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Jūyō-tōken at the 14th jūyō shinsa held on April 20, 1966
katana, mumei: Hasebe (⻑⾕部)
Tōkyō, Hirabayashi Mikio (平林幹雄)
nagasa 69.1 cm, sori 1.5 cm, motohaba 3.2 cm, sakihaba 2.6 cm, kissaki-nagasa 7.7 cm, nakago-nagasa 18.8 cm, no nakago-sori
Keijō: shinogi-zukuri, iori-mune, shallow sori that tends to sakizori, ō-kissaki
Kitae: itame that is mixed with masame and that features ji-nie, jifu, and some yubashiri
Hamon: notare with a rather tight nioiguchi and mixed with gunome, many sunagashi, kinsuji, and tobiyaki
Bōshi: midare-komi with a pointed kaeri
Horimono: on both sides a bōhi that runs as kaki-nagashi into the tang
Nakago: ō-suriage, ha-agari kurijiri, kiri-yasurime, three mekugi-ana, mumei, the sashi-omote side bears the red-lacquer inscription “Ōuchi Ukyō no Daibu Yoshiatsu” (⼤内右京⼤夫義敦) [sic]*1 and the sashi-ura side the red-lacquer inscription “Sasa-no-tsuyu” (笹の露, lit. “dew on bamboo grass,” an allusion to the cutting ability of the blade)
It is said that the Hasebe (⻑⾕部) School had its origins in Yamato province. It brought forth smiths like Kunishige (国重) and Kuninobu (国信) and Kunishige is traditionally regarded as having been one of the famous Ten Students of Masamune. Almost no signed Hasebe tachi exist as most long swords are ō-suriage mumei. They show an itame that is mixed with nagare towards the ha and towards the mune and are either hardened in an ō-midareba that tends to hitatsura or in a notare-chō. On the basis of the interpretation of this jiba, we are in agreement with an attribution to Hasebe.
*1 The upper part of the red-lacquer inscription is faint and was erroneously interpreted as Ōuchi Ukyō no Daibu Yoshiatsu. The inscription actually references Satake Ukyō no Daibu Yoshiatsu (佐⽵右京⼤夫義敦, 1748–1785).
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