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| TANTO NOBUKUNI NAMBOKUCHO PERIOD c. 1390 TOKUBETSU HOZON
SUGATA: HIRA ZUKURI MEI: MUMEI (ATTRIBUTED): NOBUKUNI DATE (ATTRIBUTED): LATE NAMBOKUCHO(1333-1393) NAGASA: 30.0cm (11.8125") OVERALL: 38.2cm (15.065") MIHABA: 3.02cm (1.875") HORIMONO OMOTE: YES HORIMONO URA: YES ONE PIECE GOLD FOIL (KOSHIRAE) SHIRASAYA / KOSHIRAE
TANTO NOBUKUNI NAMBOKUCHO PERIOD c. 1390 TOKUBETSU HOZON I am listing this Tanto by Nobukuni on consignment. Most will recognize the name Nobukuni, as an important one. There are several schools of thought on identifying the specific generations of Nobukuni smiths, especially in the Nambokucho era. This is related to the historical records being unclear regarding the precise succession following the Shodai Nobukuni. I will provide a brief synopsis of the main theories, but keep in mind it is open to debate. Even the authorities / scholars of the past as well as today, the NBTHK, NTHK have difficulty discerning the generations, again related to unclear records. In most instances the works of Nobukuni smiths are papered or attributed to a time period or era opposed to a specific generation. The Nobukuni Ichiryu school has it's roots in the Yamashiro Rai School, that much is certain. The Shodai Nobukuni is said to be either the son of Ryokai or possibly the son of Ryo Hisanobu or Kunihisa, either of which would make him the grandson of Ryokai. Ryokai being the son of either Niji Kunitoshi or Rai Kunitoshi. The Shodai Nobukuni first signed Nobuhisa and changed his name to Nobukuni around Kenmu (1334-1336), yet there are no extant works from this period. The Shodai Nobukuni or the Nidai who was actually the shodai was said to have been one of the three Soshu Sadamune Santetsu (Three disciples of Sadamune). ________________________________ The Toko-Taikan dates the Shodai to the Kenmu era (1334-1336) and says that he was the son of Ryo Hisanobu. It says also that there exists the theory that he was the son of Hisanobu's younger brother Kunihisa and that he signed first with Nobuhisa. Another theory says that he was the nephew of Hisanobu. Further, the oldest extant date signatures is Enbun three (1358) and there are no extant signed blades which could be dated back to the Kenmu era. This led to the theory that the Shodai was actually active around Enbun (1356-1361).
_____________________________________ Albert Yamanaka relates, the Nidai followed very closely upon the time of the Shodai and their production times overlapped. Their workmanship and quality is very similar with only subtle differences in the mei. Works attributed to the Nidai date from the Oan era 1368, to the beginning of Oei 1394. ____________________________________ The Nihonto Koza states the Shodai was from the Kenmu era, but again works remain non existent. As such those works from Enbun (1356-1361) and Joji(1362-1368) are considered to be the Shodai and those from Oan 1368 to Oei 1394 are considered the Nidai. Later works from Oei, the beginning of the Muramachi period, to Eikyo1429 to be the Sandai. ____________________________________ This particular Tanto has received Tokubetsu Hozon papers from the NBTHK which attributes it to "Late Nambokucho". I have struggled over which generation to call this tanto, and finally came to the realization that if the NBTHK can not decide, how the hell can I. Keep in mind the beginning of Enbun 1356 to the beginning of Oei 1394 is only 38 years. Certainly, in such a short time frame more than one generation's work could overlap. From all the information I have digested over the last several weeks, combined with the NBTHK attribution to late Nambokucho, my conclusion is that this tanto is most likely a later work of the Nidai (shodai) Nobukuni, but possibly the Sandai (nidai) ??? The blade itself is in great condition for a sword made in the late 1300's. It does have a few small kizu which are clearly seen in the photos. There is no damage or anything detrimental to the sword. Keep in mind the the light reflects dramatically form these areas and looks worse on film than in hand. This tanto was signed "Yasuyoshi" (Sa) and caused a great deal of excitement when first discovered and was even published in the NTHK Magazine. However, it was deemed gimei at shinsa in the late 1980's. Subsequently, the mei was removed and the tanto re-submitted to the NBTHK shinsa where it received Tokubetsu Hozon papers attributing it to Nobukuni. For attributing authorities to even consider either of these two big names is testament in itself of the outstanding quality of work seen in this tanto. There is so much to see and enjoy in this sword. There are hi carved on both sides. The hada is a a gorgeous itame with some areas of mokume and a profusion of chikei, some ji-nie and utsuri. The notare hamon has sunagashi and kinsuji with ko-nie sprinkled lightly along the ha.. The nakago is ubu with two mekugi ana. The tanto has a one piece silver habaki and is in shirasaya. This Tanto is accompanied by a wonderful koshirae which received a 75pt kanteisho per the NTHK. The kojiri is signed "Daryuson Kosai (kao), which was the studio name of Tsuchiya Toshichika. The kojiri is shibuichi and depicts a crow and a heron at a washtub. The saya is a black lacquer cloud motif with dragons done in crushed green abalone shell. The kurigata, koiguchi, and aragawara are done in horn. There is no kozuka, kogatana. The tsuba as well as the fuchi/kasira is shakudo and depicts a forest scene rendered in gold, silver, and copper takabori zogan. The menuki are shakudo and depict bamboo shoots wrapped in gold rope. The habaki is a fine as they come, a gold foil with exquisite scroll carvings. It comes with a tsunagi blade to hold it together for display.
$15,000 plus S/H
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