NihontoWatch刃長54.1センチ 反り1.7センチ 元幅31.7ミリ 元重ね7.1ミリ 物打幅26.4ミリ 物打重ね5.9ミリ 横手位置幅24.2ミリ 松葉先重ね5.6ミリ 裸身重量564グラム。 室町後期 The latter period of Muromachi era 昭和26年6月1日 和歌山県登録 附属 特別保存刀剣鑑定書、銃砲刀剣研究会鑑定書、素銅はばき、白鞘 備後国三原派は、備前・備中の両国に近いが、備前伝及び山城伝いずれの影響も受けず、鎌倉末期より室町末期まで一貫して大和伝を遵守しています。 従来は、正家が祖であるとされてきましたが、同工の年紀入りの作刀がいずれも南北朝期である為、最近では鎌倉末期の国分寺助国を祖とするという説が有力となっています。 三原派は、年代で大きく三つに分かれ、南北朝より以前を古三原、室町初中期を三原、室町末期を末三原と呼称しています。 また、三原派は古い時代から評価が高く、現在でも国の指定である重要文化財や重要美術品などに多くの作刀が指定されるなど、斯界で高く評価されています。 貝三原派は、末三原の中で名前に貝を冠した一派の事で、何故貝三原というのかには諸説有り、現在有力な説としては備後国御調郡高調町貝ヶ原という地名に因むという説と銘に「備後國三原住貝○○」と銘に切る事に因むという説の二説が有力で、また、一派の作の中には重要刀剣に指定されている物もあり、作風から見ても技量高き刀工群です。 本脇指の作者である正近は、名を黒田助六と称し、末三原の一派である貝三原の刀工で、室町後期の天文頃に活躍しました。 元先の幅差目立っては開かず、中切先やや延びごころ、身幅広めで重ね厚く重厚な造り込みで、地鉄は杢目がよく錬れて地沸付いて地景入り、淡く映り立ち、刃文は匂口明るく冴えた直刃で、匂口は締まり、単調な直刃に見えるも、鼠足が入り、互ノ目ごころの小湾れを交え、鋩子は直ぐに先丸く返っています。 古研ぎなれど鑑賞には支障が無く、そのままお楽しみ頂けますが、化粧直しを施して大切に次代に残伝えて頂きたい作品です。
Certificate reading — 銘 備後國三原住貝正近作
NihontoWatchOffered by Toushin
This piece has sold
Get an email when a new Sue-Mihara Masachika piece hits the market.
Yamato-den · Bingo · around 1532-1555
Fujishiro Jo saku · Tōken Taikan top 60%
1 piece on the market now
Yamato-den · Bingo
Phase: Sue-Mihara末三原· 1394–1596
4 pieces on the market now
Where Ko-Mihara closes at the end of the Nanbokuchō period, Sue-Mihara takes up the Bingo tradition through the Muromachi era. The setsumei place the later production in the same Mihara orbit but spread across several named hands and affiliated branches: Kai Mihara Masamori, whose Muromachi katana often carry the long "Mihara-jū Kai _" signature; and the closely tied Hokke Ichijō line, whose founder Ichijō is traditionally called a son of Mihara Masaie and whose generations continued from the Ōei era into the late Muromachi. Within that affiliated group the corpus names Nobukane, Yoshitsugu, and the joint-signing Ichijō Morie and Ichijō Moriyuki, working at Kusado (Kusado Sengen) in Bingo. Several setsumei stress that the Hokke Ichijō reckoning is genealogically uncertain, said variously to branch from Mihara or from Kokubunji, which marks the looser, more diffuse character of the school in its later chapter. The later workmanship the setsumei describe keeps the Yamato base of the early school but states it in a coarser, more standing-grain register. The forging remains itame mixed with mokume and flowing grain (nagare), now repeatedly noted as hada-dachi (standing grain) and, in one tantō, "somewhat coarse" with the steel turning masame toward the mune. A whitish cast persists: shirake-utsuri is singled out in the Ōei Nobukane tantō, while other blades show only a faint or shadowy utsuri-like effect and a darkish, "metallic" steel color.
The tempering moves from the school's quiet suguha toward more open midare: a chū-suguha varied with small gunome, ko-gunome run together into continuous midare, gunome mixed with pointed (togari) elements, and edges showing hotsure, sunagashi, and a subdued (shizumi) nioiguchi. The sugata follows Muromachi form, with sakizori added to the curve and a chū-kissaki. Against the refined early Ko-Mihara, with its tighter nioiguchi and restrained finish, these later blades read as looser and plainer, the Yamato-den footing now worn shallower; the corpus is thin, so this contrast rests on the handful of traits the setsumei actually record rather than on a full stylistic survey. For kantei, the setsumei separate Sue-Mihara from Ko-Mihara chiefly by the loosening of the ground and the opening of the temper: standing, occasionally coarse itame; faint or merely shadowy utsuri rather than a clear cast; and gunome-laced midare in place of quiet suguha. Where the Hokke Ichijō hand is present, the setsumei note one consistent point of difference, that its nie in both ji and ha runs a step stronger than ordinary Mihara, with the bōshi becoming pointed and turning back deeply. Named smiths supply the anchors: Masamori for the two-character Kai Mihara rarity against his usual long signatures, and the Ichijō hands, including a mumei katana appraised den Ichijō under a Hon'ami Kōchū origami. The dated works, in the Ōei and Chōroku eras, carry the documentary weight here, fixing the later phase to Muromachi Bingo and to the Kusado smiths of Kusado Sengen. Learn more →
| Smith | Era | Designated |
|---|---|---|
| Masamune正宗 | 1469-1487 | 0 |
| Masaoki正興 | 1521-1528 | 0 |
| Nagashige長重 | 1487-1489 | 0 |
| Kaneyasu兼安 | 1469-1487 | 0 |
| Takakane高兼 | 1504-1521 | 0 |
Yamato in the Muromachi period
The monasteries that had sustained Yamato lost ground through the Muromachi period, and the schools thinned with them; Sue-Tegai kept the old masame manner alive in quantity. The burning of Tōdaiji’s Great Buddha hall in 1567 closed the temple age.
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 siteAs a rule we do not accept returns, except when we have sent a different item from the one ordered or when there is a significant discrepancy between the description and the item. If you wish to return an item, please contact us within 3 days of its arrival and then send it back.