Koto Mihara School Wakizashi 

 

 

 

The Mihara school was seated in Bingo province and is gathered under the Yamato tradition.  Their earliest works can be seen from the early 14th century in the Kamakura period, extending all the way to the late Muromachi period in the 16th century.  Their time line is divided into Ko-Mihara (Kamakura through Nambokucho), Chu-Mihara (early Muromachi), and Sue-Mihara (late Muromachi) to distinguish their works.

 

 

The Mihara school has suffered from misunderstanding in the West, having somehow garnered a reputation of  lesser quality work.  However, nothing could be further from the truth .  Mihara school works are actually highly regarded with many Juyo Token to their credit.  They are skillfully made, and quite beautiful with subtle dignity.  They are classically quiet, with an inviting character.

 

This blade is signed Bishu Onimichi (no) Ju Shigemitsu.  Onimichi is a town in Bingo. There were two generations of Shigemitsu, the first is rated in Fujishiro’s Koto Hen as Chujosaku.  He further states that the first Generation was the founder of  the Tokifusa line of Ko-Mizuta smiths which continued into the Shinto period through the Kunishige and Tameiye lines.  Both generations of Shigemitsu worked in the Muromachi period, and arguably, both worked in the middle period of the Mihara time line, which is the period less frequently seen.  The second generation would have continued working into the latter half of Muromachi or the Sue portion of Mihara history.  Whether this work is first or second generation would be a matter for shinsa to decide, however looking at the mei of the first generation, differences are evident that would direct consideration of the Nidai for this work.  As yet, I have not found a documented example of the Nidai mei for comparison.

 

 

The shape of this sword is shobuzukuri, and it has a wide mihaba with very high shinogi and thin mune.  It is 37.3 cm (14 5/8 inches) long. The work is indicative of Mihara tradition with finely forged ko-mokume with some larger hada mixed in.  The jigane has an almost oily appearance, but is very clear.  The yakiba is impressively bright nioi with tiny konie visible, and small ashi inserted.  There are small workings along the habuchi like tiny threads of kinsuji.  The komaru boshi turns back deeply in a distinctive “takiotoshi” (waterfall) style, one of two characteristic types of kaeri of later Mihara school style.  The polish is excellent and reveals all the blade has to offer.  There are some small blemishes at the kissaki from rubbing the interior of the saya, but don’t detract from the overall impact and quality. 

 

The mountings are very high quality with Ebizaya style kojiri and beautifully executed in silver and shakudo.  The surfaces are textured to resemble stone and have Kamons of shakudo.  The tsuba is iron and looks to be Jakushi school work with gold zogan onlay.  The menuki are gilded leaves. All the shitodome are excellent and high quality.  The kurigata has shakudo shitodome of deep blue black shakudo and multi-piece construction.  Shitodome of this quality are very expensive.  The lacquer is really outstanding.  The saya has a soft ribbed texture that the lacquer accentuates in tones of deep red and burgundy.  The number of layers required to create this soft mult-tone must be in the dozens.  Good lacquer work should make the saya feel heavy in hand and this one definitely does.  There are some small losses at the uragai and ridge of the kozuka slot, but not serious, and the rest of the saya is immaculate. 

 

 

 

 

This is a very nice package and will not disappoint.  It is sophisticated without being garish, and will provide many years of enjoyment.

 

On Consignment:  ON HOLD

 

 
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