NihontoWatch三品廣道は伊勢国桑名(愛知県と岐阜県に接する、三重県北部の市。名古屋市から25km圏、)の生まれで、名は、三品藤右衛門。九代目陸奥守大道・三品又右衛門の実弟。一般に、嘉永1848年頃から、慶應1865年~1868年にかけての作刀が残ります。本作は珍しい明治打の刀です。刻銘は、伊勢国桑名住三品廣道作、桑名住三品廣道作、伊勢国住三品廣道作、三品藤右衛門廣道作、などです。伊賀に於いても鍛刀したという記録が残っています。三品派を継承し明治にいたるまで活躍しました。 本作体配は、刃長が二尺二寸七分で、身幅、重ね尋常は尋常、姿が良い健全な一振です地鉄は、小板目肌が練れて美しく現れ、地沸がつく見ごたえある鉄です。刃紋は、匂口深く小沸が付く焼き幅が高い互の目乱刃紋を焼いています。所々荒く沸えた冴えた刃です。刃中には、足入り、砂流しかかり働きも盛んです。帽子は、焼きをしずめて湾れ調子となって先やや掃きかけ心となり小丸へ深く返ります。茎は生ぶ。化粧鑢目、錆味時代らしく、刻銘も鏨枕が立ってキッチりとして気持ちが良く、茎千両と云える保存状態です。添えられた肥後拵も、これまた雰囲気がよろしい立派なものです。はばき金着一重。内外揃って心地が良い伊勢国桑名住三品廣道の御刀です。
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The Mishina school (三品), one of the two dominant smithing groups of early Edo Kyoto beside the Horikawa, grew from the late-Mino workshop of Kanemichi of Seki, whose dated blades run through the Tenbun, Eiroku, and Tenshō eras. During the closing decades of the sixteenth century Kanemichi came up to the capital with his four sons and settled at Nishinotōin Ebisugawa, where the eldest, Iga no Kami Kinmichi, is recorded as having greatly raised the name of the line. The brothers, Kinmichi together with Izumi no Kami Rai Kinmichi, Tanba no Kami Yoshimichi, and Etchū no Kami Masatoshi, became known collectively as the Sanpin (三品) makers, and the published sources count Kinmichi head of the Kyō go-kaji, the five Kyoto smiths. From the second generation the house held a hereditary right to recommend smiths to the court for their titles and added that by-line to its signatures. The name continued under the same appellation to the end of the Tokugawa period, throwing off branches that included the Tango no Kami line working at Ōsaka into the Genroku years, though the published record consistently holds the founding generation the most outstanding of the line. Beneath every branch lies a shared vocabulary carried up from Mino-Seki. The jigane is the constant: an itame mixed with mokume that flows into nagare-hada and tends toward masame near the mune, the grain standing, with thick fine ji-nie and frequent chikei. Over it the Mino-derived gunome and togariba are refined toward a Kyoto manner, the nie strong and at times coarse, gathering unevenly, kinsuji and vigorous striped sunagashi running throughout. Two tells bind the house. The first is the Mishina bōshi, a notare or midare run-in pointed at the tip and swept with vigorous hakikake, the form Masatoshi shows at its clearest, described as if drawn from a picture. The second is sudareba, the bamboo-blind temper in which layered sunagashi and yubashiri stripe into parallel bands; Tanba no Kami Yoshimichi devised it, and the first-generation hand keeps it a free, semi-cursive disorder where his heirs would regularize it into a fixed lattice.
The lines diverge from that common ground. Kinmichi and his younger brother Masatoshi both excelled in a Shizu manner, the large midare of Mino grafted onto Sōshū nie, with Masatoshi the most versatile, ranging across Shizu, Mino sanbon-sugi, Yamato suguha, and Sōshū hitatsura. The later Ōsaka Tanba branch held to the sudareba alone, opening from a straight yakidashi, while the second Tango no Kami Kanemichi cast off the family chōji for a flamboyant tōran-style large gunome in alternating two-joined and three-joined groups, and a deep-nioi suguha read in the manner of Inoue Shinkai. To kantei Mishina is to read these two house marks first. The pointed, hakikake-swept bōshi and the striped sudareba, set over a standing itame that flows to masame, place a blade within the line before any signature is weighed; the sunagashi, far heavier than on a Bizen ji, is the very material from which the temper is built. Within the house the founding generation sets the standard. Fujishiro grades Kinmichi and Masatoshi Jō-jō saku, the Ōsaka Tanba shodai Jō-saku, and the second Tango no Kami Chū-jō saku, the sources judging the later Kyoto and Ōsaka generations markedly inferior to the founders as the manner thinned toward a single uniform pattern. Provenance on record runs through samurai and collector hands rather than great museums: a Kinmichi katana among the cherished swords of Tani Tateki, a Yoshimichi katana made for Naitō Kuroemon and another now in the Kyoto National Museum, Masatoshi blades passing through Oda Urakusai and the Imperial household, and a second Tango no Kami katana descending from the Aoyama wardens of Ōsaka castle. The brothers' blades are signed and knowable, dated examples rare, so the manner of the mei joins the workmanship in placing them; for the Ōsaka and Kyoto branches the cut of the character 守 separates one hand from the next. Most designated work is held rather than traded, so a signed founding-generation Mishina blade comes to light only from time to time, and with it the temper in which one of the most recognizable hamon of the Shintō era was first being worked out. Learn more →
| Smith | Era | Designated |
|---|---|---|
| Kinmichi金道 | 1596-1615 | 25 |
| Yoshimichi吉道 | 1596-1615 | 36 |
| Masatoshi正俊 | 1596-1615 | 29 |
| Kanemichi兼道 | 1681-1704 | 5 |
| Eisen来栄泉 | 1673-1688 | 3 |
Meiji: survival after the edict
The Haitōrei edict of 1876 ended sword wearing and nearly ended the craft itself. Military demand and imperial patronage kept a remnant alive, and in 1906 Gassan Sadakazu and Miyamoto Kanenori were named Artists to the Imperial Household.
A Hozon-certified blade judged to show notably superior workmanship and a better state of preservation. The bar is higher: re-tempered blades and most unsigned Muromachi/Edo works are excluded.
The NBTHK (Nihon Bijutsu Tōken Hozon Kyōkai, the Society for the Preservation of Japanese Art Swords) is a public-interest incorporated foundation founded in 1948 and supervised by Japan’s Agency for Cultural Affairs (Bunkachō); it is based at the Japanese Sword Museum in Tokyo. Its expert panels physically examine each submitted work (shinsa) and issue a certificate (kanteishō) ranking it by artistic and historical merit. NBTHK papers are the most widely recognized standard of authentication for Japanese swords and fittings.
NBTHK official siteNo cooling-off period or returns; refund only if the purchased sword is proven fake, capped at purchase price (excludes commission sales, accessories, auction items).