二世紀半の泰平のあいだ、刀は武器である以上に武士の身分の標章であった。江戸の実証と大坂の華やぎのように都市ごとの作風が育ち、時代の末には需要も細っていく。
NihontoWatchNihontoWatchThis blade was signed by Iga no Kami Kanemichi (伊賀守包道), who was originally from Yamato province(today’s Nara). He was the son of Tatsu Zaemon Kanemichi (辰左衛門包道). During the KAN-BUN era(1661-1673), Kanemichi moved to Settsu province in Osaka prefecture. And, he worked for Mutsuno Kami Kaneyasu, a famous swordsmith in Osaka prefecture. Kanemichi received the title of Iganokami. The imperial court only gave the title of kami(守) to the swordsmiths who did excellent work. The Kanbun era (1661–1673) was part of Japan’s early Edo period, under the stable rule of the Tokugawa shogunate. After decades of conflict had ended, society was relatively peaceful, and people in major cities such as Edo (Tokyo), Kyoto, and Osaka saw steady economic and cultural growth. Osaka Shinto The blades forged by Iga no Kami Kanemichi are categorized as Osaka Shinto. Shinto is Japanese Sword terminology that refers to the swords forged during 1596-1781. The blades made in the Osaka area during this period are called Osaka Shinto. There are many famous swordsmiths in this Osaka Shinto era. After Hideyoshi Toyotomi built Osaka castle, Osaka city flourished as a castle town and became a business center. Many swordsmiths moved to Osaka to look for better opportunities. They not only forged swords for those Samurai who lived in Osaka but also for feudal lords nationwide. Ikanshi Tadatsuna(Awataguchi Omi no Kami Tadatsuna), Inoue Shinkai, and Tsuda Sukehiro are the most famous among many swordsmiths. One of the most notable characteristics of Osaka Shinto is its beauty in Jigane. Jigane is a visible steel surface pattern created by folding and hammering during the forging process), which made it possible by the location of Osaka. Osaka had close access to the production sites of the Tamahagane(special carbon steel to make Japanese swords). The swordsmiths residing in Osaka could get high-quality carbon steel from these sites. It is appraised as a Tokubetsu Hozon Token (特別保存刀剣) issued by NBTHK (Nihon Bijutsu Touken Hozon Kyokai:日本美術刀剣保存協会). *Please keep in mind that there are a couple of Kitae Kizu as well as relative long Hike Kizu (scratch on the blade). Fuchi-Kashira The motif of this Fuchi-Kashira is Chrysanthemum (菊, Kiku). A long time ago, the chrysanthemum was used as a medicine to obtain a long life in China, and it was brought to Japan with this thought in the Nara period (648-781). The chrysanthemum is one of the flowers that symbolize fall, and people have appreciated it very much since ancient times. As its petals form radially, the chrysanthemum has been likened to the sun. That is why this flower pattern is treated as the symbol of perpetual youth and longevity or good health. “Kiku no Gomon (菊の御紋)” is a kind of chrysanthemum pattern, and it has been used as the crest of the Emperor and the royal family in Japan, so it is well-known as a noble pattern. From the Kamakura (1185-1333) period to the Warring States period (1467-1615), the chrysanthemum crest was given as a reward from the Emperor back then to the warlords who made significant contributions. For example, Ashikaga Takauji (1305-1358), who became the first Shogun of the Muromachi Shogunate, cooperated with Emperor Go-Daigo (後醍醐天皇, 1288-1339) to dissolve the Kamakura Shogunate. And Takauji was given a chrysanthemum crest. In addition, Toyotomi Hideyoshi (1537-1598) was also given a chrysanthemum crest by Emperor Goyouzei. A theory says Hideyoshi was delighted and used this motif for furniture. At that time, the Emperor was regarded as God. Therefore, it was an irreplaceable honor for Samurais to receive the family crest from the Emperor. This is how the chrysanthemum pattern has a deep connection with Samurai culture. Tsuka and Menuki This menuki is designed as a Hannya mask, shown with a tense, fierce expression. The face is modeled in strong relief, with sharply defined features and an intense gaze, creating a dramatic presence even at this small scale. Details such as the raised contours around the eyes and mouth help emphasize the mask-like character of the motif. A Hannya mask is a well-known image from Noh theater, traditionally used to represent a woman consumed by powerful emotions such as jealousy and grief, transformed into a supernatural figure. Tsuba and Habaki This Tsuba is an openwork (sukashi) guard, where the design is created by cutting through the iron plate. The pattern appears to be shippō-tsunagi (七宝つなぎ), a repeating arrangement of linked circles that forms petal- and diamond-like shapes across the surface. Because the circles connect continuously, this motif is often associated with ideas such as harmony, good relationships, and lasting prosperity. The clean geometric design also gives the tsuba a light, modern feel despite the solid iron material. Saya The Kurikata is decorated with an engraved figure of an elderly man with a long beard and a cheerful expression, often read as an Okina-type motif. This kind of auspicious “old man” figure is commonly associated with ideas such as longevity and good fortune. The surface of the Saya is finished with evenly spaced horizontal ribbing, creating a continuous lined texture across the lacquer. This striped design gives the saya a clean, rhythmic look and also helps highlight the glossy black finish. Authentication Paper They authenticated the blade on April 6th in the 16th year of Heisei (2004). They appraised it as Tokubetsu Hozon Touken, the blade especially worth preserving for Japanese society.
販売店の記載のまま
摂津 · 1673-1681頃
現在1点販売中
江戸時代
二世紀半の泰平のあいだ、刀は武器である以上に武士の身分の標章であった。江戸の実証と大坂の華やぎのように都市ごとの作風が育ち、時代の末には需要も細っていく。
保存刀剣のうち、出来が一層優れ、保存状態も良好と認められたものです。再刃や、室町・江戸期の多くの無銘作は対象外となり、保存刀剣より高い基準が課されます。
日本美術刀剣保存協会（NBTHK）は、1948年に設立され、文化庁の監督を受ける公益財団法人で、東京・刀剣博物館に本部を置きます。専門の審査員が出品作を直接審査し、美術的・歴史的価値に応じた鑑定書を発行します。NBTHKの鑑定書は、日本刀および刀装具の真正性を示す最も広く認知された基準です。
NBTHK公式サイトReturns/exchanges limited to defects caused by shipping (except willful misconduct or gross negligence by the company); customers must contact within 72 hours of receiving the product.