説明

越前康継に似ると言われる重高は越前の刀工。本作は長さがあり、研ぎ減りのない健全な一振。緩やかな湾れ刃文に詰んだ地鉄は康継を彷彿とさせる。刃中には小足や二重刃、喰い違い刃など働き多く、地景よく入る小板目肌は清涼。茎は生ぶで体配の崩れもなく、小さめの切先も寛文時代の特徴。 珍しい緑色の鞘は下地に金箔を散りばめ、経年と共に緑の上塗りが剥げて下地の金箔が露出する。緑色の漆は津軽塗などにまま見受けられるが鞘には珍しく、その色調を壊さないよう卯の花色で新規に柄を巻く。刀装具も品が良く、縁頭や目貫は赤銅地秋草の美濃金工。鍔はブドウにリスの図で、語呂が合う"武道(ブドウ)に律す(リス)"に通じて武士に好まれた。大変飾り映えする拵で、是非現物をご覧頂きたい。特別保存刀剣鑑定書附。

刀/越前住播磨大掾藤原重高
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Tokuho売切れ

刀/越前住播磨大掾藤原重高

売却済

世界81社の刀剣商を横断追跡 · 価格履歴 · 売却アーカイブ

仕様

長さ

74 cm

反り

1.3 cm

元幅

3.15 cm

先幅

2.25 cm

作者について

Shimosaka Shigetaka重高

The first-generation Harima Daijo Shigetaka was a disciple of the first-generation Echizen Yasutsugu, and among the smiths of the Echizen group he is regarded as possessing the highest level of skill. An extant wakizashi bearing a date of Genna 2 (1616) establishes his period of activity in the early Edo period. The line continued through several generations into the Bakumatsu, yet it is the *shodai* whose work most closely approaches the range of his master. While many Echizen smiths characteristically finish their tangs in *ken-gata* form, Shigetaka is distinctive in employing *kurijiri*, with the first generation tending toward a particularly shallow contour. Shigetaka's forging presents tightly packed *itame-hada* mixed with *mokume*, with *ji-nie* adhering well and fine *chikei* entering; the steel frequently bears a darkened, "*kane*-colored" tone that the NBTHK setsumei note as especially noteworthy in comparison with typical Echizen work. His *hamon* characteristically favors *suguha-cho* with shallow *notare*, mixed with *ko-gunome* and somewhat pointed elements; *ashi* enter well, the *nioi* is deep with thick *nie*, and *kinsuji* and *sunagashi* appear throughout. The *boshi* typically forms *ko-maru* with a rather deep *kaeri*, showing *hakikake* at the tip. His manner of signing is compact and vertically tightened, executed with a thick chisel. The *naginata-zukuri* wakizashi modeled after the celebrated Meibutsu "Honebami Toshiro" is praised as one of his greatest masterpieces, demonstrating faithful *utsushi* technique and splendid *horimono* in the *kinai-bori* manner. Surviving works by the *shodai* are not commonly encountered, and among them katana are particularly few; *hira-zukuri* wakizashi are comparatively numerous, while tanto include both *hira-zukuri* and *kanmuri-otoshi-zukuri* forms. The *kanmuri-otoshi* examples display an archaic manner suggesting an intention to evoke old Yamato precedents. Across his oeuvre, the refinement and compactness of the forging stands apart from ordinary Echizen production.

刀剣商

十拳

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