江戸は刀の目利きの時代である。本阿弥の鑑定、1719年の享保名物帳、盛んな刀剣書が、戦で抜かれることのなくなった刀を学問の対象へと変えていった。
NihontoWatchNihontoWatchThis blade was signed by Musashi no Kami Fujiwara Kanenaka(武蔵守藤原兼中) during the early Edo period. There is also an inscription on the backside of the tang, saying that it was made in Echizen province(today’s Fukui prefecture). It is said that Kanenaka was a descendant of Magoroku Kanemoto, one of the most famous swordsmiths in Mino province(today’s Gifu prefecture). He was born in the 8th year of the Keicho era(1603) and lived until the Tenwa era(1681-1684). He originally started his career in Mino province. He forged swords in Echizen province(today’s Fukui prefecture) during the Eiroku era(1658-1670). There was also a record of him forging swords in Edo city. Since this was forged in Echizen, we assume it was created about 340-370 years ago. Echizen Province was prosperous during the Edo period, being ruled by the Echizen Matsudaira clan, a direct retainer of 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, there were many renowned swordsmiths who were originally from the Mino province(Gifu prefecture), such as Kanenaka. They are called Echizen Seki swordsmiths. Musashi no Kami was an honorable title that was only given to highly-skilled swordsmiths back then. We believe Kanenaka’s artistry was excellent enough to be recognized back then. This blade 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). Fuchi-Kashira The dragon swimming in the sea is depicted for this Fuchi Kashira. Its mustache is colored with gold. In Japan, there is a belief that worships a dragon as a water god. Therefore, it is understandable that the combination of dragon and water (wave) is designed for sword mountings. We imagine that this dynamic subject was favored among Samurais. Also, the dragon motif has often been combined with the cloud pattern. Since rice cultivation flourished in this country, water is always an essential resource. And clouds would bring blessed rain. A theory says dragons dwell in clouds; we think that is why this combination is also often seen. You will find the signature at the side of the Fuchi part that says Goto Senjyo (後藤仙乗), who was the forth son of the seven-gen Goto Kenjyo. Tsuka and Menuki Same as the Fuchi Kashira, the dragon is the motif of this Menuki. It seems the gold paint was initially applied to it. Dragons twist their bodies and show their distinguished figures. Originally, the dragon was an imaginary creature found in ancient traditions or myths. Furthermore, it is regarded as a symbolic beast of auspicious signs. Its body is likened to nine animals: antlers are deer, the head is a camel, eyes are demons, the neck is a snake, belly is the Mizuchi (蛟, mythical animal in Japan which looks like a snake and have a horn and four legs), scales are fish, claws are falcons, palms are tigers, and ears are cows. It was thought that the dragon would reign at the top of all animals because of its odd-looking appearance. Tsuba and Habaki Yotsu-Mokkou-shaped Tsuba that has Kozuka and Kougai holes. The Mokkou shape, its origin is a shape of eggs. When a quince (it is written 木瓜 in Japanese) is cut into round slices, its cross-section looks similar to this shape; therefore, it was named as the Mokkougata (木瓜形) Tsuba. Yotsu-Mokkougata (四ツ木瓜形, a combination of four Mokkou shapes) Tsuba is often seen as you see in this work. The scenery of the moonlit night is depicted for this Tsuba. You would find the moon is shining behind the pine tree. The combination of these motifs creates a sacred atmosphere in work. Since ancient times, the sun and the moon have been treated as objects of worship. Some people considered them the symbol of authority. The moon pattern has various shapes depending on the waxing and waning of the moon: full moon, half-moon, crescent, or hazy moon. There is also the idea: as the moon changes its shape depending on its fullness, it represents growth and development. Authentication Paper They authenticated the blade on Feb 25th in the 3rd year of Reiwa (2021). They appraised it as a Tokubetsu Hozon Touken, the blade especially worth preserving for Japanese society.
販売店の記載のまま
越前 · 1681-1684頃
刀剣大鑑 上位76%
現在2点販売中
江戸時代
江戸は刀の目利きの時代である。本阿弥の鑑定、1719年の享保名物帳、盛んな刀剣書が、戦で抜かれることのなくなった刀を学問の対象へと変えていった。
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。
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.