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。
NihontoWatchNihontoWatchThis blade is attributed to Hokke (法華) by NBTHK, one of Japan’s most reputable Japanese sword appraising organizations. Hokke is a prestigious school name that flourished during the late Kamakura-Nanbokucho era (Late 13th-14th century). The school was located in Ashida area in Bingo province (today’s Hiroshima prefecture). It is said that those who lived in Ashida area were followers of the Nichiren sect, and Hokke swordsmiths often forged blades for the politically powerful Buddhist priests. They needed many weapons as there were many political rivalries between influential temples. They required strong weapons like swords to protect themselves. Hokke swordsmiths met their requests and made excellent quality blades. It is believed that the school was founded by Kokubunji Sukekuni (国分寺助国) in the late Kamakura period (Approx. 1329). Sukekuni was originally from Bizen province (today’s Okayama prefecture) and belonged to Bizen Ichimonji school, one of the most prestigious schools during the Kamakura period. Sukekuni was the father of Mihara Masaie (三原正家). Masaie was the founder of Mihara school, another prestigious school in the region. This blade has a beautiful Jigane (steel surface pattern) and a groove enhancing its aesthetics. It comes with gorgeous sword mountings whose motif is a traditional Japanese tea ceremony. 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 on the blade. Fuchi-Kashira The theme of this Fuchi Kashira is the Hatou Zu (波涛図), which depicts large undulating and splashing waves. As waves’ movements continue endlessly, the wave pattern represents eternity, immortality, longevity, birth, etcetera. Also, since tides repeatedly change the shape and terrain of rocks, some people hoped for a strong will by using this motif. People used this pattern wishing for an indomitable spirit to rechallenge time and time without giving up. Thanks to its dynamic design, this motif has been appreciated, especially for men’s Kimono (traditional Japanese costume). It is also said that warlords used wave patterns on their banners and armors, comparing the movement of battle to that of waves coming and going. Tsuka and Menuki The theme of this Menuki is most likely the Semi (蝉, cicada). In Japanese culture, the cicada symbolizes immortality and life after death. Cicadas spend many years underground as nymphs before transforming into adults; when they emerge, they grow wings and take flight. This natural cycle was compared to people who transcend the ordinary world, becoming mountain hermits and ascending to a higher spiritual realm. Because of this association, the cicada motif was admired as a noble and auspicious design. Tsuba and Habaki This Tsuba seems to depict a charming scene of two women, one holding a broom and the other carrying bamboo, seemingly engaged in friendly conversation. Sword guards were created with a wide variety of designs, and many of them portrayed everyday life of the time. Such motifs not only served as decoration but also provide us with valuable insights into the daily lives and culture of people in that era. Saya This scabbard is finished in a style known as Tsui-shu-nuri (堆朱塗, carved red lacquer). This is a traditional Japanese lacquering technique in which multiple layers of red lacquer are built up and then carefully carved to create patterns or textures. It is considered one of the most refined and decorative lacquer finishes, admired both for its durability and its rich, elegant appearance. Authentication Paper They authenticated the blade on May 28th in the 7th year of Reiwa (2016). They appraised it as Hozon Touken, the blade worth preserving for Japanese society.
販売店の記載のまま
大和伝 · 備後
現在7点販売中
法華派は備後国葦田郡を本拠とした一群の刀工で、南北朝時代より室町期にかけて活躍した。『古今銘尽大全』に拠れば、同じ備後の三原物とは別系の葦田郡物に属し、その流祖を助国とする。一乗の号を冠する工が多く、三原正家の子と伝える一乗を祖として同名数代が室町に及び、銘は「法華一乗」「法華作」「一乗作」あるいは「一」の字のみ[[c:2]]、さらに一の下に個銘を加えるものや個名だけのものなど多様である。現存する作の銘から、一乗のほか兼安、行吉、重安、重家、信兼、重吉、重康、季次、親次、吉次といった工が知られ、室町期には草戸千軒の地に金次が活躍した例も確認される。草戸は中世に栄えた都市であり、ここに法華一乗派の作例が認められることは、一派の広がりを示すものである。 作風は説示に共通して記される。鍛えは板目に杢や流れ肌を交え、刃寄りはしばしば柾がかって総体に肌立ち、地沸がつき地景が入って、かねは白け、白け映りないし映り風が立つ。ややねっとりとした粘り気のある肌合を呈する作と、荒く肌立つ作とがある。刃文は焼の低い穏やかな直刃、あるいは直刃調に小互の目が連れて交じるものを基調とし、足・葉が入り、匂勝ちに小沸がついて、刃縁にほつれ・打のけ・喰違刃などを交え、砂流し・金筋がかかる。匂口は沈みごころとなるのが常で、締まりごころのものもある。帽子には二様があり、直ぐ調ないし乱れ込んで先を焼詰める大和気質の窺えるものと、先が尖って長く返るものとが見られる。彫物は棒樋や添樋を掻き流すことが多い。これらは板目の流れる地鉄、白け映り、沈みごころの匂口に大和の特色を示しつつ、備後物らしい趣を備える。 鑑定の要点は近隣の作との見分けにある。地刃に三原を思わせるところがありながら、沸が一段と強くつき、帽子が尖って深く返る点に法華の独自性が窺える。また直刃調に小丁子・小互の目を交え匂勝ちに小沸のつく出来は一見青江派さながらであるが、鎬の高い造り込みや細かに掃きかける帽子に大和気質が看取され、備後物に見られる大和気質と青江風の混在として理解される。「備州住」と居住地をきる銘は鎌倉末より南北朝にかけて多く備後国を指し、銘鑑に載らぬ工もこの作域から同派と判断される。代表的な遺品には正平・応安・貞治・明徳の年紀を帯びた在銘作があり、なかでも生ぶ茎在銘年紀入りの太刀は南北朝最盛期の遺例として貴重とされる。光忠が無銘の一刀を一乗と極めた例も伝わり、後世の鑑定における同派の位置づけを示している。 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.