戦国の世、一派は第二の主家に仕えた。小田原の後北条氏である。その庇護のもと綱広系は打刀の時代の皆焼を鍛え続け、1590年の落城とともに新刀の時代へ散った。
NihontoWatchNihontoWatchThis blade is attributed to Fuyuhiro (冬廣) during the late Muromachi period. It is said that the first generation Fuyuhiro was the son of the second-gen Soshu Hirotsugu. The second-gen Soshu Hirotsugu was one of the most well-known swordsmiths in the Soshu region(today’s Kanagawa prefecture). The first-gen Fuyuhiro moved to Wakasa province(today’s Fukui prefecture) after learning sword forging techniques/tradition from his master (Approx. 1460: mid-Muromachi period). Firstly, he focused on forging swords with the Soshu Den tradition, one of the five well-established sword-forging traditions (Gokaden). However, he gradually mixed it with Bizen tradition, another tradition of the five. According to historical documents, the swordsmith’s name Fuyuhiro lasted 17 generations from the Muromachi period(1460-)to the end of the Edo period(-1868). We believe the attribution was given to the first-gen Fuyuhiro. During the Sengoku period(Warring state period), the generations of Fuyuhiro forged swords for high-class Samurai or feudal lords because of the popularity and the high demand for weapons. There are records of the swordsmith name Fuhiro forging in Bizen, Bingo, Izumo, and Hoki province in the Edo period. You can see interesting Kissaki (tip of the blade) called Shobu Zukuri (菖蒲造り). There is no Yokote on this blade. Yokote is the borderline between the tip and cutting edge. We are confident you will appreciate the elegant look of this blade. This blade is appraised as a Hozon Token(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 there are a couple of Kitae Kizu on the Hi (groove of the blade). Fuchi-Kashira The Kashira part has a simple appearance. On the other hand, waves are engraved on the Fuchi part, and it depicts a waterside landscape. You could also find things that seem to be seashells and stones. This Fuchi part is decorated with gorgeous colors such as gold, silver, and copper. Tsuka and Menuki The upper side Menuki’s motifs are probably wild geese. And lower side Menuki’s motif is a kind of plant. There is a classical theme called the Ryusui Ashi Kari Mon (流水葦雁文). This pattern is composed of a combination of reeds and wild geese, which represent autumnal features. In Japanese, reeds are called the Ashi (葦), and wild goose is called the Kari (雁). Assuming that this design was incorporated into this work, the plants designed here would be reeds. In addition, another sword mounting we mentioned earlier (Fuchi Kashira) had a wave pattern (running water) designed on it. In other words, when we look at the entire of this handle, it makes the Ryusui Ashi Kari Mon. Tsuba and Habaki It seems this Tsuba is made from copper. And its Mimi (耳, edge) part is framed with a golden plate, adding beauty to this work. In addition, it has practicality, such as preventing the wear of the edge part. Also, it prevents wear and tear on the Kimono if the edge damages it by touching the cloth. Kozuka A Kogatana (小刀, small knife) is stored in the Kozuka. The principal motif of this Kozuka’s design is the Makimono (巻物, scroll). Scrolls are symbols of scriptures, doctrines, teachings, and wisdom, and are symbols of wisdom accumulated since ancient times and its inheritance. In Japan, there is a classical design called the Takaradukushi (宝尽くし) pattern. It is a combination of treasures, and one of the elements of this theme is a scroll. Scrolls give us much information; therefore, this motif symbolizes knowledge and wisdom. In this way, it has been considered as auspicious motif for long time. Kougai This item is an antique Kougai (笄), which was used to arrange or fix the hairstyle of Samurai. A Kougai is usually stored in the Kougai Hitsu. And a Kozuka (小柄) is often stored at the other side of the scabbard. This Kougai’s design is similar to the Kozuka we have just focused on above. Although the motif is different, we feel the similarity between these sword mountings. Authentication Paper NBTHK,, also known as Nihon Bijutsu Touken Hozon Kyokai (the Society for the Preservation of the Japan Art Sword), is one of the oldest Japanese sword appraising organizations in modern-day Japan. They authenticated the blade on March 10th in the 18th year of Heisei (2006). They appraised it as Hozon Touken, the blade worth preserving for Japanese society.
若狭冬広派Wakasa Fuyuhiro School
取扱店 サムライミュージアム
販売店の記載のまま
相州伝 · 若狭
現在7点販売中
若狭冬広は、相州広次三代目の子と伝え、室町時代の康正頃に若州小浜へ移住したとされる一系である。説示によれば、その名跡は新々刀時代にまで続き、五代を数えたとも言われる。年紀のうえでは永正十二年紀に「冬広伍七三才」と銘した作が知られ、ほかに永正・天文・元亀・天正の年紀があって、室町後期から戦国期を通じての制作が確かめられる。源流は相州にあり、後には相州綱広の門に学んだと伝えるものの、相州住と銘した作は見ないとも記される。同じ頃に若州・伯州・雲州・備前・備中などと住所を切り替えた作があり、これらが同人によるものか否かは検討の余地が残るとして、説示はいずれも断を避けている。 作風として説示が繰り返し挙げるのは末相州風と末備前風の二様であり、同一の系のうちにこの両者が併存する点が判別の鍵となる。地鉄は板目に杢目・流れ肌を交え、肌立ちごころとなって地沸がつき、地景が頻りに入る。刃文は焼幅広く、のたれに小互の目・小丁子や尖り刃を交え、足・葉が盛んに入り、荒めの沸を交えて砂流し・金筋がかかり、匂口の明るいものが多い。中には中直刃を基調に互の目・尖り刃を交え、飛焼が頻りに加わって棟焼も総体にかかり、皆焼となる作がある。一方で太直刃調に小互の目を交える穏やかな直刃出来もみられ、直刃と乱れの両様を焼き分ける。帽子は乱れ込んで尖りごころとなり、あるいは小丸に掃きかけて返る。彫物を得意とし、草の倶利迦羅・梵字・棒樋・添樋などを施した作が伝わる。造込みは庵棟の鎬造を主とし、先反りつき大鋒に延びた豪壮なものから、反り浅い中鋒の尋常な姿まで幅がある。代の判別にあたっては、二字銘を初代の作とみるなど、銘のかたちと地刃の冴えとを併せて見るのが説示の示すところである。 鑑定の要点は、肌立つ板目鍛えに地沸・地景の加わる地鉄と、のたれ・互の目に沸を伴って砂流しのかかる刃取り、さらに皆焼を交える作のあることに置かれる。住所銘や年紀を切った作が多く、作刀地を明記した刀工銘や天正八年紀のごとく、資料としての価値の高い在銘作が伝わる点も本系の特色である。代表作には、若州小浜での所伝を裏づける在銘の刀のほか、備後国西条や備中松山など他国で鍛えた作があり、宮興盛のもとで天正五年に作刀した一口など、他国における活動を示す好資料も含まれる。彫物に長じた一面は、相州風よりむしろ平安城長吉などに近いと評され、両者の関係が問われることもある。末相州の流れを受けつつ末備前風をも併せ、若狭の地にあって戦国期から江戸期へと長く続いた一系として位置づけられる。 詳しく見る →
室町時代の相州
戦国の世、一派は第二の主家に仕えた。小田原の後北条氏である。その庇護のもと綱広系は打刀の時代の皆焼を鍛え続け、1590年の落城とともに新刀の時代へ散った。
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.