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ETCHU NORISHIGE Unique MATSUKAWA "Pine-bark"andUZU-MAKI HADA "dressed in whirlpools" has CHIKEI and JI-NIE. KO-MIDARE with ASHI, KO-GUNOME with valleys and SUNAGASHI in NIE. NIE can be large. KINSUJI. BOSHI:KO-MARU, KAEN, TOGARI. SOSHU masters come to the HOKURIKU "The Ten Students" GOFUKU GO NORISHIGE EN-KEI 1308 (SAGAMI) GEN-KYO 1321 |________________________ _________________________ ________ ____|____ __|_____ ___|____ | SHIGEKUNI(1) KEM-MU 1334 TOMONORI(1) KEM-MU 1334 MASANOBU | (NOBUKUNI 3: same) ________|_____ TEI-WA 1345 | ____|____ SAKON TOMONORI(2) TEI-JI 1362 | SHIGEKUNI(3) ______|_____ | O-EI 1394 UDA TOMONORI(3) EI-TOKU 1381 | ___________________________ ______| ________ ___|____ ____|____ TOMOHIRO(1) TEI-JI 1362 SANEKAGE(1) TEI-JI 1362 SUKESHIGE ___|____ ___|_____ _________ TEI-JI 1362 TOMOHIRO(2) O-EI 1394 SHIGEKUNI(2) MITSUMUNE EI-TOKU 1381 EI-TOKU 1381 NORISHIGE EN-KEI (t:SHINTOGO KUNIMITSU): A member of the SOSHU revolution. Legend and old lessons has the world suckling MASAMUNE, whose work and reputation are stark. However the power and subtlety of HAMON and intricate beauty of his CHIKEI show the true stature of NORISHIGE as brother student under KUNIMITSU. Among the SOSHU he is ICHI-DAN - highest level. Although specializing in TANTO, his long-swords are thought superior. TACHI: Signed blades are few. SUGATA is classic. Thin KASANE gives a longish feeling to an otherwise normal KISSAKI. Correct and normal NIKU. IHORI or MITSU-MUNE. TANTO: Curveless, 7 to 8 SUN, MITSU-MUNE or possibly longer, TAKENOKO-like (slightly UCHIZORI) IHORI-MUNE. Lengthening of the KISSAKI is seen in TANTO as well. CHIKEI defines UZU patterns of hard and soft steel in his unique MATSUKAWA-no-HADA. JI-NIE is found. He is known for a SHIMA-BA style HITATSURA where small TOBIs seem to splatter-up into the JI. HAMON may be KO-MIDARE with ASHI, KO-MIDARE, or a KO-GUNOME, NOTARE mix that appears a dynamically balanced "Jumble." NIE GUNOME-MIDARE with SUNAGASHI has NIJUBA, YUBASHIRI and KINSUJI. MIDARE-KOMI BOSHI. KAEN,TOGARI & KO-MARU. MEI: NORISHIGE SAEKI NORISHIGE SAEKI NORISHIGE SAKU ETCHU-no-KUNI NORISHIGE SAGAMI-no-KUNI JUNIN NORISHIGE ETCHU-no-KUNI NEI-GORI GOFUKU JU SAEKI NORISHIGE ETCHU-no-KUNI NEI-GORI GOFUKU GO JU SAEKI NORISHIGE Tokubetsu Juyo Norishige Tokubetsu Juyo Norishige Tokubetsu Juyo Norishige |
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KOKUHO NORISHIGE National Treasure NAGASA: 8.2 SUN MOTO-HABA: 6.6 BU SORI: UCHI-ZORI MOTO-KASANE: 2 BU NAKAGO: 2 SUN 6 HIRA-TSUKURI, IHORI-MUNE TANTO. SUGATA style is narrow with thick KASANE. MATSUKAWA "Pine-bark" ITAME HADA is exemplified by the strongest CHIKEI. Writhing KINSUJI and INAZUMA hide and seek each other in a NOTARE CHOJI mix that rolls together. Small SHIMA-BA clings in the MONOUCHI. His work is described as MYO, or wondrous. FURISODE "KIMONO-sleeve" NAKAGO with three MEKUGI-ANA of varied size, from multiple mountings, and his two- character MEI. |
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BUNKAZAI NORISHIGE NAGASA: 24.2cm UCHI-ZORI HIRA-TSUKURI, MITSU-MUNE, Medium-full FUKURE on slender, TAKENOKO like UCHIZORI. MATSU-KAWA ITAME-HADA that stands, has JI-NIE and much CHIKEI with JIFU mixed. NOTARE swells hold GUNOME-MIDARE BA of SOSHU style NIE. SUNAGASHI and KINSUJI abound and add NORISHIGE's wide spectrum of colorful subtleties. MIDARE HAKIKAKE BOSHI to TSUKI-AGE with slightly falling KAERI. Elongated, two MEKUGI-ANA NAKAGO supported many mountings.
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NAGASA: 23.4cm UCHIZORI UZU-MAKI HADA and MATSUKAWA with MITSU-MUNE TAKENOKO, late-KAMAKURA SUGATA unquestionably sing his song. He made both IHORI "roof-ridged" and MITSU-MUNE SUGATA. MATSUKAWA or Pine-bark MOKUME is only associated to early NORISHIGE School, and really only to NORISHIGE and one or two students. It is NORISHIGE's domain and epitaph. Even best student, SANEKAGE could not long continue this KITAE, which faded fast as the school scattered to the NAMBOKUCHO wind. The SUGATA style of this piece places time and, as students are a little later, lays our crossroad onto the doorstep of the master; whose hand then becomes obvious. Running CHIKEI dances in UZU whirlpools and strong MATSUKAWA HADA that shows JI-NIE on this exceptionally healthy blade. The YAKIBA becomes wide in the upper, where KINSUJI forms arcing SUNAGASHI that cuts NIJUBA to the KO-MIDARE line. KINSUJI fights with INAZUMA and small JIBA TOBI jump from the HABUCHI. Wide BOSHI turns in KO-MARU to a long-falling KAERI that runs down the MUNE. A simple SU-KEN climbs the lower. Red lacquer SHUMEI is found below two MEKUGI-ANA on the FURISODE NAKAGO. |
SANEKAGE TEI-JI (t: NORISHIGE): Master to KAGA (smithing for the North). His NORISHIGE-style changed with time. Wide and shallow TANTO are seen.KASANE can be thin. In ITAME with O-HADA and the famous MATSUKAWA"Pine-bark" influence, although grain is more refined. JI-NIE and CHIKEI. GUNOME appears in KO-MIDARE of NIEwhich shows SUNAGASHI. KO-NOTARE GUNOME, or KO-GUNOME CHOJI-MIDARE ofKO-NIE is also found. NIE of varying size dress SUNAGASHI and KINSUJI over deep-falling NIOI with ASHI. UCHINOKE and TOBI-YAKI are found. MIDARE-KOMI BOSHI has the TSUKI-AGE "Thrust" TOGARI or possibly KO-MARU. See KAGA - SANEKAGE MEI: FUJIWARA SANEKAGE KASHU JU SANEKAGE KASHU JU FUJIWARA SANEKAGE SHIGEKUNI(1) KEM-MU (f: NORISHIGE): Made swords in the style of the master. Note: The key with SHIGEKUNI generations, beyond SUGATA as to time, is style of the teacher. MEI: SHIGEKUNI SHIGEKUNI(2) EI-TOKU (t: SANEKAGE): His swords follow the more subdued refinements of SANEKAGE-style. MEI: SHIGEKUNI SHIGEKUNI(3) O-EI (t: 3rd NOBUKUNI): Theory has SHIGEKUNI traveling in O-EI to study with KYO NOBUKUNI. His earlier work, therefore, shows the YAMASHIRO richness of color, an appraisal-point. TANTOs return from wide NAMBOKUCHO style to a normal width. Running ITAME with MASAME has JI-NIE. KO-MIDARE GUNOME-MIDARE in NIE with SUNAGASHI. KO-ASHI. HORIMONO of KEN, GOMABASHI and KOSHI-HI are seen. Stylized, two-character MEI. |
TOMOHIRO (2) O-EI (f: TOMOHIRO): Narrow bladed FUNBARI TACHI with CHU-KISSAKI. KASANE is thick. KO-ITAME mix of MOKUME and MASAME that runsor MASAME-drawn AYASUGI. HAMON is KO-GUNOME TOGARI BA in NIE. Known for KOSHI-UTSURI that stands out. Large, two character, stylized MEI in thick strokes. TOMONORI(1) KEM-MU (f:SADAMUNE): NORISHIGE School. Passed the rich foundation on towards the UDA transition. MEI: TOMONORI TOMONORI(2) TEI-JI: Many TANTO. In KO-GUNOME, KO-GUNOME MIDARE. MEI: SAKON TOMONORI TOMONORI(3) EI-TOKU (f: TOMONORI): Swords in FUJISHIMA-style SUGU, KO-GUNOME KO-MIDARE BA. MEI: TOMONORI MITSUMUNE EI-TOKU: Smith of the late SADAMUNE line. MEI: MITSUMUNE TOMOHISA(1) TEI-JI (f: MORIYOSHI): KO-ETCHU. Progeny to UDA. MEI: TOMOHISA TOMOTSUGU(1) EI-TOKU (f: TOMOHISA): KO-ETCHU and UDA. MOKUME HADA having CHIKEI and JI-NIE. KO-NIE DEKI KO-GUNOME MIDARE or SUGU KO-GUNOME KO-CHOJI.KINSUJI and SUNAGASHI that is bright and clear. BOSHI can be NOTARE HAKIKAKE with KO-MARU. MEI: TOMOTSUGU MASANOBU TEI-WA (t: NORISHIGE): To TEI-JI 1362. NORISHIGE style. ETCHUnoKUNI MASANOBU |
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