二世紀半の泰平のあいだ、刀は武器である以上に武士の身分の標章であった。江戸の実証と大坂の華やぎのように都市ごとの作風が育ち、時代の末には需要も細っていく。
Ippo(一峯) is a renowned swordsmith who belonged to Omi Ishido school during the early Edo period. There are two generations of the smith named Ippo. We believe the first-gen forged it based on the signature. The first-gen Ippo was born in Takagi village in Omi province(Today’s Shiga prefecture). While the first-gen Ippo forged swords in Omi province for the rest of his life, his son, second-gen Ippo, also forged in Edo city(Today’s Tokyo). The first-gen Ippo was active at sword-forging at the beginning of the Edo period(1648-1652). Ishido school was initially founded by Sukenaga, an offspring of Ichimonji Sukemune, who made Fukuoka Ichimonji school in Bizen province(Today’s Okayama prefecture). During 1492-1501(Mid Muromachi period), Sukenaga and his school moved to Omi province from Bizen province after being summoned by Gamou family, a powerful feudal line in that region. Sukenaga started to live in front of Ishido temple, and he changed his surname to Ishido. As of the early Edo period, many Ishido swordsmiths moved to other parts of Japan. There are mainly four areas: Edo, Osaka, Kishu(Wakayama prefecture), and Chikuzen(Fukuoka prefecture). Omi Ishido school is the origin of whole other Ishido branches that flourished during the Edo period. While this blade is categorized as Wakizashi, its length is very close to Katana. In Japanese sword terminology, when the blade is more than two Shaku, it is considered Katana. One Shaku is an old measurement, which is equivalent to 30.3 cm. Therefore, two Shaku means 60.6 cm. This blade’s cutting edge length is 60.0 cm. This blade has a 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). This sword has beautiful Suguha(straight tempering line) and Jigane. It comes with a beautifully Raden(crushed oyster shell) crafted scabbard with gorgeous sword mounting. Fuchi-Kashira The Karakusa (唐草, arabesque) pattern is inlaid with silver on this Fuchi Kashira. 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. Also, the Nanako-Ji (魚子地) technique decorates the surface of this Fuchi Kashira. The ground was hit by the Nanako-Ji Tagane (魚子地鏨, chisel used for this technique). It makes delicate fish egg-shaped protrusions on the entire surface of the Tsuba. The Nanako-Ji with the same size of particles lined up regularly makes us feel the maker’s expert skill. Tsuka and Menuki It might be the Kabura-Ya (鏑矢) that is the motif of this Menuki. Ya (矢) means an arrow in Japanese. Kabura-Ya is a type of arrow which is attached to Kabura (鏑, a kind of weapon) to the tip of an arrow. Kabura-Ya whistles when it is shot. Therefore, it was used as a signal on the battlefield to notify the start of a battle. In Japan, we can find it in traditional events such as Yabusame (流鏑馬, horseback archery) today. Also, it is enjoyed as a good-omen interior that will protect people from evil spirits. Tsuba and Habaki Itomaki-shaped iron Tsuba that has Kozuka and Kougai holes. Itomaki (糸巻) means spool. As its shape looks similar to a spool, this type of Tsuba’s form was named this name. A giant dragon is designed for this Tsuba. This dragon gives us a sharp look, and clouds twine around its elongated body. Initially, a dragon is an imaginary creature found in ancient traditions or myths. Furthermore, it is 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 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. This beast design is often seen in sword mountings; it tells us that how much Samurais loved this motif. Kozuka The small knife is stored in the Kozuka. Same as the Tsuba, the dragon design is engraved for this Kozuka. This dragon is looking back, twisting its slender body as if it were threaten something. Authentication Paper They authenticated the blade on August 26th in the first year of Reiwa(2019). They appraised it as Tokubetsu Hozon Touken, the blade especially worth preserving for Japanese society.




















販売店の記載のまま
新刀 · 近江 · 1648-1652頃
刀剣大鑑 上位60%
現在2点販売中
新刀 · 近江
現在40点販売中
石堂派は、近江国蒲生郡石堂村の刀工に淵源を有する一門である。慶長から元和・寛永にかけて、これらの刀工は近江よりまず京都へ上り、のちに江戸へ下って一派を成したと伝えられ、これがいわゆる江戸石堂の祖となった。武蔵大掾是一はその祖と称され、日置出羽守光平・常光・越前守宗弘らと共に江戸石堂の名を大いに高めた。中でも対馬守橘常光は、日置を姓とし生国を近江国蒲生郡とする一派の代表工で、従来は光平の兄とされてきたが、年紀作を逆算すると光平の方が六歳年長であり、また常光は橘氏、光平は源氏を名乗っていることから、兄弟であるという通説には疑問がもたれている。一門はやがて各地へ広がり、是一門からは是次が出て九州に活躍し福岡石堂の繁栄をもたらした。紀州にあっては平安城安広が紀州名草郡和歌山に移って作刀し、また備中守橘康広(富田五郎左衛門)が紀州石堂派を代表し、のちに大坂に移って大坂石堂派の始祖となった。河内守康永の門人多々良長幸もまた紀州より大坂に移り、近江には佐々木善四郎一峯らがあって、一派は江戸・大坂・紀州・福岡・近江の各地に系統を伝えた。 石堂派の作風は、御家芸ともいうべき備前伝にあり、映りの立った鍛えに丁子乱れを得意とする点に一貫した特色がある。鍛えは板目つみ、杢・流れ肌を交え、地沸微塵につき、乱れ映りが鮮やかに立つ。刃文は丁子乱れを主調とし、大丁子・頭の丸い丁子・小丁子・互の目・小互の目・尖りごころの刃などを交え、重花丁子・袋丁子をも交えて足・葉よく入り、華やかとなる。常光の作には焼に高低が見られ、焼頭が鎬にかかる程の大出来の丁子を焼くものがあって、古作一文字を髣髴とさせる。安広は互の目・小互の目・箱刃風・尖りごころの刃などを交えて総じて焼高く、棟焼よく入り、金筋・砂流し・沸筋頻りにかかる放胆な焼刃を示す。康広は逆ごころをおびた華やかな丁子乱れを得意とし、長幸は石堂派本来の一文字を狙った丁子乱れの作と、末備前に範をとった腰のひらいた互の目を主調とする作の二様を遺す。総じて匂口の明るく冴える点が、一門諸工に通じる特色である。 評価としては、石堂派は新刀・新々刀の時代にあって備前伝の作風を伝え、丁子乱れの華やかな出来をよく示した点に意義が認められる。常光は焼に高低のある華やかな丁子乱れを焼いて本領を発揮し、その典型作は同工中の優品・最高傑作と称される。安広は長寸・身幅広く重ね厚い堂々たる姿態に放胆な焼刃を加え、新刀を代表する一工としてその技倆が遺憾なく発揮されている。康広は覇気に富んだ作柄を仕上げ、その一口は薩摩国島津家に伝来したものも知られる。長幸は師に優る技量の持主と評され、匂口のふっくらとした出来を遺す。各地に展開しながら備前伝の本領を堅持し、江戸時代初期より長く続いたこの一門は、新刀・新々刀の世にあって備前の作風を伝えた代表的な流派として高く位置づけられている。 詳しく見る →
江戸時代
二世紀半の泰平のあいだ、刀は武器である以上に武士の身分の標章であった。江戸の実証と大坂の華やぎのように都市ごとの作風が育ち、時代の末には需要も細っていく。
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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