NihontoWatch出ました出ました古いお家代々幅の広い豪壮な尾張の伯耆守信高として伝わった脇差が出ました。信高は本名河村左衛門。本国美濃関、三阿弥兼国の末で、永禄6年生、（1563年）（463年前）天正20年（1592年）（434年前）清洲城主関白秀次の取次で伯耆守を受領し、慶長15年（1610年）（416年前）名古屋城が完成すると「清越し」と言う言葉が残されているように清州の刀工は大挙して名古屋城城下に移住します。本脇差は幅広で元身幅広く先身幅も広い反りの有る横手筋の無い菖蒲造の豪壮な脇差姿を現し、地鉄は板目肌に杢目肌を交え、刃紋は匂い出来に小沸の付いた大互の目乱れ刃に帽子を棟まで深く返し覇気有る刃を焼いて上手です。拵えも信家風の鍔の付いた返り角を金具の付いた黒ロー鞘の付いた拵えが本伯耆守信高として伝わった脇差に一層華を添えています。この度古いお家代々大切にされてきた伯耆守信高の脇差ですが自分達も年を取りましたので大切にして頂ける方にお安くお譲り下さいとお預かりした為に、長年の経年変化の為に鞘の鯉口の水牛の角も痛んでもいますので特別に格安にてご提供いたします是非お楽しみ下さい。
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Mino-den · Mino
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The San'ami line takes its root in Mino Province, where its head smith Kanenori (兼則) worked as one of the so-called Seki Seven Schools. The setsumei place Kanenori from the close of the Nanbokuchō period into the Ōei era of the early Muromachi, alongside Kanemoto and Kanesada among the representative hands of Sue-Seki, and the earliest extant signed tachi of his is appraised as no later than Ōei. A second early smith, Kanekuni (兼国), is recorded as belonging to the San'ami lineage and is judged to predate the Sue-Seki group proper; the remote ancestry given for him runs variously to a disciple of Naoe Kanetomo, to Yamato Kanekuni, or to Kanenori, though the setsumei note that nothing survives to confirm so distant a descent. From this Mino stock came Hōki no Kami Fujiwara Nobutaka (信高), born at Kami-Ōchi in Mino in 1563 and said to descend from San'ami Kanekuni. After receiving the title Hōki no Kami in Tenshō 9 (1581) he moved to Kiyosu in Owari and, serving Tokugawa Yoshinao, later settled at Nagoya, carrying the line into the early Shintō era through a second generation who took the tonsure in Kanbun 2 (1662). Across the corpus the jigane is itame, often closely forged and tending to nagare-hada or flowing grain along the edge, with ji-nie and a frequent standing of the grain (hada-dachi); a faint whitish cast (shirake) marks the older Mino work of Kanenori and Kanekuni. The temper rests on suguha as a base. In the early hands it is a tight, clear (saete) suguha in nioi-deki, sometimes mixed with small gunome, angular elements and pointed ha, carrying ashi, hotsure and scattered tobiyaki.
The Nobutaka works open this out: a broad suguha shifting to shallow notare, ko-notare with a gunome-flavored edge, deep nioi with nie unevenly applied and partly coarse, nie-kuzure at the yakigashira, kuichigai-ba, kinsuji, sunagashi, yubashiri and tobiyaki that climb into the shinogi-ji until the upper half reads as hitatsura. The bōshi runs to sugu with ko-maru, at times midare-komi, pointed, or hakikake, and the early swords keep a slender, high-sori tachi shape while Nobutaka's carry the wide-bodied, ō-kissaki form of the Momoyama transition. The hand is recognized in this pairing of a flowing Mino itame with a suguha core that, in the descendants, breaks toward bold hitatsura. For kantei, the setsumei fix several anchors. In Kanenori's signature the scooped chisel at the fourth stroke of the character kane (兼) is read as a trait of late Nanbokuchō through Ōei work, matched in dated Kaneyoshi mei; the clear suguha of Kanekuni is likened to a Zenjō Kaneyoshi masterpiece. The jizō-flavored bōshi and the nagare-mixed itame in Nobutaka are named as the surviving stamp of the Mino root beneath his Owari manner, and one of his katana is recorded as an Inabae-utsushi. Provenance runs through the corpus: a Kanekuni bears kinzōgan recording it as the sashiryō of Ōkubo Genban-no-jō Tadanari, lord of Odawara in Sagami, worn at the age of ninety-three; Kanenori's tachi descended in the Yamanouchi family. Among the Owari yari makers beginning with Masatsune, Nobutaka's yari of extraordinary length is held in particular regard, and the second-generation Nobutaka is judged no less skilled than his father, with the finest extant Nobutaka works counted to his hand. Learn more →
| Smith | Era | Designated |
|---|---|---|
| Nobutaka信高 | 1581-1615 | 3 |
| Nobutaka信高 | 1624-1644 | 2 |
| Kanekuni兼國 | 1455-1457 | 1 |
| Kanenori兼則 | 1370-1372 | 1 |
| Nobutaka信高 | 1673-1681 | 0 |
Mino in the Momoyama period
Unification closed the mass market, and Seki’s smiths moved to where the new money was: the Mishina line to Kyōto with court titles, Daidō smiths to castle towns across the provinces. Mino became the great technical ancestor of the Shintō age.
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