In the 676 nbthk monthly magazine.
Shijo Kantei To No 674 ( in the 2013 March issue)
The answer for the Shijo Kantei To No. 674 in the March issue is a tachi by Osafune Masamitsu dated Eitoku 2
This tachi has a standard width, and the widths at the moto and saki are different. The blade is slightly thick for the width, there is a high koshizori, the tip has sori, and there is a chu-kissaki. This kind of shape is seen often from the late Nambokucho era,and approximately after the Eiwa era. Some of Masamitsu’s works are similar to late Nambokucho time Kosori work, but when compared with those, his jihada and hamon are brighter. Masmitsu’s jihada are itame mixed with mokume and nagarehada, and the hada is visible. There are ji-nie, chikei, midare utsuri, and often different color jifu appears. The hamon are based on a shallow ko-notare, mixed with ko-gunome, ko-choji, and ko-togari, and the yakiba are low or narrow for the mihaba. The entire hamon is small, and there is a nioiguchi and ko-nie. The boshi are midarekomi, and tips are sharp. Around the Joji era, his few early works are in the Enbun-Joji style, and are large tanto and hira zukuri wakizashi. The hamon are kataochi-gunome or notare mixed with gunome, which are similar to his teacher Kanemitsu’s style, and of his older fellow students Motomitsu and Tomomitsu. Masamitsu is famous as a student of Kanemitsu along with Motomitsu and Tomomitsu. Motomitsu and Tomomitsu’s active period was around the Enbun and Joji eras. Masamistu’s dated works are before and after the Joji period into the early Muromachi Oei era. Thus Masamitsu’s active period was later than the other two senior smiths. His teacher Kanemitsu’s latest date was during the Joji period which was Masamitsu’s earliest working period. His elder students Motomitsu and Tomomitsu’s last dates were around the Oei era. Looking at the late Nanbokucho period, the main Bizen smiths last signed eras (the last dated examples do not always coincide with the end of the smith’s career) were Joji for Motoshige, Koryaku for Chogi, and Oei for Omiya Morishige. Many of the Bizen dates moved up to Eiwa, Koryaku, Eitoku, Shitoku, Kakei, Ko-o, and Meitoku, and the tachi shapes changed to become narrower. Choji’s Koryaku era tachi are narrow, but without other style changes. Morikage’s work from the end of the Nanbokucho period have a narrow shape with small hamon which is similar to Kosori work. Also, there are many Bizen smiths who are not belong to famous schools and do not have a clear school style (similar to this Masamitsu work), and people called all of these smiths Kosori smiths. Overall, at the end of the Nanbukucho period, Bizen swords became narrower, and at the same time, the mainstream schools’ characteristics gradually disappeared and smaller hamon become popular. During Masamitsu’s early career, his work was silmar to that of Kanemitsu, Motomitsu, and Tomomitsu. But during the late Nanbokucho period, when his teacher and fellow students’ influrence become less, he produced many Kosori style blades, and this could be the trend of the times. In voting, most people voted for Masamitsu. Beside him, Kosori smith names such as Moromitsu, Hidemitsu, and Iemori came up. As I explained, Kosori work is very similar to Masamitsu’s work and it is difficult to decide on names of individual smiths. From this viewpoint, Kosori smith names were treated as correct answers.
explanation by Hinohara Dai