参勤交代が集めた日本最大の帯刀人口が江戸にあった。御用鍛冶康継は茎に葵紋を許され、虎徹の刀は截断銘の金象嵌を帯びる。この町では、証こそが物を言った。
NihontoWatchNihontoWatch【Description】 This blade was signed by Kazusa no Suke Kaneshige (上総介兼重) during the early Edo period (before 1662) in Musashi province (today’s Tokyo). The back of the tang says Tameshigiri (test cutting) was conducted, which we will explain in detail later in the description. He was especially active during the Kanbun-Enpo era (1661-1681) in Musashi province (Today’s Tokyo area). There were also records of him forging blades in Sendai (Today’s Miyagi prefecture) and Ise (Today’s Mie prefecture). He was one of the most reputable swordsmiths in Edo during the early Edo period. He is also known as the second-gen Kaneshige because he was an apprentice for Izumi no Kami Kaneshige (和泉守兼重), a prestigious sword maker. And he eventually took over his master’s school in his career. It is said that the transition period from the first-gen to the second-gen is around the Keian era (1648-1652). The maker’s name, Kaneshige, lasted three generations. One of Izumi no Kami Kaneshige’s apprentices was Kotetsu (虎徹), also known as Nakasone Okisato. Okisato is another prominent swordsmith in the early Edo period. Kazusa no Kami Fujiwara Kaneshige and Kotetsu both learned excellent craftsmanship from their master, Izumi no Kami Kaneshige, during the same period. It is said that a famous swordsman, Musashi Miyamoto, once owned a sword forged by Kazusa no Kami Fujiwara Kaneshige. This story proves how acknowledged this swordsmith was during that time. First-gen Kaneshige and the second-gen Kaneshige First-gen Kaneshige (Izumi no Kami Kaneshige, 和泉守兼重) was active during the early Edo period (1624-1652). He is said to have been originally from the Echizen province, which was ruled by the Matsudaira clan, a direct retainer of the Tokugawa Shogunate. In the first year of the Kan-Ei era (1624), he moved from Echizen to Edo. In the third year of the Kan-Ei era (1626), he received the honorable official title of Izumi Daijo from the imperial court for his excellent craftsmanship. He was promoted to Izumi no Kami in his late career. Kaneshige started to serve Todo Takatora, one of the most famous feudal lords during the warring state and early Edo periods. Takatora was the head of the Ise domain (Today’s Mie prefecture). It is said that Kaneshige was able to work for Takatora because Musashi Miyamoto and Todo Takatora knew each other and Musashi introduced the first-gen Kaneshige to Todo Takatora. The second-gen Kaneshige, Kazusa no Kami Fujiwara Kaneshige, also served the Todo Takatora family. The second-gen Kaneshige received the honorable official title of Kazusa no Kami from the imperial court for his excellent craftsmanship, and he requested to change his official title to Kazusa no Suke. Here is an interesting fact about this change. Todo Takatora, who hired him as a swordsmith, also received the Kazusa no Kami title after the second-gen Kanshige had received it. The second-gen Kaneshige thought it was not right to use the same official title as his lord and decided to change it. This story tells us how loyal and considerate the second-gen Kaneshige was to his lord. Both generations of Kaneshige are also known for forging very sharp swords, which made them and his work classified as Yoki Wazamono Toko( 良業物刀工). 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. Tameshigiri (test cutting) signature According to the certificate and the inscription on the Nakago, this blade was used for test cutting by Yamano Kaemon Nagahisa(山野加右衛門永久) on Feb 10th, 1661, which coincides with the active period of Kazusa no Kami Kaneshige. This inscription is known as a Saidan-mei (截断銘, test cutting signature), and it is inlaid with gold (Kinzou Gan). The inscription “Futatsu-dō-saidan (弐ツ胴截断)” reveals that this blade was capable of cutting through two bodies at the same time. Test cutting was typically performed using the bodies of executed prisoners. However, using human bodies for test cutting was only permitted for the Otameshi Goyo (御様御用), a special group tasked with testing the sharpness of swords for the Shōgun and high-class Samurai. These Samurai would hire these specialists to verify the functionality of their swords. However, the fees for such services were very high. It is said that the fee for Yamanoka Emon Kaemon Nagahisa’s test cutting was 10 ryō (10両, equivalent to approximately 1.5 million yen or 10,000 US dollars today). Given that the sword was tested by Yamano Kaemon Nagahisa and had a gold-inlaid Saidan-mei, the samurai who owned it was likely of a very high status. 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 partial black rusts on the edge part of this blade. Also, there is small Kitae Kizu on the Mune (backbone of the blade). We will take additional images for you. Fuchi-Kashira The Fuchi Kashira features the tiger and bamboo. The tiger (虎, tora) is seen as a brave and strong animal, and its pattern has been used as a talisman to ward off evil spirits. In Japan, the tiger is often depicted alongside bamboo, as the two symbolize resilience and vitality—bamboo bends but does not break, while the tiger represents fearlessness and strength. The kanji for tiger (虎) is also associated with life force and energy, and tiger imagery has traditionally been used to wish for the strong and healthy growth of boys. This combination of tiger and bamboo reflects the ideal qualities of perseverance, courage, and enduring strength in Japanese culture. Tsuka and Menuki We believe the theme of this Menuki is tiger as well. Tsuba and Habaki Arabesque (唐草, Karakusa) is depicted on this Tsuba. It is a pattern in which stems and leaves of vines are twined and make curves. Since ivy has a strong vitality and grows up without interruption, people regarded this design as a symbol of prosperity and longevity. Vine is called Tsuru (蔓) in Japanese, and it has another pronunciation; “Man.” There is a word 万 (it is also read Man), which means ten thousand. In the Karakusa pattern, leaves and vines are connected like Obi (帯, belt). The word “帯” can also be read “Tai.” Due to its pronunciation, the term “代 (Tai)” is associated. From this word-association game, an idiom 万代 is associated, and it means a thousand generations. In other words, we could imagine that people used this design wishing prosperity and longevity for their clans for a long time. Saya This Saya 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 April 8th in the 14th year of Heisei (2002). They appraised it as Tokubetsu Hozon Touken, the blade especially worth preserving for Japanese society.
販売店の記載のまま
Edo Kaneshige line (Musashi); the second generation, Kazusa no Suke Kaneshige · 武蔵 · 1661-1673頃
藤代 上作 · 刀剣大鑑 上位21%
上総介藤原兼重は、上総守とも銘し、江戸兼重一系の二代である。説明書はまずその同一性を定め、「和泉守兼重と上総介兼重とは別人で、子或いは弟子であろう」[[c:1]]とする。主君藤堂和泉守を憚って受領を改めた同人とする旧説に対し、在銘・年齢入りの作から寛永三年の生まれと知れ、「作刀はおよそ明暦から始まり、寛文・延宝の頃が彼の活躍期である」[[c:2]]。長曽祢虎徹と同時代で、ある脇指について説明書は「上総介兼重は従来の一説の如く虎徹の師と見るのは正しいと思われ」[[c:3]]るとまで記す。
その刃は数珠刃である。直刃調を基に頭の丸い互の目を数珠のように連ねて焼き、足太く入り、匂深く沸厚くつき、金筋・砂流しかかり、匂口明るい。説明書はそのリズムを互の目を一つ焼くと次は二つ焼くというふうにと述べ、「一つ二つと繰り返して焼く、一定のリズムが見られ、これがこの工の大きな見どころとなっている」[[c:4]]とする。この作風は「初代兼重の作風を受け継いで、さらに完成度を高め、彼独自の作域を確立した」[[c:5]]ものとされ、同作には万治四年の山野加右衛門尉永久の金象嵌截断銘の脇指に完全な数珠刃を焼いたものがあって虎徹に先立ち、彼の作風が「大きな影響を及ぼしたであろうことは想像に難くない」[[c:6]]とされる。
数珠刃の傍らには足太い互の目のより広い作域がある。説明書はこれを「互の目刃に足が太く入り沸づいた作風の特色を示している」[[c:7]]とし、同時期同国の江戸鍛冶の中で「法城寺一派と類似した、いわゆる数珠刃風の互の目乱れを焼いて特色を見せている」[[c:8]]とする。助九郎兼常との合作で法城寺正照の截断銘を負う刀は「出来は、法城寺一派とも、上総介とも見えるもので」[[c:9]]あるとされる。地鉄は小板目よくつみ処々やや肌立ち、地沸時に微塵につき地景入る。姿は身幅尋常で元先に幅差つき反り浅く中鋒やや詰まる典型的な寛文新刀の姿で、帽子は直ぐに小丸、先掃きかける。
脇指は特別の位置にある。万治四年の一口について説明書は「同作中の典型的、且つ代表作の一口である」[[c:10]]とし、「脇指に殊に優作のあるのは当時の時代相を物語るものである」[[c:11]]と付記する。江戸を離れての作もあり、「於勢州阿濃津作之」[[c:12]]と添銘する伊勢打が見られる。
説明書は二代の境を開かれた問題とする。近年の銘字の比較検討は「初二代の代替りの時期を慶安期とし」[[c:13]]、二代も初期には和泉守を冠しその後上総守・上総介を交互に冠したとし、「助九郎兼常による二代兼重の代銘を指摘する」[[c:14]]など新説を打ち出したとし、「今後、さらなる研究が俟たれるところである」[[c:15]]と結ぶ。
藤代は上作とし、指定の記録は重要刀剣の位にある。寛文十一年の前島八郎友次の截断銘をはじめ、江戸の試し切りの名手の金象嵌截断銘を負う作が数口ある。収集の上では在銘の数珠刃の刀が時折世に現れ、虎徹と比べる自然な基準となり、万治四年の脇指はこの刃の起こりを示す資料である。
兼重の位置づけを、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 · 武蔵
現在6点販売中
兼重は、初代康継・繁慶についで江戸にあらわれた鍛冶で、説示は初代和泉守兼重をもと越前の矢ノ根鍛冶とし、のちに江戸へ出て刀鍛冶に転じたと伝える。古今鍛冶備考の説に拠るとあり、その現存作で最も早い年紀は寛永二年八月日紀の薙刀で、作刀は明暦の頃にまで及ぶ。和泉守と上総介の両者は従来同人とされ、藤堂和泉守に抱えられたために主君と受領銘が同じであることを憚って上総介に改めたと伝えられてきたが、辻上総介藤原兼重四十三歳於江戸作之康継下坂市之丞云々と銘じた脇指、ならびに寛文六年紀の康継合作刀の存在によって、上総介兼重は寛永三年の生まれと算せられ、和泉守とは明らかに別人であることが説示に示される。二代上総介兼重は和泉守兼重の子または弟子とみられる兼重二代目であり、上総守と冠することもあって、作刀はおよそ明暦・万治から始まり、寛文・延宝の頃が活躍期で、虎徹と同時代に位置する。近年は両者の銘字を比較検討して代替りの時期を慶安期とし、二代も初期には和泉守を冠したのち上総守・上総介を交互に用い、さらに二代の子と伝える助九郎兼常による代銘を指摘するなど、新説が打ち出されているという。 作風は説示が初二代に分けて記す。初代和泉守の作は大別して二様で、一はのたれを基調に互の目が連れて交じり足の入ったもの、一は沸匂深く直刃仕立に浅くのたれをおびた刃取りで匂口が明るく冴えるものである。鍛えは小板目肌がよくつみ、あるいは板目に杢・流れ肌を交えて肌立ちごころとなり、地沸が微塵に厚くつき地景が細かによく入る。直刃の作では広直刃に浅いのたれをおびて沸筋がかかり、匂が一段と深く沸が厚くつくところが、この作域を手懸けた折の特色とされる。二代上総介の作は、直刃調に互の目が連れて数珠刃風となるのが本領で、足太く頻りに入り、金筋・砂流しがかかって匂口が明るい。互の目を一つ焼くと次は二つ焼くというふうに、一つ二つと繰り返して焼く一定のリズムが見られ、これが大きな見どころと説示は繰り返す。姿は身幅尋常、元先の幅差つき、反り浅く中鋒の詰まった寛文新刀の体配を示し、寛永・正保頃の作には慶長新刀から寛文新刀へ移行する過渡的な姿もあらわれる。茎には化粧風の鑢がかかり、後世の装飾的な化粧鑢の原形とみられると説示はほぼ一様に記す。 伝承の要点として説示が重んじるのは虎徹との関係である。二代は虎徹同様に数珠刃を得意とし、万治四年の山野加右衛門尉永久の金象嵌截断銘の脇指に虎徹に先立って完全な数珠刃を焼いた作があることから、その作風が後の虎徹の数珠刃に大きな影響を及ぼしたと想像に難くないとし、初代もまた虎徹の師と云われるとの伝を引く。一見虎徹を髣髴させ、ほとんど虎徹に見紛う程の出来とする評が諸作に見え、長曽祢虎徹や法城寺一派と類似した数珠刃風の互の目を江戸鍛冶相互の影響のうちに焼いたとも説く。截断銘を伴う作が多いのも特色で、山野加右衛門尉永久、勘十郎時代の同人、柴崎伝左衛門正次、前島八郎友次らの金象嵌截断銘が裏に添えられ、三ツ胴・二ツ胴截断の業物として遇されたことを示す。茎の隷書風の独特の書体による五字・七字・長銘も同工識別の手懸りであり、銘字の太細や大小の推移が前後期の判別に資する。明暦三年紀や寛文・延宝紀の作を含め、説示は数珠刃の完成度と直刃の冴えの両面に同派の到達を見ている。 詳しく見る →
江戸 将軍の御膝元
参勤交代が集めた日本最大の帯刀人口が江戸にあった。御用鍛冶康継は茎に葵紋を許され、虎徹の刀は截断銘の金象嵌を帯びる。この町では、証こそが物を言った。
保存刀剣のうち、出来が一層優れ、保存状態も良好と認められたものです。再刃や、室町・江戸期の多くの無銘作は対象外となり、保存刀剣より高い基準が課されます。
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。
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