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。
NihontoWatchNihontoWatchSummary This blade was signed by Koyama Enju Taro Munehiro (小山延寿太郎宗広) in the second year of the Keio era (1866: The end of the Edo period). He was the first son of Yamato no Kami Masakatsu, the 9th head of the Dotanuki school, one of the most prestigious schools in Higo province (Today’s Kumamoto prefecture), during the Edo period. His birth name was Koyama Taro. He was especially active during the Tenpo-Keio era (1830-1868). That means this blade was forged at the end of his career when he mastered excellent craftsmanship. Munehiro was an offspring of a member of Enju school. He also lived in Edo city, invited by Numata Arimune, a chief vassal of Hosokawa clan, the head of Kumamoto domain. Munehiro also learned sword-forging techniques from Suishinshi Masahide, one of the most famous swordsmiths at the end of the Edo period in Edo city. This fact indicates that Munehiro was a recognized swordsmith in the domain. Enju School and Its Founder (Enju Kunimura) Enju(延寿) is the prestigious school name that especially flourished during the late Kamakura period-Nanbokucho period(Early-Late 14th century). Enju school was founded by Kunimura(国村), who is said to have been the grandson of Rai Kuniyuki, one of the most famous swordsmiths from Yamashiro province(Today’s Kyoto prefecture). Kunimura and his apprentices moved from Kyoto to Higo province(Today’s Kumamoto prefecture on Kyushu island) after being invited by the Kikuchi clan, who had an influential power in that region. It is said that the 10th head of the Kikuchi clan, Kikuchi Takefusa(菊池武房), had to find skilled swordsmiths who could forge strong swords to combat the Mongolian army. Back then, Japan was targeted by the Mongolian emperor, and Kyushu island was where the battle occurred twice(1274 and 1281). Kikuchi Takefusa brought Kunimura and his apprentices from Kyoto to prepare for the second attack from the Mongols. Since then, Kunimura and his sons served as Okakaekaji for this clan, exclusively forging swords for the Kikuchi clan, which ruled the Higo province back then. All the swordsmiths from the Enju school used the letter “国” (Kuni) for their maker’s name, such as Kadokuni. The descendant of this school founded the famous sword school named Dotanuki(同田貫) from the Eiroku era (1558-1570: Late Muromachi period). And there are descendants of the Enju school’s swordsmiths throughout the Edo period. That means Enjyu school has over 600 years of its history. Munehiro is one of the most prominent figures who belonged to Dotanuki school at the end of the Edo period. 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 A type of Karakusa (唐草, arabesque) pattern is engraved on this Fuchi Kashira. The same design is seen on the metal fitting that is put at the end of the scabbard. The combination of copper’s brownish color and this design makes an elegant look to this work. The Karakusa design 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 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 as “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. This idea might have inspired this Fuchi Kashira’s design. Tsuka and Menuki While we cannot see the entire shape, we think the motif of this Menuki is the Kara-Jishi (唐獅子) due to its characteristic curly hair. The golden paint is applied to its eye. The Shishi (獅子) means a lion in Japanese, and the Kara-Jishi is a lion brought from the continent to Japan in the Toh period (唐, Tang dynasty, 618-907). The Kara-Jishi typically has curly hair for its head, neck, body, and tail, as you see in this work. In Buddhism, the Karajishi is regarded as a symbol of wisdom, and Monju Bosatu (文殊菩薩, Manjushri Bodhisattva) rides lions. According to a theory, the Kara-Jishi is the origin of Komainu (狛犬, stone guardian dogs that exorcize evil spirits). It shows that this beast motif has been familiar to Japanese people since ancient times. Tsuba and Habaki Yotsu-Mokkou-shaped Tsuba that has a Kozuka hole. Its edge is framed with a thin metal plate. There are minor dents on this part; it shows this structure has protected the Tsuba from damage. Also, it tells us its long history. The surface of this Tsuba has a stone-like texture. Although it is partly worn down due to aging, we could see its design when this Tsuba is loaded with the handle. We hope you would enjoy these points as antique textures. Kozuka A Kogatana (小刀, small knife) is stored in the Kozuka. This Kozuka has a simple look. Both Kogatana and Kozuka have a plain design. As the color of the Kozuka is the same as other metal fittings, such as the Fuchi Kashira and Kojiri, it matches well when stored in the Kozuka Bitsu (a place where a Kozuka is put into). Saya This scabbard is colored with black and vermilion lacquers. It has a black lacquer base and a vermillion lacquer linear pattern that wraps around the scabbard in a spiral. Thanks to this coloring, this scabbard has a gorgeous and eye-catching appearance. It enhances the overall decorativeness of the Koshirae. A Kojiri (鐺) is the end of a scabbard. This part is often covered with a metal fitting, as seen in this picture. You will realize that this Kojiri is made of the same material and has the same design as the Fuchi Kashira. It makes the unity for the entire appearance of the Koshirae. Authentication Paper They authenticated the blade on Aug. 27th in the 3rd year of Reiwa (2021). They appraised it as Tokubetsu Hozon Touken, the blade especially worth preserving for Japanese society.
販売店の記載のまま
備前伝 · 肥後 · 1830-1868頃
刀剣大鑑 上位87%
備前伝 · 肥後
現在10点販売中
同田貫は肥後国の菊池に室町末期から興り、新刀期に及んで活躍した一派である。説示は本派を九州肥後を代表する流派として位置づけ、その一門に正国・上野介・又八(又八左衛門)・正広・兵部・左馬介・国勝らの工があったことを伝える。年紀を備えた遺例には天正から慶長に跨がる作が見られ、上野介には慶長九年・慶長十六年八月吉日の銘があって、新古を跨ぐ形でこの工が活躍したことが知られる。正国の薙刀は桃山時代の製作と鑑せられ、刀身とほぼ同時期に誂えられた拵を伴う例もある。説示の伝える工と年紀からは、戦国末から江戸初頭にかけての肥後にあって、実用の需に応えた工房の姿がうかがえる。 作風は、身幅広く重ね厚く平肉の豊かな豪壮な造込みを基調とする。説示はこれを武骨な姿とも記し、鎬造の刀のほかに大身槍や大振りの薙刀の作例も数多く経眼されると述べる。鍛えは板目肌で、処々に流れ肌や杢目を交え、やや肌立ちごころとなり、地沸がつく。刃文はのたれを基調に小互の目・小丁子・小尖り刃などが交じり、足・葉がよく入り、匂口は締りがちで叢沸となり、飛焼や棟焼を見せ、金筋・砂流しの細かにかかる作がある。互の目乱れを主とする例や、正広の薙刀のように直刃を焼いて匂口の沈む作も伝えられ、一派のうちに振幅のあることが説示から読み取れる。見分けに当たっては、頑健な姿態と、匂口の締まった乱刃に叢沸・飛焼・棟焼の交じる地刃の様相が手がかりとなる。 伝承の面では、説示はこの派の刀の鋭利さが古くから賞讃され、実用刀として知られてきたことを繰り返し記す。代表工とされる上野介には、常に見る同派の作域よりも変化に富み野趣の感じられる作があり、沈みごころの地刃に渋い味わいの醸される一口が同工および同派を代表する出来として挙げられている。正国の薙刀は、地沸の微塵に厚くついた鍛えと、同派の常以上に明るく沸づいて刃中の頻りに働く刃文をもって秀作と評され、黒漆金蒔絵柄鞘薙刀拵を附帯する。又八の薙刀には匂口の締まった作に沸のつく一派の特色がよく示され、黒塗薙刀拵を伴う。資料は僅少ながら、これらの遺例は、肥後にあって頑健と切れ味を旨とした同田貫の性格を、刀・薙刀の双方に即して伝えるものといえる。 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。
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.