NihontoWatch私の古くからの友人、満足弘次刀匠の長光写しの小太刀です。 刀身の出来は最高、彼の素晴らしい人柄が乗り移った作品です。 Modern sword Bizenkuni Osafune ju Hirotsugu kore Tsukuru. This wakizashi is the work of my old friend Hirotsugu Manzoku. His personality wondeful, and his personality is reflected in this Wakizashi. His family name is satisfy so it is an auspicious name. 「体配 style」 鎬造り庵棟、身幅重共尋常、鳥居反り中鋒。茎は生で筋違い鑢がかかる、茎尻は栗尻。 「地鉄 jigane」 地鉄は、良く鍛えた板目肌に、地沸厚く付く。 「刃紋 hamon」 刃紋は丁子刃で匂口絞まり、足良く入り、刃中は金筋が入る。釯子は乱れ込み小丸に返る。 「特徴 detailed」 備前國住人浩次作之、本名満足浩次、岡山県福岡在住、以前は長船博物館にて鍛刀されていましたが、現在は同長船町に鍛錬場を開いております。新作刀展では、入選多数、努力賞も 多数受賞されている刀匠で、最近メキメキと腕を上げてきました。ずっと見ていても飽きの来ない素晴しい刀を打ち上げます。 彼は古くからの友人で、性格は温厚、その上クX真面目な性格です。彼が作る日本刀は、彼の性格(魂)そのものが乗り移っており、見ていてもホットします。またそれだけではなく作品自体も真面目な物です。 本作、備前国長船住長光の小太刀を写した物です、良く詰んだ地鉄に、素晴らしい丁子刃で、さらに長光らしくもの打ち辺の焼刃を低く焼いています。 また彼の本名の「満足」性は非常にめでたい苗字で、縁起物です。 この脇差に付ける拵も承りますので、ご相談下さい。 「拵 Koshirae」 ハバキ(habaki) :素銅地金着二重。 鞘(saya) :白鞘。 「刀剣の状態 condition of blade」 研:良好です。 傷:欠点に成るような傷は有りません。
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Bizen-den · Bizen
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No single workshop in the history of Japanese swordmaking grew larger or lasted longer than Osafune, the riverside village in Bizen Province whose name became, across three centuries, a byword for the province's mainline. Its de facto founder was Mitsutada (光忠), working at Osafune in the middle Kamakura period; tradition makes him the son of Chikatada, and the genealogies derive his line from the Ko-Bizen Masatsune group already settled in the village. His blades, bold and imposing with a jigane so refined the sources say it can at a glance suggest Kyoto work, were treasured from old as the swords of commanders, and from his hand the school spread immediately: his sons Nagamitsu (長光) and Sanenaga (眞長), his grandson Kagemitsu (景光), and outward through pupils and collaterals until, by the late Kamakura years, Osafune was less a family than an industry. The line is conventionally read as a three-generation spine, Mitsutada founding it, Nagamitsu setting its classical standard, Kagemitsu bringing both temper and forging to their finished form before handing the manner to his pupil Chikakage (近景), whose echo of the master is so close that signed Kagemitsu blades are sometimes read as Chikakage daimei. What binds the membership is a shared steel before any shared temper. The forging is itame mixed with mokume, tightening on the finest blades into a dense ko-itame; fine ji-nie adheres, chikei enter, and over all of it stands the midare-utsuri that anchors even the most Kyoto-like jigane back to Bizen. On that floor the founding generation tempers a flamboyant choji-midare mixed with gunome: Mitsutada's tadpole-headed kawazuko-choji, Nagamitsu's round-topped plump choji, the deep nioi with ko-nie, the bright nioiguchi. From here the school divides by hand and by era. Sanenaga draws the calm pole, a gentle chu-suguha of tightened nioiguchi; Kagemitsu completes the slanting, square-shouldered kataochi-gunome over a suguha base, the family's last great Kamakura invention, carried on by his close kinsman Kagemasa (景政). The Nanbokucho generation then turns toward Soshu-den: Kanemitsu (兼光), fourth master of the mainline, pioneers a broad notare and is read, with Chogi (長義), as the head of Soden-Bizen, the Bizen wing that worked Soshu nie into a jigane that still throws a Bizen utsuri.
Chogi is called the most un-Bizen of Bizen smiths, his ear-shaped mimigata his tell; around him Nagashige (長重), Yoshikage (義景), Tomomitsu (倫光) and Kanenaga (兼長) press the Soshu side by degrees, while Motoshige (元重), of a separate Hatakeda descent, carries an Aoe-tinged squared, slanting ha. Two generations later the Oei revival returns to Kamakura: Yasumitsu (康光) and Morimitsu (盛光), the twin pillars of Oei-Bizen, revive the tachi shape and the choji temper over a wide-waisted koshibiraki-gunome, both finishing in the pointed rosoku-no-shin (candle-wick) boshi that gives the late date away. For the collector the school is a school of discriminations, and to kantei it is to read those fine partitions. The constant midare-utsuri over a bright ko-itame fixes the province; the boshi then sorts the maker, Mitsutada's pointed midare-komi against Nagamitsu's composed ko-maru Sansaku turn, Kagemitsu's contained return, the candle-wick tongue of Oei. Within a single phase the calls turn on a half-step: Nagamitsu's plump crests against Sanenaga's cooler nioiguchi, Kagemasa's freer play against Kagemitsu's tighter order, Nagashige read out of Chogi by a nie that surpasses his brother's. The standing of the best is matched by their patrimony. Mitsutada, Nagamitsu and Kagemitsu each hold National Treasures and stand at the head of Fujishiro's Sai-jo saku; their named blades, the Daihannya Nagamitsu, the Kogaryu Kagemitsu, the O-Kanemitsu, passed through Nobunaga, Ieyasu, Uesugi Kenshin and the great daimyo houses. Because Nagamitsu and the Nanbokucho masters signed and survived in number, Osafune offers what most peerage names cannot, a deep field of Tokubetsu Juyo and Juyo work that a patient collector may still realistically hold. Through every register the same hand declares itself: the bright steel, the vivid reflection, and a temper that runs, across three centuries, as the spine of Bizen. Learn more →
| Smith | Era | Designated |
|---|---|---|
| Mitsutada光忠 | 1238-1239 | 60 |
| Nagamitsu長光 | 1274-1304 | 254 |
| Kagemitsu景光 | 1303-1336 | 142 |
| Sanenaga眞長 | 1299-1309 | 68 |
| Kanemitsu兼光 | 1323-1370 | 235 |
Shōwa to the present: destruction and revival
The twentieth century nearly killed the craft twice: wartime distortion, then the occupation ban. The NBTHK’s founding in 1948 and licensed forging from 1953 rebuilt the sword as an art, crowned by Living National Treasures and the mukansa rank.
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