戦国の関は一つの産業であった。春日神社を氏神と仰ぐ鍛冶たちが、中部日本の軍勢を武装させた。孫六兼元の三本杉と之定の最上作は、量産の町に第一級の技が息づいていたことの証である。
NihontoWatchNihontoWatchThis blade is attributed to Mino Senjuin (美濃千手院), which is one of the most famous schools during the late Nanbokucho – late Muromachi period (Mid 14th-Early 16th century) in Mino province (today’s Gifu prefecture). According to NBTHK that appraised this blade, it was approximately made during the mid-late Muromachi period (Late 15th-Early 16th century). The school was located in Akasaka village near Sekigahara, an essential hub for transportation and military bases from ancient times. It is said that the Mino Senjuin school was founded by Sensui (泉水), the son of Yamato Koku Senjuin Shigehiro. Yamato region was one of the most famous sites for sword-forging during the late Heian-Kamakura period. Sensui moved from Yamato (today’s Nara prefecture) to Akasaka village in Mino province during the Nanbokucho period. Senjuin School in Yamato region There was a temple called Senjudo in Nara prefecture where Senju Kannon (Thousand arms) Budha statue was worshiped. And a group of swordsmiths who lived there was known as Senjuin (千手院). They belonged to Todaji temple. Senjuin School was founded by Yukinobu, who was the son of Yoshiyuki. Yukinonobu was originally a servant for Senjuin temple, a branch of Todaiji temple during the late Heian period (1086-1107), and eventually became an Okakae Kaji for the temple. Tachi Koshirae This blade is stored in Tachi (太刀) Koshirae. Tachi was mainly used by an armored Samurai with one hand on horseback from the Heian period (794-1185 A.D.) until the early Muromachi period. TACHI was suspended loosely on the left waist with its edge facing the ground so that you could draw it faster to cut down soldiers on the ground. Because of its gorgeous looking, having a Tachi-style sword mounting became a social status among Samurai. This blade is appraised as a Hozon Touken (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 few Kitae Kizu on the blade. Fuchi-Kashira The Kabutogane (冑金/兜金) is a metal fitting that is attached to the end of a handle. And a Sarute/Sarude (猿手) is attached to this Kabutogane. The user of a sword passed the Udenukio (腕貫緒, a cord wrapped around the wrist to prevent a sword from falling out of the hand, mainly used when riding a horse) through this ring. In addition, the Fuchi Kanamono (縁金物) is also a metal fitting attached to the handle, but on the opposite side of Kabutogane. Other metal fittings of this Koshirae have the same design such as Kuchi Kanamono (口金物, a metal fitting that is attached to the tip of the scabbard close to Tsuba), Seme Kanamono (責金物, a ring-shaped metal fitting placed in the middle of the scabbard to prevent the sheath from cracking), Ashi Kanamono (足金物, metal fittings attached to the positions where Sageo cord is wrapped), and Ishiduki Kanamono (石突金物, a metal fitting that is attached to the end of the scabbard). Tsuka and Menuki The motif of this Menuki is the dragon (龍, Ryu). Initially, dragons were imaginary creatures found in ancient foreign traditions or myths. Furthermore, it is regarded as a symbol of auspicious signs. Its body is likened to nine animals: antlers are deer, the head is a camel, eyes are demons, the neck is a snake, the belly is the Mizuchi (蛟, a mythical animal in Japan that looks like a snake and has a horn and four legs), scales are fish, claws are falcons, palms are tigers, and ears are cows. It was thought that the dragon would reign at the top of all animals because of its odd-looking appearance. Tsuba and Habaki This Tsuba has a simplified Tachi Goshirae Tsuba (太刀拵鐔) style. The difference between Tachi Tsuba (太刀鐔) and Katana Tsuba (刀鐔) is that the top and bottom positions of the Nakago hole (茎櫃, center hole) are reversed. The Tsuba of this Koshirae has Aoi (葵) Tsuba shape. If you focus on four corners, you will find a heart mark-shaped hole is engraved on each edge. It is called the Inome (猪の目) pattern. The Inome pattern has been used since ancient times. As its name implies, the boar’s eyes are the origin of this pattern. Some people believed the Inome design would work as an amulet to protect them from evil spirits or fire. Also, it is said it would bring good luck. Also, the grooves are decorated with the Nanako-Ji (魚子地) technique. This process makes a uniform minimal protrusions pattern by hitting the Nanako-Ji Tagane (魚子地鏨, a chisel for this technique) on a metal surface. This decorative technique is often seen on sword mountings. Saya On this Saya, a dragon is gorgeously depicted. In ancient China, the dragon pattern was used for emperors’ clothing so that people strictly defined its shape or even the number of nails. On the other hand, the dragon pattern does not have detailed rules to represent classes in Japan. However, still, it maintains its meaning as the all-purpose auspicious pattern. Also, in Japan, there is a belief that worships dragon as a water god and is called Ryujin Shinkou (竜神信仰). Since rice cultivation flourished in this country, water is always an essential resource. Therefore, the dragon motif has been familiar to Japanese people since a long time ago. You could also find the family crest called the Gosan-no-Kiri Mon (五三の桐紋) on the Taikogane (太鼓金), which is a circle-shaped metal fitting attached to the middle of the Taikogawa (太鼓革). The Kiri (桐, paulownia) pattern generally comprises three standing straight inflorescences and three leaves. The number of blooming flowers at each inflorescence means the ranks of this design. The Gosan-no-Kiri (五三の桐) pattern is a popular design that the paulownia motif is used. According to tradition, the Houou (鳳凰, Fenghuang) rests its wings at the paulownia tree; therefore, it has come to be regarded as a holy plant. Cherry blossom is one of the seasonal things of spring, and Japanese people have appreciated this plant for a long time. A theory says that the god of grain exists in cherry blossoms. Therefore, this flower pattern has been treated as the symbol of a plentiful harvest. The Karakusa pattern is a design in which vine stems and leaves are twined and make curves. Since ivy has a strong vitality and grows without interruption, people regarded this design as a symbol of prosperity and longevity. Authentication Paper They authenticated the blade on October 17th in the 8th year of Heisei (1996). They appraised it as Hozon Touken, the blade worth preserving for Japanese society.
販売店の記載のまま
美濃伝 · 美濃
現在6点販売中
美濃千手院は赤坂千手院とも呼ばれ、大和千手院派の流れを汲む一派である。説示によれば、大和千手院の刀工が美濃国赤坂へ移住して興ったもので、その移住期は建武の頃と伝える国重をはじめとして南北朝末葉に及ぶとされ、室町時代に殊に繁栄した。校正古刀銘鑑はこの派の祖を国長とし、貞和頃から延文・永徳を経て明応に至るまで複数の国長がいたことを記す。説示が扱う工には、二字銘の太刀を残す国重、貞治頃と銘鑑にある国行、応安元年紀の短刀を遺す国長、室町の弘長と弘重、さらに後代の道永や道印、康道、ただ千手院とのみ切る者がある。これとは別に、越前敦賀から美濃へ移った越州藤原国行があり、応安六年から翌年八月までの間に濃州入りしたと押形所載の銘から推測されている。 作風は板目に柾がかり、あるいは柾目の強い鍛えに大和の特色が濃く現れる点を共通の語法とする。説示は肌立ちごころとなって地沸がつき、地景が入り、総体に白けごころを帯び、鉄色に黒みのあることを繰り返し記す。刃文は直刃や小のたれを基調に互の目や小乱れを交え、刃縁にほつれや喰違いを見せ、砂流しと金筋がかかって匂口締まりごころに小沸がつく。帽子は乱れ込んで掃きかけ、尖りごころに返るものが多い。一般の関物と比べて大和気質が一段と濃く、刃文の出来に隔たりがあることが見分けの手がかりとされる。越州国行に限っては別の作域を示し、板目に柾を交えて荒めの沸がつき、湯走りや飛焼、棟焼を交えて皆焼状となり、相州伝を思わせる沸出来を強調する。 鑑定の要点は、地鉄に大和の根を残しつつ刃に美濃色への移行を読むことにあり、地刃が他の美濃物と争い難い一致を見せる一方、刃文の傾きで識別される。個名を切る作は頗る少なく、千手院とのみ銘するものが多いため、有銘の国行や国重、国長の作は貴重な資料とされる。代表作には佩表に二字銘を有する国行の太刀、南北朝期の国重の太刀、応安元年紀の国長短刀、弘長と弘重の合作槍、千手院作の大身槍があり、銘鑑や光山押形と銘振りを照合して極めの根拠とする。越州国行の濃州住の在銘作は、移住後の作例として、また細直刃という新たな作域を示す点で資料性が高い。室町後期まで命脈を保ったこの一派は、大和から美濃へ流れた刀工の足跡を地刃に刻む系統として位置づけられる。 詳しく見る →
室町時代の美濃
戦国の関は一つの産業であった。春日神社を氏神と仰ぐ鍛冶たちが、中部日本の軍勢を武装させた。孫六兼元の三本杉と之定の最上作は、量産の町に第一級の技が息づいていたことの証である。
銘が正しい、または無銘でも年代・国・系統を確実に指摘できる、保存に値する真正の作と鑑定されたものです。
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。
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