Tametsugu Katana
為継 刀

Item No. TK004

  • Period：Koto -late Kamakura period (13th century) to the early Nanbokucho period (14th century).

  • Designation: Tokubetsu Hozon (Katana) & Koshu Tokubetsu Kicho (Koshirae)

  • Mei (Signature): Mumei

  • Nakago - O-Suriage Mumei

  • Mekugiana - 2 holes, with the original mekugiana at the top

  • Nagasa - 69.4cm

  • Sori - 2.0cm

  • Motohaba - 3.2cm

  • Sakihaba - 2.1cm

  • Kissaki - 3.4cm

  • Nakago length - 18.2cm

Price: ¥ 2,800,000

Tametsugu (為継) was a distinguished Japanese swordsmith active during the Nanbokuchō period (1336–1392). Traditionally believed to be the son of the renowned smith Gō Yoshihiro, one of the Ten Famous Disciples of Masamune (正宗十哲) and a legendary smith in his own right. Go Yoshihiro’s works are among the rarest and most prized swords in existence, often considered the pinnacle of Soshu-den craftsmanship. Tametsugu is thought to have trained under Norishige following his father's early passing.

The distinct Soshu traits found in Tametsugu's works—such as powerful notare (wavy) hamon, chikei (dark lines in the steel), and nie-rich jihada—further reinforce this connection.

Initially working in Echizen Province, Tametsugu later relocated to Mino Province, where he became one of the founding smiths of the Mino tradition. His craftsmanship is celebrated for its exceptional quality

Many of his blades are mumei (unsigned) due to their age and subsequent shortening, but they are attributed to Tametsugu based on their craftsmanship and style. His works often reflect the same power and artistry seen in Go Yoshihiro’s blades, making them highly sought-after by collectors and sword enthusiasts.

Tametsugu’s works are highly valued by collectors and sword enthusiasts alike. 75 of his surviving blades have received the prestigious Juyo Token (重要刀剣) designation from the NBTHK (Nihon Bijutsu Token Hozon Kyokai), with several achieving the coveted Tokubetsu Juyo Token (特別重要刀剣) status.

This level of recognition places Tametsugu among the most significant swordsmiths of his era, and his swords are often found in prominent collections, both in Japan and internationally.

Tametsugu (為継) – Master Swordsmith of the Soshu Tradition

Soshuden Masterpiece - The Katana

Sugata

The blade exhibits a classic shinogi-zukuri structure with an iori-mune and a gracefully curved sori (curvature). Despite being o-suriage mumei (shortened and unsigned), the katana maintains remarkable health, evidenced by its substantial dimensions, including a motohaba (width at base) of 3.2 cm, which imparts a robust and commanding presence. The well-proportioned sakihaba (width at tip) and extended kissaki (tip) enhance both aesthetic appeal and functionality.

Jigane

The jigane of this Tametsugu blade exhibits a remarkable and beautifully layered combination of prominent itame-hada (wood grain pattern) and mokume-hada (burl grain). These grain structures interweave seamlessly across the surface, creating a rich and dynamic texture that is both visually captivating and indicative of a highly skilled smith's work.

Throughout the entire length of the blade, chikei (dark, curving lines) are interspersed across the hada. These streaks of darker steel appear naturally within the forging process and provide a distinct depth and complexity to the surface. Unlike blades with localized chikei, this blade features an even and continuous distribution of chikei throughout the entire hada, enhancing the overall sense of fluidity and movement within the steel's grain. This characteristic speaks to Tametsugu's mastery of controlling the internal structure of the blade through precise and deliberate forging techniques.

The jigane is further enriched by the presence of ji-nie (fine martensite crystals), which shimmer across the blade's surface under light. These small crystalline formations, embedded within the steel, add a delicate brilliance to the texture and contribute to the blade's overall aesthetic appeal. The interplay of ji-nie with the chikei and hada patterns creates a complex visual experience that changes subtly as the blade is viewed from different angles.

This work exudes an elegance and charm reminiscent of the works of Go Yoshihiro.

Notare-komi Boshi (Omote side)

Hakikake Boshi (Ura side)

Hamon

The hamon of this extraordinary Tametsugu blade is a mesmerizing combination of notare (gentle wave) and gunome-midare (irregular clove-shaped pattern). The flowing notare elements transition seamlessly into sections of gunome midare, some of which exhibit distinct, pointed peaks, adding a dynamic rhythm to the hamon. This intricate pattern is both elegant and bold, reflecting the masterful artistry of Tametsugu.

What truly sets this blade apart is the abundance of hataraki (activities) within the hamon. The hamon is fully loaded with activity, displaying a captivating array of sunagashi (brushed streaks resembling drifting sand), kinsuji (lightning-like lines of hardened steel), and nijūba (double hamon lines). The presence of nijūba is particularly noteworthy, as it is a feature frequently and prominently seen in the works of Go Yoshihiro. These secondary temper lines run parallel to the main hamon, creating a layered, three-dimensional effect that speaks to the smith's exceptional control of the yaki-ire process.

The sunagashi activity is especially abundant, with brushed, flowing streaks that appear to dance along the length of the hamon. This creates a sense of movement and life within the steel, a hallmark of high-level craftsmanship. The interplay between the various hataraki makes the hamon appear almost alive under the right lighting conditions.

When viewed from the correct angles, the blade's hamon comes to life, lighting up with a radiant brilliance that is breathtaking to behold. The complex interplay of light and shadow across the hamon highlights the incredible depth and intricacy of the blade's temper line. This feature, captured beautifully in the photographs above, showcases Tametsugu's exceptional skill and his ability to create a blade that is a true work of art.
The boshi (tip of the blade) is another remarkable feature of this sword. On the omote (front) side, the boshi exhibits a combination of kaen (flame-shaped) and notare-komi. This type of boshi is also seen in the works of Go Yoshihiro, known for his bold and dynamic temper lines. On the ura (back) side, the boshi transitions into hakikake (brushed style), a characteristic feature of Soshu-den smiths, particularly Norishige.

Historical records suggest that Tametsugu was either the son or direct disciple of Go Yoshihiro. After Go Yoshihiro's death, Tametsugu is believed to have studied under Norishige, further refining his Soshu-den forging techniques. The influence of both legendary smiths is clearly evident in this blade, making it a remarkable piece that bridges the styles and traditions of two of the most renowned swordsmiths in Japanese history.

Ryaku-tachi Koshirae

The Tametsugu blade is accompanied by a rare and elegantly crafted 略太刀拵 (Ryaku-tachi Koshirae). The term Ryaku-tachi Koshirae refers to a simplified tachi-style mounting, combining the aesthetics of a ceremonial tachi with a more practical design suited for regular use. These koshirae are typically less ornate than formal tachi koshirae but still display refined craftsmanship and high attention to detail.

The saya (scabbard) of this koshirae showcases a variety of traditional Japanese lacquer techniques, enhancing both its beauty and durability:

  • The upper portion of the saya features a 笛巻塗 (Fuemaki-nuri) technique, which is characterized by black glossy rings wrapping around the reddish-brown lacquer, creating a striking visual contrast. This style is reminiscent of the decorative bands found on traditional Japanese flutes, from which the technique takes its name.

  • A particularly unique feature of this koshirae is the naginata naoshi-like section of the saya, which incorporates 青貝 (aogai), a decorative inlay made from finely crushed mother-of-pearl. This inlay shimmers subtly under light, adding an elegant, iridescent quality to the scabbard’s surface. The use of aogai is a traditional technique often reserved for high-quality lacquerwork, indicating the prestigious craftsmanship behind this koshirae.

  • The remainder of the saya features a traditional 石目塗 (Ishime-nuri) finish. Ishime-nuri, which translates to "stone texture lacquer," gives the surface a rough, textured appearance resembling natural stone. This technique enhances the durability of the saya while providing a distinctive and refined aesthetic that contrasts beautifully with the smoother lacquer sections.

Overall, this Ryaku-tachi Koshirae combines practical simplicity with artistic sophistication, making it a fitting accompaniment to the historic Tametsugu blade.

This Tametsugu katana represents a remarkable piece of history, preserved in a condition that defies the passage of time. For a blade that is approaching 700 years old, its flawless state speaks volumes about the care and respect it has received over centuries. The blade shows no signs of neglect or damage, a testament to the reverence it has commanded throughout its long life. Such preservation is a rarity and reflects the profound cultural significance bestowed upon this katana by its past custodians.

In our personal opinion, this blade exhibits qualities that place it firmly within Juyo-level craftsmanship. Its attributes—flawless condition, masterful execution, and historical importance—align closely with those seen in blades that have achieved this prestigious designation. The katana exudes an air of refinement and mastery, evoking comparisons to the celebrated works of Go Yoshihiro and Norishige, two giants of the Soshu tradition who set the standard for artistic excellence in Japanese swordmaking.

There is much to admire and enjoy in this katana. Its sublime nie and hada, combined with its graceful shape and powerful presence, create a sword that transcends its utilitarian origins to become a true work of art. This Tametsugu is more than just a weapon; it is a masterpiece of Soshu-den that embodies centuries of tradition, artistry, and cultural heritage. For collectors and enthusiasts alike, it offers an opportunity to connect with the pinnacle of Japanese craftsmanship, a timeless reminder of the beauty and sophistication achieved by the swordsmiths of old.