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I’ve been after an authentic ‘samurai spear’ for some time but finding nice examples with minimal damage is difficult; they were a primary weapon of warfare so they were well used. This I was delighted when this reasonably priced and good example became available.
‘It is a beautifully preserved hira-sankaku (flat-triangular) spear by the distinguished Osaka smith Kunisuke (國助). In addition to a thick kasane and a healthy, crisply angled form, the front face bears a handsome pair of grooves (ni-hon-hi) and a sankō-ken carving (a three-pronged vajra-hilted sword, the symbol of the deity Fudō Myōō), giving it a strong presence. It is a piece uniting practical strength with esoteric-Buddhist prayer.’
A powerful hira-sankaku yari with firmly standing angles, retaining ample thickness from base to tip. The front face is precisely carved with a tidy pair of grooves (ni-hon-hi) and, at the base, a sankō-ken-style carving regarded as a manifestation of Fudō Myōō. Beyond mere beauty of form, it conveys a high artistry imbued with the martial dignity and the piety of the samurai of its day.
The signature reads "Iwami-no-kami Fujiwara Kunisuke" (石見守藤原國助). Kunisuke was a master smith of the early Edo period (around the Manji era July 1658 to April 1661), born in Ise and later active in Osaka. The long tang is clearly signed with powerful chisel strokes, and it is pierced with two peg-holes (mekugi-ana).
It comes with a dedicated shirasaya suited to protecting and preserving the blade, together with a short shaft (tanka) for appreciation and display.
Individual pieces retaining carvings as clear as this sankō-ken and ni-hon-hiare rare on today's sword market. Thick and healthy from base to tip, it is a fine work that fully satisfies the joy of ownership. Uniting the sturdiness of a weapon with an esoteric-Buddhist dignity, it is recommended as a piece that broadens the range of a Japanese-sword collection.
Let’s see how much difficulty I have having this imported
‘It is a beautifully preserved hira-sankaku (flat-triangular) spear by the distinguished Osaka smith Kunisuke (國助). In addition to a thick kasane and a healthy, crisply angled form, the front face bears a handsome pair of grooves (ni-hon-hi) and a sankō-ken carving (a three-pronged vajra-hilted sword, the symbol of the deity Fudō Myōō), giving it a strong presence. It is a piece uniting practical strength with esoteric-Buddhist prayer.’
A powerful hira-sankaku yari with firmly standing angles, retaining ample thickness from base to tip. The front face is precisely carved with a tidy pair of grooves (ni-hon-hi) and, at the base, a sankō-ken-style carving regarded as a manifestation of Fudō Myōō. Beyond mere beauty of form, it conveys a high artistry imbued with the martial dignity and the piety of the samurai of its day.
The signature reads "Iwami-no-kami Fujiwara Kunisuke" (石見守藤原國助). Kunisuke was a master smith of the early Edo period (around the Manji era July 1658 to April 1661), born in Ise and later active in Osaka. The long tang is clearly signed with powerful chisel strokes, and it is pierced with two peg-holes (mekugi-ana).
It comes with a dedicated shirasaya suited to protecting and preserving the blade, together with a short shaft (tanka) for appreciation and display.
Individual pieces retaining carvings as clear as this sankō-ken and ni-hon-hiare rare on today's sword market. Thick and healthy from base to tip, it is a fine work that fully satisfies the joy of ownership. Uniting the sturdiness of a weapon with an esoteric-Buddhist dignity, it is recommended as a piece that broadens the range of a Japanese-sword collection.
Let’s see how much difficulty I have having this imported
