A tantō on a black background, with the tang to the left and two holes, a groove ending in a point and a small engraving on the blade.

Kyoto National Museum, via ColBase (photo: 岡田愛, Okada Ai) · ColBase terms of use

Matsukawa-hada · ko-notare

Work and style

A steel of large, marked grain, like the bark of the pine, and a temper of notare with nie: the traits he shares with Norishige.

On this page
  1. Kantei keys
  2. The tantō of the Kyoto National Museum
  3. His katana

Kantei keys

  • Jihada. Matsukawa-hada: ō-itame or ō-mokume with thick chikei along the layers, like the bark of the pine; Markus Sesko gives “Kashū Sanekage” as an example, alongside Norishige and Ko-Uda. Other descriptions speak of itame-nagare with abundant ji-nie and marked chikei, and of a somewhat blackish steel.
  • Hamon. On the tantō of 1367, ko-notare with ko-gunome, according to its official record.
  • Hamon, on other blades. Ko-notare with nie, and also notare-komidare, gunome-midare and suguha-komidare.
  • Sugata. The tantō of 1367 is hira-zukuri and mitsu-mune, 28.5 cm long; the Kyoto one measures 28.8 cm, with 0.3 cm of curvature.
  • Nakago. The Kyoto tantō has two holes.
  • Mei. 加州住真景 (Kashū jū Sanekage) on the sashi-omote face of the Kyoto tantō; 賀州住真景 (Gashū jū Sanekage), with 賀 (ga) instead of 加 (ka), on the one of 1367.
  • Mei, on other blades. Also 加州住藤原真景作 (Kashū jū Fujiwara Sanekage saku) and 藤原真景 (Fujiwara Sanekage).

The tantō of the Kyoto National Museum

The museum’s photograph shows, on the blade, a hi ending in a point and a small engraving (horimono).

His katana

The katana attributed to him are usually much shortened (ō-suriage) and unsigned, with a kurijiri tang tip, kiri file marks and two holes.