南朝が大和国吉野に都を置いたとき、大和の諸派は最盛期にあった。包永以後の手掻、尻懸則長、そして保昌の純然たる柾目である。その技はすでに諸国へ広がりつつあった。
NihontoWatchNihontoWatchA mumei tanto with competing attributions to Sue Hosho and Yamato Yoshimitsu Hawatare: 8 sun 7 bu (26.363 cm or 10.38"). Motohaba: 3.126 cm. Kasane: 8.49 mm. Hirazukure, iroi mune. A bright hosho suguba, ko nie, sunagashi mixed in. The jigane is tightly packed masame with fine jinie and long kinsuji forming along the masa. The boshi is maru, with an insignificant kaeri. NBTHK Koshu Tokubetsu Kicho and Tokubetsu Hozon to Sue Hosho. NTHK/NPO certificate to Yamato Yoshimitsu, around Kemmu (1334-1336). Formal aiguchi koshirae with horn fuchi-kashira, unusually large Goto solid gold menuki of roster and hen, an earlier Goto kozuka shakudo with very fine nanako with roster, chick, and adolescent in solid gold. As per Robert Haynes, 'Likely early main line Goto. The menuki might be main line as well, but later'. The storage scabbard is finished in high quality, thick black lacquer. A pegged kiri wood box with hakogaki to Hosho. There is also a lacquer storage box with Tokugawa, Kiri, and Kiku mon. Tanto came into widespread use after the two attempted Mogul invasions in the latter part of the thirteenth century. Many highly skilled smiths turned their attention to tanto production, not only in Soshu, as seen iin the well known examples, but other provinces as well. Hosho Tanto tended to have a slender sugata, and wide kasane. Because of the consistency of workmanship throughout the generations, it is difficult to make precise attributions of mumei pieces . Kunimitsu, working around Koan jidai (1278-1288) is credited with the founding of the Hosho school. There are thoughts that Sadamitsu founded the school, but since there are no extant works, it has defaulted to Kunimitsu, who some say had also signed Sadamitsu. There is a Juyo Bunkazai tachi, signed nijimei Sadatsugu, a treasure of the Kishu Tokugawa that has all the characteristics of the Hosho school, and has a more antique feel, but he is not included in the genealogies. There is an NTHK/NPO kantei to Tosa Yoshimitsu, working around Kemmu (1334-1336). The first generation Tosa Yoshimitsu started to forge swords in late Kamakura, around 1306. There followed six generations. Most extant examples are tanto. The 1st gen., Tokuji (徳治, 1306-1308), Tosa “Yoshimitsu” (吉光), whoes real name was Fujiwara Gorōzaemon (藤原五郎左衛門), is believed to be either the student of Awataguchi Masamitsu (正光) or of the 1st generation Yamato Senju’in Yoshimitsu (吉光). However, ther is another theory is that he came from the Tegai school. There is speculation that that the 1st gen. Senju’in Yoshimitsu and Tosa Yoshimitsu were the same smith. There is a tachi signed, “Shōan ninen hachigatsu muika Yoshimitsu” (正安二年八月六日吉光, - Shōan second year eighth month sixth day - August 6, 1300]), which has been attributed to Yamato Yoshimitsu is actually a work of Tosa Yoshimitsu. Unfortunately there are very few Tosa Yoshimitsu works extant from before the Muromachi period, so it is impossible to make definite statements about the first generation’s affiliation. There are early tanto extant which are relatively small and which have have a thick kasane, the hada tends somewhat to masame and shows shiraki with a suguba hamon. The sugata that I have seen, most resembles the Hosho attribution. Whichever is correct, this is a high quality Yamato tanto from later Kamakura or early Nambokucho. Dr. Homma: "Once the mei has been removed, the best attribution is only a guess". Hosho, being primarily a Kamakura school, Sue (later) Hosho would refer to later Kamakura or Nambokucho works. Although there are a couple of outliers in Muromachi, these are generally attributed mumei or o-suriage, and they need not be considered. Storage scabbard is finished in high quality, thick black lacquer. High Quality Same - Clear Color & Large Nodules Goto Solid Gold Roster & Hen. Note: kinsabe Early Goto Solid Gold Hen Adolescent & Chick on Shakudo Nanako Solid Gold Habaki With Tokugawa Mon Tokubetsu Hozon - 2019 Koshu Tokubetsu Kicho - 1976 Around Kemmu (1334-1336) / Two mekugi ana (?) / Maru with insignificant kaeri / Hosho Suguba Sunagashi mingling / Masame packed together / Hirazukure Iroi mune / Ubu Mumei /#1,0454 NTHK/NPO - 2020
NihontoWatch
大和伝 · 大和
現在4点販売中
大和五派のうち、地鉄に総柾目を貫いたただ一門が保昌派である。その本拠は大和国高市郡、成立は鎌倉時代の末葉に置かれ、南北朝期へと続いた。古来寺院に付属して刀を鍛えた大和鍛冶の流れを汲み、同派の工は皆「貞」を通字とする。祖と仰がれるのは貞宗・貞吉で、両者は共に保昌五郎と称したと伝え、その下に貞清・貞興・貞光らが連なる。中にあって居住地と制作年紀を最も多く銘に記すのが貞吉であり、嘉暦三年紀の太刀に「大和国高市郡住」と切って活躍地・年代を明らかにする。貞清・貞興は貞宗あるいは貞吉に続く手とされ、現存する作はおおむね鎌倉末に収まる。 作風は一門を通じて均質で、まず地鉄に集約される。在銘・無銘を問わず総柾目肌を鍛え、柾が区より先まで通って棟へ抜け、地沸が厚くつき地景が頻りに入る。手掻・千手院・尻懸・当麻が柾がかった板目を鍛えるのに対し、保昌はこの純然たる総柾に徹し、説示も大和五派の中で最も作風の個性が顕著な一派と記す。刃文はその柾目に応じ、匂深く小沸のついた直刃を主とし、刃は地鉄と別に立つのではなく肌目にからんで頻りにほつれ、刃縁に喰違刃・二重刃・打のけを集め、金筋・砂流しがかかる。物打辺より上で焼幅が広がり一段と沸が強くつくのも一派の所作である。帽子は直ぐに掃きかけて焼詰めとなり、多くは返りを持たず、時に火焔風となる。茎には檜垣鑢をかけ先をぶっ切りとし、これも銘と並ぶ見どころをなす。工により振幅には差があり、貞吉の地刃は荒く沸が強く、やや時代の下る貞清・貞興の手は地刃ともに静かで精良に読まれる。短刀には小振りで重ねの厚い品のよいものが多い。 鑑定の勘所は何よりこの純然たる総柾目にあり、これによって同じ大和の手掻・千手院・尻懸・当麻と分かたれる。一門の諸工に際立った個性は見出しにくく、無銘作は個ではなく時代と作域から保昌と極められ、ゆえに在銘作では銘振りこそが工を分かつ。年紀と居住地まで記す貞吉が最も知り得る工で、藤代の極めでは最上作にあたり、貞清・貞興は二字銘や藤原を冠する四字銘を残すのみで年紀作を見ない。在銘作は短刀に多く、大磨上無銘の刀は後に金象嵌の極めを受け、埋忠家や本阿弥光一の銘を留めるものがある。伝来は大名家を貫き、肥後細川家を経た短刀をはじめ、毛利元康所持を記す大磨上の刀などが知られる。総柾目に徹したこの一門の作が市に現れることは稀で、ことに年紀ある貞吉の在銘作に接する機会は少ない。 詳しく見る →
南北朝時代の大和
南朝が大和国吉野に都を置いたとき、大和の諸派は最盛期にあった。包永以後の手掻、尻懸則長、そして保昌の純然たる柾目である。その技はすでに諸国へ広がりつつあった。
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。
NBTHK公式サイトThree day, no penalty, inspection on every item. Returns must be in the same condition as shipped. Actual costs will be charged on returned items. No restocking fee. If you did not like the item is a good enough reason for return.