori); length (nagasa): 8 sun, 1 bu (24.7cm.); curvature (sori): muzori.
Forging pattern (jihada): ko-mokume with a beautiful display of chikei.
Tempering pattern (hamon): medium width suguba in nioi and some nie, with some lightly scattered kinsuji.
Point (boshi): small flame-brushed tip (ko-hakikake).
Tang (nakago). Shape (keitai): regular with a strong drop (uchizori) of approximately 2.6 degrees; file marks (yasurime): new (kiri-yasurime); end (nakagojiri): rounded (kurijiri); holes (mekugi-ana): two; signature (mei): Kunimitsu.

Shirasaya.

Aikuchi-koshirae, the fittings by Goto Ichijo, comprising: a black lacquer saya; a tsuka mounted with a pair of gold, silver gilt and shakudo menuki formed as , attributed to Goto Ichijo (1791- ); and a shibuichi kozuka decorated in shibuichi, shakudo, silver and gold with a crane peering at a poetic inscription above it, signed on the reverse Goto hokkyo mogaru nen shichijuissai Ichijo with kao and dated Mannen 2 (1861)--length of koshirae 38.4cm.; length of tsuka 11cm.; length of kozuka 9.8cm.

Brocade and silk storage bags.

Accompanied by a juyo token certificate issued by the N.B.T.H.K., dated Showa 46 (1971).
Provenance
Akimoto family
Literature
Juyo token to zufu, vol. 20.
One Hundred Masterpieces (1992), no. 26.
Compton, Homma, Sato and Ogawa (1976), no. IV.
Exhibited
A Collector's Choices: Asian Art from the Collection of Walter A. Compton, Mino and Robinson (1983), no. 1.

Compton, Homma, Sato and Ogawa (1976), no. IV.

Lot Essay

Shintogo Kunimitsu is considered the founder of the Soshu school. His father, Awataguchi Kunitsuna, came to Sagami from Kyoto at the behest of the Kamakura bakufu and made a famous tachi for the Hojo Regent, Tokiyori (1227-1263). He remained in Sagami and his son, Kunimitsu, carrying on the Awataguchi tradition, founded the Soshu school in that province. Kunemitsu became the teacher of both Yukimitsu and Goro Nyudo Masamune, who was considered the most famous swordmaker of all. Masamune is recorded as either the brother or son of Kunimitsu.

The Awataguchi tradition can be seen in many of Kunimitsu's blades, most of which are tanto. This example, like the famed Aizu Shintogo tanto in the collection of Aoyama Takayoshi, is representative of Kunimitsu's work. The fine wood grain is highlighted by a soft background of nashiji and a soft scattering of chikei appearing to well up through the surface texture. The narrow thread tempering (ito-suguba), with minimal nie, serves as a quiet counterfoil to the strength of the forging.