時代 : 江戸初期 国 : 武蔵国 証書 : 財団法人日本美術刀剣保存協会 保存刀装具 鑑定書 形 : 菊花形 鉄槌目地 地透 丸耳 縦 : 75.5mm 横 : 74.7mm 耳 : 5.9mm Period : Early Edo 17c Country : Musashi Paper : NBTHK Hozon Paper Length : 75.5mm Width : 74.7mm thickness : 5.9mm 赤坂鐔は江戸開府に伴い、寛永頃に京より(一説に尾張より)江戸に進出し、赤坂に住したことが語源とされています。初代、二代、三代はすべて無銘で古赤坂と呼称され珍重されています。赤坂鐔の特徴は尾張鐔の力強さに京透の優美さを融合させた鉄味良好の厚手丸耳仕立てとされ、洗練味ある透し彫や図案が粋で垢抜け、斬新であるとされています。また「三枚鍛え」と言われる、鍛錬の際に生じた顕著な層状の鍛え肌が耳の周囲や茎櫃に確認されるのも特徴の一つと言われています。 本作は二代忠正に極められた鐔で、京の優美さというよりは尾張の武骨さ、力強さが印象の鐔です。三枚鍛えも観られ、切羽台の形状も上方が尖り気味でいかにも時代の上がる作品と思われます。
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Akasaka Tadamasa
Early Edo (d. 延宝五 1677)
Musashi
Unsigned
Hozon (NBTHK)
Iron-tsuba · Musashi · around 1650-1677
1 piece on the market now
The second Tadamasa of the Akasaka school carried his father's name and calling. The published sources state that 「赤坂忠正は, 庄左衛門と称し同名で初二代いる」 (Akasaka Tadamasa was called Shozaemon, and there were a first and a second generation of the same name), and from a genealogy the descendant Tadatoki submitted to the shogunate in the Bunsei era they give the dates: 「初代忠正は明暦三年に歿し, 二代忠正は延宝五年に歿したと記されている」 (the first Tadamasa died in Meireki 3 and the second in Enpo 5). Like all of the old Akasaka upper three generations, he left no signed work.
Two guards are recorded under his name. The first, an iron tsuba pierced with bamboo, clove and catfish on a gently squared hammered plate, is judged a work of the years when father and son worked side by side: 「二代忠正が初代と共に作鐔していた頃の傑作と推考され, 赤坂透鐔全体からみても極めて優れた鐔である」 (thought to be a masterwork from the time the second Tadamasa made guards together with the first, and an exceptionally fine guard even within all Akasaka openwork). The second, pierced with the Musashino field of pampas grass, dew and a crescent moon in yin-yang openwork, the published sources assign directly: 「本作は二代赤坂忠正と鑑せられる鐔で」 (this guard is judged the second Akasaka Tadamasa), praising a refined carving that wastes no relief.
Both guards carry the construction tells the records give to the first and second generations alike, 「上部の尖った切羽台は赤坂初二代の特徴であり, 小柄櫃孔にして笄櫃孔が小さいのも初二代の特徴である」 (the pointed upper seppa-dai is a feature of the first and second Akasaka generations, as is a kogai-hitsu smaller than the kozuka-hitsu). His hand is therefore read with his father's, and the NBTHK names the second generation only where it judges a guard his. Both are designated Juyo Tosogu.
Where Tadamasa stands among comparable artisans: across all of nihontō, and within tradition, era, and period. The tiers (Foremost · Leading · Major · Notable) weigh official designations from the NBTHK and Japan's Agency for Cultural Affairs, together with historical honors of lasting repute such as the Sansaku and Meibutsu-chō.
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Iron-tsuba · Edo
Phase: Ko-Akasaka古赤坂· 1624–1700
59 pieces on the market now
| Smith | Era | Designated |
|---|---|---|
| Tadamasa忠正 | 1624-1657 | 5 |
| Tadashige忠重 | 1730-1816 | 5 |
| Tadatoki忠時 | 1704-1764 | 0 |
| Juchiku/Toshitake寿竹 | — | 0 |
| Tadanori忠則 | 1730-1780 | 0 |
Certifies a genuine fitting worth preserving: a correct signature, or, if unsigned, an identifiable era and school, with recognized artistic and craft value.
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.
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