© Copyright Robert Cole 1998 - No copying or
SANENARI EI-EN 987 Note: See KO-BIZEN technicals
|________________________ for appraisal overview
___|____ - brothers - ___|____
TOMONARI SHO-RYAKU 990 SUKENARI EI-EN 987
| TOMOYASU KAN-KO 1004
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TOMONARI MUNEYASU SUKETOMO KAN-KO 1004
KAN-JI 1087 KAN-KO 1004 ___|____
SUKEHIDE CHO-RYAKU 1037
SUKECHIKA KO-HEI 1058
SUKENARI EI-EN (br: TOMONARI):
TOMOYASU KAN-KO (f: SUKENARI): BIZEN-no-KUNI TOMOYASU
TOMONARI SHO-RYAKU (f: SANENARI): Born: TEN-RYAKU 6 (952). Made
Mid HEIAN SUGATA. A signed piece in the YAMASHIRO
tradition could be found. SUGU KO-MIDARE HA to SUGU
GUNOME CHOJI KO-MIDARE BA in KO-NIE has KINSUJI. Look
for NIJUBA. See following page for late HEIAN TOMONARI
of NIN-PYO 1151.
MUNEYASU KAN-KO (f: TOMONARI): Work to MAN-JU 1044. MOKUME with
MASAME. KO-NIE SUGUHA and KO-MIDARE CHOJI BA with ASHI.
SUKEHIDE CHO-RYAKU (f: TOMONARI): Work to JI-RYAKU 1065. CHOJI-
SUKECHIKA KO-HEI (f: SUKEHIDE): TOMONARI line. To JI-RYAKU 1065.
MOKUME HADA. NIOI KO-MIDARE BA and KO-CHOJI BA.
TOMONARI of NIN-PYO 1151
________ Note: See KO-BIZEN technicals
TOMONARI NIN-PYO 1151 for appraisal overview
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TOMONARI KA-TEI 1235 MUNEYASU SUKETOMO SHO-GEN 1207
___|____ KA-TEI 1235 ________
TOMONARI BUN-EI 1264 TOMOMURA KEN-RYAKU 1211
OSAFUNE TOMONARI KEM-MU 1334 YUKIHIDE TEM-PUKU 1233
YUKITSUNE KAN-GEN 1243
TOMONARI NIN-PYO: Classic writing tells us EI-EN TOMONARI and
MASATSUNE are the founding fathers and originators of
KO-BIZEN. Study of present swords allows a time spread
for TOMONARI between KAN-JI 1087 and NIN-PYO 1151 with
the SUGATA style of late HEIAN to early KAMAKURA. A
profusion of pieces appear and are similarly marked with
an unusually large, broad stroked, long MEI. Small
differences have provided speculation that several
TOMONARI smiths worked at this time. However, signatures
were not the refined product that became popular later
and an appraiser should always look to the work for the
hand of the master.
TOMONARI: Late HEIAN KO-KISSAKI, KOSHIZORI, strong
FUNBARI TACHI where the upper straightens. KO-BIZEN is
known for robustly healthy steel. JI-NIE veils standing
KO-ITAME HADA that shows CHIKEI under faint and varying
MU-MEI: TOMONARI has O-HADA and will seem lighter as his thinner
YAKIBA leaves less contrast than MASATSUNE's dark JI
against a wider and ASAKI-NOTARE undulation.
TOMONARI has an even height to his YAKIBA which is
comparatively more narrow. It will not have the rolling
undulation of height that is associated to MASATSUNE.
TOMONARI BOSHI: Thin SUGU or MIDARE that varies slightly.
MASATSUNE is CHU-SUGUHA with a low and centered KO-MARU.
TOMONARI has a fairly even HOSO-SUGU width of small
KO-GUNOME/KO-CHOJI MIDARE BA mix. NIOI-FUKASHI floods
the many KO-ASHI that fall and cut from a HABUCHI that
is generally active in all areas. SUNAGASHI and bright
KINSUJI many seem to increase in the lower. TOMONARI
is famous for NIJUBA effects. Figures may be HAKIKAKE,
especially in the lower. BOSHI will be HOSO-width,
rising toward the SAKI for a small KO-MARU or pointed
KO-MARU; - some may be YAKIZUME (without turnback). He
made BO-HI and thin SU-KEN. NAKAGO will have the HA
side of the JIRI raised slightly. Signatures seen:
MEI: TOMONARI SAKU
BIZEN-no-KUNI TOMONARI TSUKURU
|NAGASA: 2 SHAKU 6.5 SUN
SHINOGI-TSUKURI, IHORI-MUNE, narrow KOSHIZORI
TACHI. The upper straightens to the small and
somewhat elongated KO-KISSAKI, which sits high up on
this long and evenly closing late-HEIAN FUNBARI
SUGATA. A wide BO-HI occupies the whole of the
SHINOGI-JI from the KO-SHINOGI to the MACHI, where a
thin 2.6 SUN SU-KEN HORIMONO slips like a pier into
the BO-HI well.
CHIKEI wrestles standing KO-ITAME under JI-NIE
The NIOI HABUCHI blows down over jutting crags and
hilltops while SUNAGASHI sweeps a vague NIJUBA
through its crowded and overlaid KO-GUNOME
landscape. KINSUJI carves bright wounds as drifts of
KO-NIE and NIOI HOTSURE are pulled into the JI.
Stands of defined CHOJI become almost DAI-BO in the
mid but UTSURI joins HAKIKAKE to brush a soft fog to
the mountainous lower.
A NIJU ghost walks the smooth BOSHI to KO-MARU
with slight KAERI.
The UBU NAKAGO has three multiple-cut MEKUGI-ANA
and his six character MEI:
SUKETOMO SHO-GEN (f: TOMONARI): MOKUME HADA with MASAME. SUGUHA,
KO-MIDARE BA and KO-CHOJI MIDARE with ASHI in KO-NIE.
TOMOMURA KEN-RYAKU: To KEN-CHO 1249. KO-MIDARE of KO-CHOJI BA in
SHINOGI-TSUKURI, IHORI-MUNE. Small KO-KISSAKI
stands strongly from KOSHIZORI TAKU FUMBARI,
late-HEIAN style TACHI SUGATA. A BO-HI falls into
the NAKAGO. Made with the classic elegance of the
KO-ITAME HADA has a thin veil of JI-NIE.
The deep NIOI HAMON is an ASAKI-NOTARE CHU-SUGUHA
where KO-GUNOME and KO-CHOJI battle KINSUJI and
SUNAGASHI in a great travail. A near KOSHIBA rises
in the lower.
UBU with one hole, signed above.
Mid-KAMAKURA TOMONARI School
TOMONARI KA-TEI: TOMONARI line KO-BIZEN. This work resembles
FUKUOKA ICHIMONJI with mid-KAMAKURA SUGATA of wide upper
and IKUBI KISSAKI. ICHIMONJI style CHOJI-MIDARE.
TOMONARI BUN-EI (f: TOMONARI): Thought the father of EN-KEI
TOMONARI. His will be tune-of-the-time: Jutting GUNOME
through CHOJI-MIDARE in NIOI. The line is a fairly even
course. BUN-EI TOMONARI: MIDARE BOSHI with O-MARU to
YAKIZUME. TOMONARI in OSAFUNE for KEM-MU 1334 and in
TEN-MON 1532, signing his forebears' KIMI BANZAI.
MUNEYASU KA-TEI (br: TOMONARI): Narrow TACHI. Running ITAME HADA
has JI-NIE. NIE KO-MIDARE BA and NIJUBA style KO-CHOJI
MIDARE BA. MIDARE-BOSHI. Signed near the MUNE.
MEI: BIZEN-no-KUNI MUNEYASU SAKU
YUKIHIDE TEM-PUKU: Late KO-BIZEN. KO-ITAME HADA. KO-MIDARE of
KO-CHOJI BA ASHI in NIE. Small MEI.
YUKITSUNE KAN-GEN (t: YUKIHIDE, f: YUKIMUNE): YUKIMUNE descended
from SUKEYUKI. A KO-BIZEN line, it is included with
SUKEYUKI in FUKUOKA. See FUKUOKA SUKEYUKI