肥前刀は藩営の産業である。鍋島家は1596年頃、忠吉を京の埋忠明寿のもとに学ばせ、帰国したその工を核に公認の一門を築いた。小糠肌で名高いその作は、九代にわたり明治まで続いている。
This blade was signed by Hizenkoku Jyu Hirosada(肥前国住人広貞), also known as Hizen Yoshi-Ie(肥前吉家) in the early Edo period( early 17th century). He was an apprentice of Tadayoshi, one of the greatest swordsmiths in the early Edo period. Hirosada was also Tadayoshi’s son-in-law. His real name is Hashimoto Honsouemon(橋本本惣右衛門). Hizenkoku, located in Saga prefecture, is the name of the place where Hirosada forged this blade. He first signed as Hirosada(広貞) but changed his maker’s name to Yoshiie in the second year of Genwa(1616). We believe this blade is one of the earliest works of Yoshiie before he changed his maker’s name. He often forged swords on behalf of his master, Tadahiro, which means his artistry must have been excellent. He died at the age of 80 in 1656. This swordsmith was serving for the Nabeshima clan, forging swords for the feudal family. Nabeshima clan ruled Hizenkoku during the Edo period, which indicates that Hirosada served a powerful feudal lord. The swordsmiths in the Hizen province worked under the auspices of the Nabeshima clan like Hirosada(Yoshi-Ie). They were able to produce beautiful Jigane-patterned blades, also known as Hizen To, using and mixing carbon steel made in western countries. Hizenkoku had been flourishing by international trading. The geographic location of this domain made it possible to have easy access to western carbon steel. We are confident you will appreciate Hirosada’s craftsmanship by observing this blade. It also accompanies by gorgeous sword mounting. This blade is appraised as Tokubetsu Hozon certificate issued by NBTHK. This authentication paper was only given to Japanese swords, especially worth preserving by Nihon Bijutsu Touken Hozon Kyokai(the Society for the Preservation of the Japan Art Sword). Fuchi-Kashira A mask that is used in No play (能楽, a classical Japanese dance-drama), and some musical instruments such as Tsuzumi (鼓, a small shoulder drum played with one’s fingertips) and harp are designed for this Fuchi Kashira. This mask might be classified as Oni’s mask. Oni (鬼) is a monster with a human body, usually harmful but sometimes helpful. There are Oni who will ask for trouble. On the other hand, there are also Oni who exorcize evil spirits. Today, in Japan, we continue a traditional custom called Setsubun (節分) on February 3. People scatter roasted soybeans to drive out devils or evil spirits (the manner is different depending on area). The Oni mask that is worn at this time represents Oni, who will drive away wicked spirits. We would like to speculate that Samurai might have wanted to gain supernatural power like Oni. Tsuka and Menuki Saru (猿, monkey) is the motif of this Menuki. Generally speaking, as we know, monkeys belong to the same primates as us humans. So it is considered to be the closest animal to humans. Probably, it is why monkeys have often been personified in pictures and stories since ancient times. Please look again at monkeys of this Menuki. Each of them brings a stick-shaped object with a bundle of paper attached to it. Also, it seems they wear something like a hat. They look as if they were Shinto priests. This bundle of paper is called Gohei (御幣, also called Onbei or Onbe), a tool used in Shinto religious service. “御幣” means an offering to God. According to a theory, in China, the monkey has been regarded as a messenger of God. People believed that monkeys would protect horses so that they kept monkeys as guardians of a stable. People worshiped the monkey’s sacred power, and this animal was considered to be an auspicious existence. This idea was introduced from the continent to Japan. So we could imagine that Samurai also treated this animal motif as a kind of unique item. It is said there are not many sword mountings that the monkey is designed. We want to say that not only the quality of this Menuki is excellent, but its rarity enhances the value of this work. Tsuba and Habaki Circle-shaped Tsuba is made from iron and has Kozuka and Kougai holes. Flowers are engraved with the Sukashi-Bori (透かし彫り, openwork) technique. These flowers might be Shoubu (菖蒲, iris). It was thought the scent of iris leaves would exorcize disasters; therefore, some people used it as a talisman to protect against evils. It is said lots of Samurais favored the iris pattern to design for their war costumes because the Japanese name of iris “菖蒲 (Shoubu)” has the same pronunciation as another word “勝負 (Shoubu)” that means battle. Samurais might have put a wish for victory in this plant motif. Also, we hope you focus on the Habaki. On the silvery ground, Japanese pampas grasses that are swaying in the breeze are engraved. Moreover, the golden metal stand is piled on it. The moon is through the clouds. The combination of the full moon and Japanese pampas grass expresses a scene of an autumn night excellently. This Habaki is magnificent and makes us feel the taste of it. We hope you would enjoy this elegant work. Saya This Saya has a luxurious decorative coating with black lacquer and glittering material (it seems crushed seashell fragment). A spiral pattern is expressed as if a leech was wrapped around the Saya. This coating method might be a type of Hirumaki-Nuri (蛭巻塗). In Japan, there is a traditional ornamental technique that uses seashell; called Raden (螺鈿). Raden is a kind of decorative technique that is often used for traditional craftworks. It uses the pearl part of seashells and puts it into the engraved surface of lacquer or wood. Thanks to its iridescent luster, it gives a luxurious look to works. Authentication Paper They authenticated the blade on August 28th in the 9th year of Heisei (1997). They appraised it as Tokubetsu Hozon Touken, the blade especially worth preserving for Japanese society. Registration Number The Board of Education in Kyoto prefecture issued a registration paper for this sword .It is called Jyu Token Rui Torokusho(銃刀剣類登録証).
廣貞Hizen Hirosada
取扱店 サムライミュージアム


















販売店の記載のまま
新刀 · 肥前 · 1615-1624頃
刀剣大鑑 上位31%
廣貞の位置づけを、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。
在銘年紀作が示す、確実に活動していた年代
新刀 · 肥前
現在107点販売中
肥前派は、肥前佐賀の城下を中心に興った新刀期の一流であり、その祖は橋本新左衛門と称した初代忠吉である。資料によれば、初代は鍋島家の抱え工として、慶長元年に藩命により彫工宗長とともに上洛して京の埋忠明寿の門に入り、忠吉は鍛刀を、宗長は彫技を学んだという。同三年に帰国して佐賀城下に住し、鍋島藩の庇護のもとに一門は大いに栄えた。年紀は慶長五年に始まり、元和十年には再び上洛して武蔵大掾を受領し、名を忠吉から忠広に、氏を源から藤原に改めている。この改名は同一の手の変遷であって別人ではない。初代の嫡子たる二代近江大掾忠広は六十有余年に及ぶ作刀生活を送って肥前最多作の工となり、本家の忠吉銘は土佐守家を経て三代陸奥守忠吉へと返上襲名されて、上三代の本流を成した。これと並んで、初代の門人や身内から、播磨大掾忠国の系、河内大掾正広に発する正広の系、出羽守行広の系といった分家、すなわち傍肥前と汎称される諸工が興り、代を重ねて佐賀の工房は確立された。 一門の共通する作風は、まずその地鉄に表れる。よく約んだ小板目を緻密に鍛え、地沸が微塵に厚く均しくつき、地景が細かに頻りに入って、かね明るく冴える。資料はこれを肥前特有の米糠肌と名指し、他派の出さない細かく明るい肌であるとする。この精良な地の上に、本家の本領たる中直刃を焼く。浅くのたれごころを帯び、処々に小互の目を交え、小足・葉が入り、匂深く小沸が細かについて締まり明るく、帽子は直ぐに小丸へ静かに返る。本来狙った来一門の直刃に対しては、匂口がより締まって明るく、鍛えに覇気がある点で分かれると説く。一方、初代の初期作には直江志津・古作大和物・来一門・鎌倉名工を狙った多様な写し物があり、掃きかけの帽子など本家の通則の例外も見える。代や系統による差異も資料の支持する範囲で明らかである。二代忠広と三代忠吉は本家本領の静かな直刃を継ぎ、なかでも三代は祖父初代を想わせる強く精美な鍛えを身上とする。これに対し傍肥前の諸工は華やかな乱れ刃を好み、正広は丁子を主調とした乱れに互の目を交え、行広は竪長の足長丁子乱れを焼き、忠国は一門の中で最も砂流しが目立つ足長丁子をあらわした。本家が直刃で読まれるのに対し、傍系はその精良な地を覇気ある乱刃へ運んだのである。 肥前刀の鑑定の勘所は、何よりこの米糠肌にある。明るく冴えた小糠肌の上に締まった直刃を焼くという組合せこそ、収集家が肥前刀を求める核心であり、地鉄と刃文が相俟って同派同定の眼目を成す。さらに銘振りもまた鑑定の一部をなし、本家は刀に指裏すなわち太刀銘に切るのを常とし、五字銘・住人銘・受領銘の別が時期を語る。主要刀工の格は資料の伝える通りで、初代忠吉は藤代の極めで最上作、二代忠広・三代忠吉や正広・行広は上々作ないし上作に位置づけられる。代表作には鍋島家伝来の作が多く、来歴には尾張徳川家・佐竹家・皇室などの名が録され、初代の一口には師明寿の添銘が遺り、忠国・正広の作には山野加右衛門ら截断銘を金象嵌に帯びるものがあって、手のみならず刃味の証となる。指定を受けた作の多くは旧蔵家や公の収蔵に永く蔵されて市に現れることは少なく、傍系の作も折にふれて世に出るにとどまる。されば在銘の肥前忠吉は手の届かぬものではないが、祖その人の作や、最も精美な米糠肌に直刃を焼いた一口が現れることは時折のことであり、現れれば肥前刀の一里塚というべきものである。 詳しく見る →
肥前 藩営の刀
肥前刀は藩営の産業である。鍋島家は1596年頃、忠吉を京の埋忠明寿のもとに学ばせ、帰国したその工を核に公認の一門を築いた。小糠肌で名高いその作は、九代にわたり明治まで続いている。
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。
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