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| BIZEN | Lay-out Version |
__________________ KO-BIZEN CHIKATADA KEN-PO 1213 |___________________ ___________________ _______________ __|______ __|_____ ___|____ ___|____ MITSUTADA KAGEHIDE(1) YASUTADA KAGEYASU | BUN-RYAKU 1234 | SHO-GEN 1259 RYAKU-NIN 1238 JO-EI 1232 | ______________|___________________________ _______ | ___|______ __|_____ ___|____ | | SHIGEYOSHI(1) KAGEHIDE(2) KEN-GEN 1302 KAGEYORI | | KA-GEN 1303 |____________ SHO-O 1288 | | See KOZORI __|_____ ___|____ ____________|___ | SANEFUSA SHIGEIYE FUKUOKA KAGENORI(1) | GEN-O 1319 KEM-MU 1334 _____________|___ | See KOZORI YOSHIOKA KAGENORI(2) | YOSHII School Founders | See YOSHII |________________ ________________________ ___________________ __|______ ___|____ ___|____ | NAGAMITSU SANENAGA BUN-EI 1264 KAGEYASU SHO-O 1288 | SHO-O 1288 See NAGAMITSU School ___|____ | See Following YASUYUKI KA-REKI 1326 | ______________________ _________________| ___|____ ___|______ SUYENORI KA-TEI 1235 MITSUCHIKA SHO-O 1288 |___________ ___|_____ ___|______ ___|____ MOTOMITSU KA-REKI 1326 MITSUCHIKA HISAMUNE - BUN-EI 1264 - SUYENORI KA-TEI (t: MITSUTADA, f: YASUNORI): From TEI-O 1222, his line falls from FUKUOKA NORIMUNE. ITAME HADA. CHOJI BA. |
MITSUTADA RYAKU-NIN (f: CHIKATADA, br: KAGEYASU): OSAFUNE Founder.
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BIZEN KO-OSAFUNE MITSUTADA
Swirling MOKUME and O-MOKUME veiled of JI-NIE with MIDARE-UTSURI that makes the surface appear wet. BO-HI is common. MITSUTADA First Period: Showing deference for his formative and conservative roots, KO-BIZEN, early work may have an early KAMAKURA feel and be KO-MIDARE of KO-CHOJI BA in NIE that has KINSUJI and SUNAGASHI. MITSUTADA famous for TOBI-YAKI. MITSUTADA Later Period: Mid-KAMAKURA national SUGATA trend brings the KEN-CHO 1249 widening of the upper and its IKUBI style, bold KISSAKI, - however KO-OSAFUNE liked the more normal, elongated feel. GUNOME pushes through CHOJI. TOBI-YAKI appears at the tops. KAWAZU CHOJI is associated to the school and the time. Note: ICHIMONJI work will be far more brazen and uniform. MITSUTADA YAKIBA will rise and fall, and will have generally less height than ICHIMONJI. MITSUTADA is a more dynamically combined and reserved line. Look for hard or soft TOBI tethered by strings. |
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SHINOGI-TSUKURI, IHORI-MUNE, KOSHIZORI TACHI.
Swirling MOKUME with JI-NIE. OSAFUNE MONOUCHI: A smooth BOSHI finds CHU-width, evenly set, squarish CHOJI beginning from the YOKOTE. Each nodule resets the slight undulation by finding the top of its neighbor. Looping YO-painted CHOJI crest a wave-like swell through the upper which breaks-up and falls in ever changing combinations. Square, oblong and pointed OBUSA GUNOME jut through jostling KO-CHOJI where delicate KO-ASHI trace detail. Far and near KAWAZU sentinels rise like look-outs in the mid, tending little-ones crowding their KAWAZU garden. KINSUJI and SUNAGASHI combine in long undercurrents that spill to the fore, flooding anchored pillars and pilings. Round TOBI-YAKI stand on pinnacles to dot the lower with floating viscous bulbs, while UTSURI rises from the HABUCHI like steam. OMOTE lower is quieter than URA, its faraway figures stand placidly. KIRI-JIRI SURIAGE NAKAGO has two MEKUGI-ANA, the lower with multiple bores. His small MEI rests in the JI, solidly above the lower ANA: MITSUTADA |
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| KINZOGAN-MEI MITSUTADA
- HONAMI KOTOKU (CAO)
ODA Collection
NAGASA: 72.6cm IKUBI-KISSAKI on O-SURIAGE KAMAKURA SUGATA TACHI.
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KOKUHO MITSUTADA
| KINZOGAN-MEI MITSUTADA - HONAMI KOTOKU
(CAO) ODA
Collection
NAGASA: 68.5cm SHINOGI-TSUKURI,IHORI-MUNE with wide MIHABA and thick KASANE.
The
A serene blue KO-ITAME has JI-NIE with standing MIDARE-UTSURI. Jumbling KAWASU O-CHOJI-MIDARE unfolds through the lower and recedes to GUNOME in the upper - placing his typical trademark OSAFUNE MONOUCHI. The rise and fall of NIOI-FUKAI figures appear like white luminous gel. There are KINSUJI, ASHI and YO. MIDARE-KOMI BOSHI is nearly YAKIZUME. NIE tends to HAKIKAKE. O-SURIAGE NAKAGO has one MEKUGI-ANA and KINZOGAN-MEI:
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KAGEYASU JO-EI (br: MITSUTADA): Work to KO-AN 1278. This smith is thought to be FUKUOKA KAGEYASU, although some records place SHO-O KAGEYASU as MITSUTADAs' son. Both theories might be correct with two smiths, uncle and nephew. KO-BIZEN to early FUKUOKA YAKIBA style KO-MIDARE of KO-CHOJI BA. Special point thought passed to brother, MITSUTADA: OSAFUNE MONOUCHI. The line settles to an even or slightly varying CHU-width - where KO-ASHI define segments that are sequentially blocked together. BOSHI becomes a SUGUHA or MIDARE that is smooth. See MITSUTADA Tokubetsu Juyo Kageyasu YASUYUKI KA-REKI 1326 MITSUCHIKA SHO-O (f: MITSUTADA): CHU-KISSAKI, wide TACHI SUGATA from the mid to late KAMAKURA transition. Standing MIDARE-UTSURI walks across MOKUME JI-HADA. GUNOME pushes through CHOJI BA. OSAFUNE MONOUCHI where GUNOME pattern evens to a near SUGU ceiling into the BOSHI. KAGEHIDE(1) SHO-GEN (br: MITSUTADA): UMA-no-SUKE. Made ICHIMONJI style OBUSA CHOJI-MIDARE and O-CHOJI KO-MIDARE of ASHI. Maker of KURONBO-GIRI, DATE MASAMUNE's favorite sword. Tokubetsu Juyo Kagehide KAGEHIDE(2) KEN-GEN: Late KAMAKURA SUGATA. Width of YAKIBA is approximately the same as the 1st, however figures are more intensely packed - GUNOME rising in CHOJI BA. KAGEYORI SHO-O (f: KAGEHIDE): From KO-AN 1278 to KEN-GEN 1302. SAKON SHOGEN. SAEMONnoJO. Reference notes his line as descendants from KO-BIZEN KAGEYORI. MOKUME HADA. KO-MIDARE BA, evenly set CHOJI-MIDARE or OSAFUNE-style gently varying fall and rise of GUNOME-CHOJI MIDARE BA. See MITSUTADA. MEI: KAGEYORI KAGEYORI TSUKURU BIZEN-no-KUNI KAGEYORI TSUKURU BIZEN-no-KUNI JUNIN SAEMONnoJO KAGEYORI BIZEN-no-KUNI JUNIN SAKON SHOGEN KAGEYORI TSUKURU KAGENORI(1) KO-AN (f: KAGEHIDE): A FUKUOKA ICHIMONJI smith whose line founded YOSHII School. See YOSHII. SHIGEYOSHI(1) KA-GEN (f: KAGEHIDE): Original KOZORI Founder. KO-NIE CHOJI KO-MIDARE. See KOZORI School SANEFUSA GEN-O (t: KAGEHIDE): Work to KEM-MU 1334. MOKUME HADA. GUNOME-CHOJI MIDARE BA. MEI: BIZEN JUNIN SANEFUSA BISHU OSAFUNE JU SANEFUSA |
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