[ Feature ]
Form : Shinogi-zukuri. Iori-mune. Mihaba is ordinal. Kasane is relatively thick. Koshi zori and high shonogi-suji attached. There are some differences between moto-haba and saki-haba. Chu-kissaki extended form.f
Nakago : Ubu. Yasurimes are katte-sagari. Saki is kuri-jiri. One hole.
Jigane : Ko-itame-hada well grained. Mokume mixed toward blade side. Fine jinie attached.
Hamon : Narrow hoso-suguha. The distincition between hamon and jinage is so obvious, so that nioi-kuchi is in clear.
Boushi : It runs in sugu. O-maru form. It turns relatively deep.

[ Highlight ] Active in the late Edo period, around Tempo, Yokoyama Sukenaga was the second son of Sukenaga and succeeded his elder brother Sukemori, who had been adopted by the Shichibei family. Some works bear the inscription '56th grandson of Tomonari'. The fine jigane with koitame grain is mixed with a little itame grain towards the edge of the blade, and the blade has a fine straight edge with shining ko-nie. It is often seen in his works that he started to temper the blade from the edge of the blade. When making the signature, the character "22", avoiding the character "4", is often seen in the Osafune school's annual works and the Yokoyama school including Sukenaga, but it is also noteworthy that this piece uses the character "4" in the name "February day in the 14th year of Tempo". Miyamoto Kanenori, who was active in the Meiji period as an Imperial Artist, initially wished to be apprenticed to Yokoyama Sukenaga, but was unable to do so, and was accepted by the Yokoyama school's Sukenaga, where he learnt the Bizen school and received the character for “Kane". The history of the swordsmith at the end of the Edo period is also combined in this enjoyable item.

[ Conditions ] Excellent. The raw blade remains and is healthy.