日本刀 刀 銘 丹波守吉道 NBTHK 特別保存刀剣鑑定書付

附属品

NBTHK Tokubetsu Hozon Certificate, Shirasaya Case, Koshirae Mounting (Decorative Sword Mountings), Traditional Sword Carrying Case, Sword Maintenance Kit, Full Exportation Support

Category

Katana (SHINTO)

Age

Mid Edo period (1673-1703)

Location

Yamashiro province (Today’s Kyoto prefecture)

登録証

Ehime 12667

販売店の記載のまま

This blade was signed by Tanba no Kami Yoshimichi (丹波守吉道). According to NBTHK’s appraisal, it was forged by the 4th-gen Yoshimichi in Kyoto. The swordsmith name Yoshimichi prospered in both Osaka and Kyoto for generations during the Edo period. And to distinguish two Yoshimichi, The one in Kyoto is called Kyo Yoshimichi, and the other one is called Osaka Yoshimichi. The 4th-gen Kyo Yoshimichi belonged to the prestigious school called Mishina (三品) school. He was especially active in sword-forging during 1673-1703. He received the high official title “Tanba no Kami (丹波守)” in the 12th year of the Kanbun Era (1672). His birth name was Mishina Kichinojyo (三品吉之丞). He was allowed to inscribe a chrysanthemum emblem, which is the symbol of the Japanese emperor. His sword forging technique was so great that the emperor permitted him to use this emblem, which was honorable for any swordsmith. A chrysanthemum emblem remains in the tang of this blade. Mishina School The first-gen Tanba no Kami Yoshimichi belonged to Kyoto Mishina school and was one of the sons of the Mishina school’s founder. Mishina school was created by the first-gen Mutsu no Kami Omichi (陸奥守大道), also known as Kanemichi. It is said that initially, he was from Mino province, exclusively forging blades for Shingen Takeda, a famous feudal lord. Later on, he moved to Kyoto by bringing his four sons and founded his school in Kyoto. Five sons were Iga no Kami Kinmichi(伊賀守金道)、Izumi no Kami Rai Kinmichi(和泉守来金道), Tanba no Kami Yoshimichi(丹波守吉道) and Echu no kami Masatoshi(越中守正俊). His sons were known as Kyoto Gokaji(京都五鍛冶), prestigious swordsmiths forging in Kyoto in the early Edo period. Mishina school was prosperous throughout the Edo period and spread to other parts of Japan, such as Osaka. The superb craftsmanship of the Mishina school was passed down for generations. The 4th-gen Yoshimichi is a good example, and you can see excellent artistry from this blade. Kyo Yoshimichi school lasted seven generations by the end of the Edo period. The first-gen Yoshimichi developed a unique Hamon pattern(tempering line) called Sudareba(簾刃). Sudare means traditional screens or blinds in Japanese. The Hamon pattern he invented resembles its appearance to Sudare. This blade has a beautiful Sudareba Hamon. This special characteristic was passed down to the generations of Yoshimichi. 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 is a couple of Kitae Kizu on the blade. Fuchi-Kashira This fuchi-kashira is decorated with a motif of bracken (warabi), a type of fern native to Japan. Its young shoots unfurl in a distinctive spiral shape, a graceful form that has long been appreciated and incorporated into various decorative arts. The stylized representation of this form developed into the warabite (蕨手) motif. Characterized by curled, spiral-shaped tips, this decorative design has been used in Japan since the Yayoi period (c. 300 BCE–300 CE) on pottery, tools, and ornaments. Similar motifs have also been found in China, dating back to the Han dynasty. As seen in this piece, such flowing, curved designs are often arranged symmetrically, emphasizing harmony and aesthetic balance. Tsuka and Menuki The theme of the menuki is a dragon (龍, ryu). The dragon is an imaginary creature originating in ancient Chinese traditions and myths, and it has long been regarded as an auspicious and symbolic beast. Its form is traditionally described as a composite of nine animals: antlers of a deer, the head of a camel, eyes of a demon, the neck of a snake, the belly of a mizuchi (a mythical Japanese creature resembling a horned, four-legged serpent), scales of a fish, claws of a falcon, paws of a tiger, and ears of a cow. Because of this extraordinary composite appearance, the dragon was believed to reign at the pinnacle of all animals. In Japan, dragons have also been revered as water deities in a belief system known as Ryujin Shinkō. As rice cultivation flourished, water became an indispensable resource, and for this reason, dragon motifs have been familiar and meaningful to the Japanese people since ancient times. Tsuba and Habaki The tsuba is of a plain oval form. Its surface is finished in ishime-ji (石目地), a texture created by striking the base with a tagane (鏨, metalworking chisel), resulting in a rough, stone-like appearance. The rim is further reinforced with a fukurin (覆輪), a metal edging that encircles the tsuba, protecting its perimeter while adding a subtle decorative accent. Saya This saya features raden(螺鈿) craftsmanship, a traditional Japanese decorative technique. Raden involves inlaying or embedding thin pieces of shell, such as mother-of-pearl or abalone, into lacquer or other materials. The shimmering, iridescent quality of the shells creates a striking visual effect, reflecting light in a play of colors that range from soft pastels to vivid hues. This technique has been used in Japan for centuries, adorning everything from furniture to accessories and weapons, showcasing the skill and artistry of the craftsman. Authentication Paper They authenticated the blade on December 9th in the 3rd year of Heisei (1991). They appraised it as Tokubetsu Hozon Touken, the blade especially worth preserving for Japanese society.