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________ 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 |___________ ______________ ___|____ __|_____ ___|____ 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- MIDARE BA. SUKECHIKA KO-HEI (f: SUKEHIDE): TOMONARI line. To JI-RYAKU 1065. MOKUME HADA. NIOI KO-MIDARE BA and KO-CHOJI BA. |
________ Note: See KO-BIZEN technicals TOMONARI NIN-PYO 1151 for appraisal overview |______________________ ______________ ___|____ ___|____ ___|____ 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 UTSURI. 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 BIZEN-no-KUNI TOMONARI TSUKURU |
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KOKUHO
TOMONARI
National
Treasure
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 and NIE-UTSURI. YAKIBA: 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 NIE. |
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| KOKUHO
TOMONARI
NAGASA:
79.4cm 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 grand masterworks. 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.
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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. YUKIHIDE 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 |
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