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 Hoki no Kami Fujiwara Hirotaka (伯耆守藤原汎隆), who was active during the early Edo period (mid late 17th century). Hirotaka is known as one of the prominent figures among those who belonged to Echizen Shimosaka school. He was an apprentice of Kanetane (兼植), one of the most famous swordsmiths in Echizen province. He received the honorable title of Hoki no Kami (伯耆守), which was only given to prestigious swordsmiths. Hirotaka is also known for forging very sharp swords, which made him and his work classified as Wazamono Toko (業物刀工). Echizen Province was prosperous during the Edo period, being ruled by the Echizen Matsudaira clan, a direct retainer of the Tokugawa clan who ruled the Edo government. Many skilled swordsmiths moved to Echizen from different regions because of high demand among Samurai who lived there. Among them, a lot of renowned swordsmiths were originally from the Mino province (today’s Gifu prefecture), such as Hirotaka’s master, Kanetane. They are called Echizen Seki swordsmiths. The MINO swordsmiths style, also known as MINODEN, basically has the TOGARI (Pointed shapes protruding from the Hamon) in a classic straight tempering line and random wavy pattern. MINO DEN had its origin from YAMATO DEN in the late Kamakura period (1280-1330). It flourished in the Muromachi period (1333-1573) and continued until the Edo period (1603-1868). This blade has some characteristics of the Mino DEN style. *Wazamono is a classification of Japanese swords and swordsmiths used in Japan to identify historic blades of exceptional quality in the book written by Kaiho Kenjaku (懐宝剣尺) in 1797. It is appraised as a Hozon Token (保存刀剣) issued by NBTHK (Nihon Bijutsu Touken Hozon Kyokai:日本美術刀剣保存協会). *Please note that there are a couple of kitae-kizu on this blade. If you would like to know more about its detailed condition, please feel free to contact us. Fuchi-Kashira This Fuchi-Kashira is also decorated with the same peony motif seen on the Tsuba and Menuki, giving the entire Koshirae a harmonious and unified design. Tsuka and Menuki This Menuki is also decorated with the same peony motif found on the Tsuba and Fuchi-Kashira. The peony, known as Botan (牡丹) in Japanese, is often called the “King of Flowers” because of its magnificent beauty. In addition to its decorative appeal, the peony has long been valued for its medicinal properties. In traditional Chinese and Japanese herbal medicine, the root bark of the peony has been used as an important medicinal ingredient known as Botanpi (牡丹皮). Tsuba and Habaki The motif of this Tsuba is Botan (牡丹, peony). There is a famous Buddhist story involving the Karajishi (Chinese lion) and the peony flower. The lion is known as the king of beasts, yet even this powerful animal is said to fear a tiny parasite that lives within its mane. The parasite gradually damages the lion’s skin and flesh, but according to the story, it cannot survive when exposed to the night dew that falls on peony flowers. For this reason, the lion is said to rest beneath blooming peonies at night to protect itself. The design of this sword mounting may have been inspired by this traditional tale. In Japan, the peony has long symbolized happiness, wealth, nobility, and elegance. It has also been regarded as an auspicious motif associated with abundance and rich harvests. The peony is called Botan in Japanese, and the second character, “tan” (丹), can refer to a legendary elixir associated with eternal youth and longevity. Because of this association, the peony motif also came to symbolize long life and everlasting youth. Saya This saya is finished with a leather-covered scabbard style known as Kawa-zutsumi Saya (革包鞘). It is also decorated with a family crest motif known as the Aoi-mon (葵紋), which is famously associated with the Tokugawa Shogunate led by Tokugawa Ieyasu, one of the most well-known military commanders of the Sengoku period. The Aoi motif has also long been used as the crest of the Kamigamo Shrine in Kyoto. Due to the Tokugawa family’s historical connection with the Kamo Shrine, they adopted the famous three-leaf Aoi crest as their family emblem. Traditionally, the Aoi leaves were considered auspicious because they tend to face toward the sun, and the word “Aoi” was associated with aogu (仰ぐ), meaning “to look up toward.” For this reason, the Aoi pattern came to symbolize good fortune and prosperity. Authentication Paper They authenticated the blade on August 17th in the 27th year of Heisei (2015). They appraised it as Hozon Touken, the blade worth preserving for Japanese society.
販売店の記載のまま
新刀 · 越前 · 1655-1658頃
藤代 上作 · 刀剣大鑑 上位49%
現在6点販売中
汎隆の位置づけを、日本刀全体および伝法・時代・時期ごとに示します。各区分（随一・屈指・有数・著名）は、NBTHK および文化庁による指定に加え、三作や名物帳などの歴史的栄誉を加味したものです。
各項目を選ぶと評価方法が表示されます。
新刀 · 越前
現在37点販売中
茎にきられた黒い鉄こそ、この一門の最も確かな標である。鍛えは板目に杢が目立って交じり、刃寄り棟寄りに流れて肌立ち、地沸厚く、地景細かに入って、かねが総じて黒みをおびる。説明書はこれを繰り返し「越前がねの特色」と名指し、初代康継から重高・貞国・貞次に至るまで終始変わらぬ見どころとする。この一団は近江国坂田郡下坂郷を本貫とし、新刀初頭の越前にあって「下坂」を商標として用いた幾人かの鍛冶の集まりであって、説明書は一人の刀工とみるよりは一団とみるのが妥当とし、初期は康継をその代表者とする。初代康継は下坂市左衛門と称して越前に移り結城秀康に仕え、初め肥後大掾下坂と銘した。慶長十年から十一年にかけて江戸に召され、家康・秀忠両将軍の御前で鍛刀した褒賞として「康」の一字と三つ葉葵紋を茎にきることを許されて康継と改名し、葵下坂・御紋康継の名はこれに発する。以後は将軍家の御抱工として越前と江戸を隔年に勤め、本国打には越前住、江戸打には於武州江戸と切り添え、南蛮鉄を以南蛮鉄と添えた。肥後大掾藤原下坂の康継前銘は貞国・兼法・国康らと鏨運びも筆意も酷似し、今日なお銘振りによってしか分かち得ぬほど近い。 この一門の手は静かで、同時代の備前・美濃の華やかな新刀の多くに対置される。刃文は浅いのたれ・中直刃を基調に小互の目を連れて交え、小足・葉入り、沸厚く、荒めの沸がむらにつき、本工らしいばさけを生じて、金筋・砂流しが長くかかり、棟焼・飛焼さかんに、時に皆焼風となり、匂口は沈みごころとなる。帽子は浅くのたれて先尖りごころに三品風を呈し、掃きかけて長く返る。姿は身幅広く元先の幅差少なく重ね厚め反り浅い慶長新刀体配で、平造脇指は幅広寸延びとなる。彫物がいま一つの恒常で、彫口深く力強い越前彫・記内彫が一門の手を示し、不動三体仏・倶利迦羅・梵字・護摩箸・素剣を巧みに彫る。記内ら越前の彫物師の手によるこの深い浮彫は、説明書が地方の特色と名指すものである。一門が最も称えられる作域は相州写しであって、初代・二代ともに大坂落城に焼失した名物の再刃を試み、中でも貞宗写しを最も得意とし、各写しに自らの作風を加えて徒らに模倣せぬところに特色がある。手は系統と目的とで分かれ、貞国は直刃を得意として地がつんで精美に、貞次は越前関の系譜を引いて丁子の目立つ明るい現れを示し、重高は茎尻を栗尻とする点で一門の剣形と分かたれる。 収集家がこの一門の作に向かうべき所以は、その見分けやすさにある。黒く肌立った越前がね、ばさけた刃縁、縞がかる砂流し、長く掃きかける小丸の返り、そして深い記内彫が併さって、写した古作によってではなく一門自らの語法によって読まれる。中心に立つのは初代康継で、駿府滞在中の駿州打や名物写しを残し、駿府御分物の一刀は紀州徳川家に、号風雷神の刀は越前松平家に伝来した。嫡子二代康継は父風を忠実に継ぎ、継の字形以外では殆ど区別し難く、晩年は初代に劣らぬ域に達した。二代の後、家は江戸三代を右馬助、越前家を四郎右衛門が継いで両系に分かれ、同名は幕末まで両地に栄えた。江戸三代は鍛えがつんで綺麗に、匂口は明るく、直ぐの焼出しを置いて法城寺一派など当時の江戸物に近づく。後援者本多飛騨守成重の立葵紋が貞次や康継一門の優品に多くきられ、截断銘がその伝来を彩る。藤代は上々作から上作に位し、一門は名だたる蔵伝よりも在銘の指定刀を通して出会われる。市に現れるのは葵紋を切った在銘の康継、あるいは下坂貞国・貞次・重高の在銘作であって、根気をもって待てば折にふれ世に現れ、現れれば家康の葵紋下賜に発する越前下坂の確かな一口となる。 詳しく見る →
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。
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.