{INTRODUCTION} {MAJOR KOTO SCHOOLS} {DIAGRAMS AND TERMINOLOGY} {GLOSSARY}{ARTICLES}


SHODAI IZUMI NO KAMI KUNISADA

 

Kunisada was born in Tensho 18 (1590) in Hyuga province, present day Miyazaki prefecture. He became a student of the famous Shinto smith, Horikawa Kunihiro. It is commonly believed that since he was only twenty-five years old when Kunihiro died, both he and Kawachi no Kami Kunisuke came under the tutelage of Echigo no Kami Kunitomo. His early signature and work style resembles that of Kunitomo who was a senior student to him in the Horikawa Kunihiro school.

 

It is thought that he moved to Osaka in Genna 7 (1621) and once there he founded the Osaka Shinto school. He received the title of Izumi no Kami in Genna 9 (1623) and he passed away in Keian 5 (1652). He is known to have become a monk in his last days and he used the name of Dowa.

 

Sugata: His works are mostly katana and wakizashi in shinogi-zukuri. There are also kanmuri-otoshi-zukuri and hira-zukuri wakizashi. Rarely, there are also tanto of standard proportions.

 

Jitetsu: His kitae generally has the appearance of Nashiji as his ko-itame hada shows its very tight grain formations. There are some in which the hada is a well-refined ko-mokume like the stripes of chirmen (crepe paper). Once in a while there is one that gives the appearance of very well executed o-itame hada. Often the shinogi ji has a tinge of masame and the ji-nie is often thick and profuse.

 

Hamon :His hamon on the whole consists of deep nioi admirably sprinkled with fine nie grains. There are various types such as suguba, notare, gunome midare, o-midare, and so on but when it is midare, there are frequently works in which a hamon of gunome with maru kashira (round heads) are arranged in 3's, 4's, 5's, and 6's. The tone of all his hamons resemble Kunitomo. In all of them the nie, nioi hamon is lively. The hamon always starts in yakidashi and almost always shows some tobiyaki in the monouchi area up to where the boshi turns back.

 

Boshi: His boshi, which in most cases is in ko-maru, is characterized by its slight widening in the middle. It usually ends in a short kaeri, but on occasion it will return in an extremely long kaeri becoming almost mune-yaki.

 

Horimono: There are frequently horimono. In fact Kunisada is known for the greatest number of examples of works with horimono in the Horikawa School. It is especially frequent in wakizashi and tanto. There are horimono of the Sadamune style engraved on tanto.

 

Nakago: The mune is ko-maru, and as for the saki, the works of his younger years are a shallow kurijiri, but as he aged, they gradually became slender and in a ha-agari kurijiri shape. The yasurime is o-sujikai all the way up to the hamachi.

 

Mei: His most common mei was the seven character one reading:

IZUMI NO KAMI KUNISADA

 

Occasionally one finds this mei also:

 

OITE OSAKA IZUMI NO KAMI FUJIWARA KUNISDA

 

Some of the examples of his mei before he received the "Izumi no Kami" title are as follows:

 

FUJIWARA KUNISADA

 

SESSHU OSAKA JU FUJIWARA KUNISADA

 

SESSHU JU FUJIWARA KUNISADA

 

After the second year of Shoho (1645), his mei of IZUMI NO KAMI KUNISADA was chiseled in sosho script (grass writing). This is regarded as his Dowa-mei, that is, Kunisada's mei after he entered the priesthood.

 

 

 






{INTRODUCTION} {MAJOR KOTO SCHOOLS} {DIAGRAMS AND TERMINOLOGY} {GLOSSARY}{ARTICLES}





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