説明

全国に影響を与えた相州伝は技術的に一番困難な鍛刀方法と言われ、後世、他国に於いても盛んにその伝法が研究されていく。南北朝時代には相伝備前など、自国の伝法に相州伝を取り入れてその華やかな出来映えは人気を博した。 本作、深い棒樋を掻いて身幅は抑え、腰で踏ん張る反り格好に先は伏せ気味。茎反りも強く、鎌倉刀を彷彿とさせる太刀姿がとても優美な相州広次。時代は室町初期頃で、ちょうど太刀から打刀へ移行した時期。相州と言えば板目肌が立ち気味の印象だが、本作は小板目肌が良く詰んで清涼な印象。互の目乱れ刃文は小沸の粒が揃い、尖り刃など交えて働きも盛ん。磨上が惜しまれるが銘はすべて残り、堂々と太刀銘で切られている。良く目にする室町後期の広次と違い、地刃共に見所のある優刀。時代感のある打刀拵が付属している。研ぎ上がり。特別保存刀剣鑑定書附。

刀/相州住広次作
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Tokuho売切れ

刀/相州住広次作

太刀

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

65.7 cm

反り

1.2 cm

元幅

2.75 cm

先幅

1.9 cm

作者について

Sue-Soshu Hirotsugu廣次

1 御物2 重要刀剣

Hirotsugu was a swordsmith who resided in Kamakura in Sagami Province, working within the *Soshu-den* tradition. Sword reference works place the first generation in the Kenmu era; however, among extant works none can be traced back earlier than the mid-Muromachi period, and he is accordingly regarded as a representative Soshu smith of the late Muromachi period. Smiths of particularly high technical ability are known from around the Meio era, and there are also examples bearing Tenbun-era date inscriptions signed "Sunshu Shimada-ju," establishing a connection to Suruga Province. A wakizashi in the Imperial Collection dated Meio 9 (1500) represents the oldest firmly dated example. Hirotsugu's workmanship is characterized by bold, vigorous construction with wide *mihaba* and extended *kissaki*. The *kitae* is *itame-hada* mixed with *mokume*, frequently showing a tendency toward standing grain, with thickly adhering *ji-nie* and abundant *chikei*. The *hamon* is generally *yakidaka*, mixing *gunome* with *choji*, *togariba*, and *yahazu-gata* elements within a *notare* ground. With *tobiyaki* and *muneyaki* intermingled, the tempering develops into *hitatsura* of striking force, accompanied by frequent *kinsuji* and *sunagashi* and a bright *nioiguchi*. The NBTHK observes that at first glance such work "produces a strongly nie-laden, powerful hitatsura that calls to mind the Hasebe school of the Nanbokucho period." Several blades also display faint *utsuri*, and the *boshi* is characteristically deep, often finished *ichimai* with *hakikake*. Hirotsugu's finest pieces are consistently praised for the vigor and completeness of their hitatsura, with both *ji* and *ha* richly covered in *nie*. The execution is described as forceful even into the boshi, and the *horimono* on certain examples -- including *kurikara* and *bonji* carvings -- are called "splendid." The NBTHK notes that from these qualities "Hirotsugu's high level of technique is readily discerned," and the best works rank among the finest achievements of late Soshu craftsmanship.

刀剣商

十拳

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