[ Feature ]
Form : Shinogi-zukuri. Iori-mune. Both mihaba and kasane are ordinal. Very shallow sori attached. Saki-haba becomes a little narrow. Chu-kissaki form.
Engraving : On the front, slightly flattened from the shinogi-suji at the waist, there is a dot consisting of one vertical character and three strokes, and a kunigamae-like character lacking the third strokes. Below this, at the border with the stem, is a large engraving of the character for 'god'.
Nakago : Suri-age. Folding signature. Yasurimes are (old) suji-kais, (new) kiri. Saki is kiri. Three holes.
Jigane : O-itame-hada well grained. Mokumes and changing pattern surfaces mixed. Rich jinie attached.
Hamon : Sugu-ha tone. ko-gunomes mixed. Ashis appeared so much.
Boushi : It runs in sugu. Form is ko-maru. Saki shows haki-kake form.

[ Highlight ] Masanaga was the son of Miyoshi Nagakuni and was called Riemon and Toshiro, and studied under Umetada school, making swords mainly around the Kan'ei period in the early Edo period. He was also the father of Toshiro Nagamichi, and the second generation of Masanaga was succeeded by the younger brother of the first Nagamichi, and continued thereafter until the fifth generation around Kansei era. In this work, the same fine itame skin can be seen on the shinogi-ji as on the hiraji. Combined with the engravings and the low curvature of the sword, the sword has the appearance of a treasured sword.

[ Conditions ] There are minor rust marks on the cutting edge and on the lower edge of the blade under the yokote, as if it has been slightly poked with a needlepoint. It has been polished and is in good condition.