Technical: SUGATA - HEIAN KOSHIZORI where the arc straightens in
the upper. KO-KISSAKI. Origins are
YAMASHIRO style, some early pieces may be in
that style. Shallow height of the back ridge.
HADA - Finely worked MOKUME or ITAME/MOKUME mix with
a cast of deep transparent blue. CHIKEI and
JI-NIE. NIE JI-BA may be found. KO-BIZEN is
known for very healthy steel, a noted point.
HAMON - Finely done KO-NIE in NIOI-FUKASHI KO-MIDARE,
SUGU KO-CHOJI. Perhaps wider MIDARE BA of
GUNOME and CHOJI mixes defined of ASHI,
KINSUJI and SUNAGASHI. Some lines undulate in
height, and there will be a high degree of
complexity.
BOSHI - SUGU or SUGU KO-MIDARE with KO-MARU.
NAKAGO - Long, gently curved HEIAN styles.
Some were KIJIMATA. Signatures are usually
the smith name only, but some longer.
There were two original KO-BIZEN groups: TOMONARI followed by
MASATSUNE. Traditional study teaches KO-BIZEN began in EI-EN 987
with these and other smiths. Present examples appear from NIN-PYO
1151, and are the subject of most modern descriptions. The early
dates occupy a hallowed throne in scholarship and need not be
violated, as appraisal should always fall to correct placement
of time for individual pieces. GEN-RYAKU smiths are said to be in
the 5th generation.
The order of importance in appraisal consideration for KO-BIZEN:
1st - TOMONARI
2nd - MASATSUNE
3rd - NOBUFUSA and his "Three HIRAs"
Appraisal: HEIAN BIZEN swords will bring TOMONARI and MASATSUNE
to mind. The first step is to weigh a differentiation
between these masters.
TOMONARI - Look for O-HADA.
- Narrow YAKIBA in BOSHI has small KO-MARU
or TOGARI-like head.
- NAKAGO is refined. Flattened KURIJIRI is
HA-AGARI (HA raised) or even slightly
KATAYAMA.
MASATSUNE - Tight, well-knit grain.
- CHU-SUGUHA BOSHI with KO-MARU and short
KAERI.
- Original NAKAGO seems comparatively crude
and terminates in rounded KURIJIRI.
Note: -KO-BIZEN mark is very healthy steel. One doubts one's eyes.
-Long, bold signatures: Look to TOMONARI School.
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