三人の天下人が戦国の世紀を終わらせ、刀は新しい秩序の道具となった。1588年の刀狩は刀を武士の標章とし、名刀は条約のごとく家々の間を行き交い、鑑定は以後この境で古刀と新刀を分かつ。
NihontoWatchNihontoWatchThis blade is attributed to Dotanuki Masakuni (同田貫正国), who was active during the Tesho era (1573－1592: Azuchi Momoyama period) in Higo domain (Today’s Kumamoto prefecture). Dotanuki is a school founded by Masakuni. He served Kato Kiyomasa (加藤清正), who ruled Higo domain as a feudal lord. It is said that Masakuni was a descendant of the Enjyu school that had forged blades for the Kikuchi family and flourished during the late Kamakura period-Nanbokucho period (Late 13th-Early 14th century). Kikuchi clan ruled the Higo domain for a long time, but the clan left the place at the end of the Muromachi period (late 15th-early 16th century). The influence of Enjyu school diminished. Eventually, the Fujiwara Kunikatsu and Nobuyoshi brothers, who belonged to a branch of the Enjyu school, revitalized the school by moving to a place called Dotanuki and forged blades. Their craftsmanship was acknowledged by Kato Kiyomasa, one of the most powerful feudal lords during the Warring State period. They received one letter from their lord Kiyomasa (Kiyo and Masa). Nobuyoshi changed his name to Masakuni (正国), and his older brother changed his name to Kiyokuni (清国). Masakuni founded the Dotakuni school under the auspice of the Kato clan. It is said that those who saw the swords made by Dotanuki were astonished by the tremendous cutting ability at that time, and the swords were very popular. The swords made by Dotanuki have been considered as the strongest swords for actual battle. During the active period of the ninth-gen Masakatsu, tenth- gen Munehiro, and the eleventh-gen Muneharu, the Dotanuki school is said to have flourished again as Shin Shin-To Dotanuki: Shin Shin To means the Japanese swords made after the late Edo period. 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 couple of Kitae Kizu on the the blade. Fuchi-Kashira The theme of this Fuchi-Kashira is Akikusa. Akikusa refers to a group of plants that represent autumn in Japan. Among them, seven are especially well known and are called the “Seven Flowers of Autumn.” These include bush clover (hagi), pampas grass (susuki), bellflower (kikyo), pink (nadeshiko), valerian (ominaeshi), arrowroot (kuzu), and thoroughwort (fujibakama). This design is not just about beauty. It also expresses the idea of impermanence and the cycle of life and death, shown through the delicate flowers that bloom and then fade. These ideas were important to the samurai, who lived with the constant presence of death. This kind of feeling is called “mono no aware” in Japanese, and it has been part of Japanese culture for a long time. Tsuka and Menuki We assume the theme of this Menuki is Shishi (獅子). The Shishi (獅子) means a lion in Japanese. In Buddhism, the Shishi is regarded as a symbol of wisdom, and Monju Bosatu (文殊菩薩, Manjushri Bodhisattva) rides lions. Tsuba and Habaki This Tsuba is made of iron. This Tsuba has an oval line carved through inside it. This type of Tsuba is called Sukashi Tsuba (透かし鍔), most of which are delicate, artistic, and lightweight Tsubas, and satisfy the demand for both beauty and lightness. The abstract design of this Tsuba is a perfect blend of strength and elegant simplicity. Also, this Tsuba might be categorized as the Nanban Tsuba (南蛮鍔), which means it was imported from overseas or created by imitating foreign-style Tsuba. The term “Nanban” refers to a foreign country that includes Portugal, Spain, and, in a broader sense, China. Saya This scabbard is covered with black lacquer. Due to its high waterproof effect, lacquer has been used since ancient times in Asia. The blade of a Japanese sword is made of iron, and moisture is the greatest enemy of iron. For the purpose of carrying the blade without degrading it, people devised a method of coating the scabbard with lacquer. To prevent not only moisture but also rain and snow from penetrating the inside of the scabbard, it was necessary to apply multiple layers of lacquer. The Nushi (塗師, lacquerers) was born precisely because advanced techniques were required to handle the complicated processes. Authentication Paper They authenticated the blade on November 9th in the 2nd year of Reiwa (2020). They appraised it as Hozon Touken, the blade worth preserving for Japanese society.
販売店の記載のまま
備前伝 · 肥後 · 1573-1592頃
正國の位置づけを、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。
備前伝 · 肥後
現在10点販売中
同田貫は肥後国の菊池に室町末期から興り、新刀期に及んで活躍した一派である。説示は本派を九州肥後を代表する流派として位置づけ、その一門に正国・上野介・又八(又八左衛門)・正広・兵部・左馬介・国勝らの工があったことを伝える。年紀を備えた遺例には天正から慶長に跨がる作が見られ、上野介には慶長九年・慶長十六年八月吉日の銘があって、新古を跨ぐ形でこの工が活躍したことが知られる。正国の薙刀は桃山時代の製作と鑑せられ、刀身とほぼ同時期に誂えられた拵を伴う例もある。説示の伝える工と年紀からは、戦国末から江戸初頭にかけての肥後にあって、実用の需に応えた工房の姿がうかがえる。 作風は、身幅広く重ね厚く平肉の豊かな豪壮な造込みを基調とする。説示はこれを武骨な姿とも記し、鎬造の刀のほかに大身槍や大振りの薙刀の作例も数多く経眼されると述べる。鍛えは板目肌で、処々に流れ肌や杢目を交え、やや肌立ちごころとなり、地沸がつく。刃文はのたれを基調に小互の目・小丁子・小尖り刃などが交じり、足・葉がよく入り、匂口は締りがちで叢沸となり、飛焼や棟焼を見せ、金筋・砂流しの細かにかかる作がある。互の目乱れを主とする例や、正広の薙刀のように直刃を焼いて匂口の沈む作も伝えられ、一派のうちに振幅のあることが説示から読み取れる。見分けに当たっては、頑健な姿態と、匂口の締まった乱刃に叢沸・飛焼・棟焼の交じる地刃の様相が手がかりとなる。 伝承の面では、説示はこの派の刀の鋭利さが古くから賞讃され、実用刀として知られてきたことを繰り返し記す。代表工とされる上野介には、常に見る同派の作域よりも変化に富み野趣の感じられる作があり、沈みごころの地刃に渋い味わいの醸される一口が同工および同派を代表する出来として挙げられている。正国の薙刀は、地沸の微塵に厚くついた鍛えと、同派の常以上に明るく沸づいて刃中の頻りに働く刃文をもって秀作と評され、黒漆金蒔絵柄鞘薙刀拵を附帯する。又八の薙刀には匂口の締まった作に沸のつく一派の特色がよく示され、黒塗薙刀拵を伴う。資料は僅少ながら、これらの遺例は、肥後にあって頑健と切れ味を旨とした同田貫の性格を、刀・薙刀の双方に即して伝えるものといえる。 詳しく見る →
桃山時代
三人の天下人が戦国の世紀を終わらせ、刀は新しい秩序の道具となった。1588年の刀狩は刀を武士の標章とし、名刀は条約のごとく家々の間を行き交い、鑑定は以後この境で古刀と新刀を分かつ。
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.