The Shintō era was largely invented in Kyōto: Umetada Myōju’s workshop trained the movement, Horikawa Kunihiro raised a generation, and the Hon’ami appraisers, who held no forge, governed the meaning of famous blades.
NihontoWatchNihontoWatch出ました出ました刀剣乱舞で有名な坂本龍馬の愛刀の人気の作者陸奥守吉行の師として素晴らしく有名な大和守吉道の刀が出ました。大和守吉道は刀剣界で有名な京初代丹波守吉道の弟で後に大阪に移住した大坂初代丹波守吉道の次男と言う三品一門の頭領鍛冶の名門の刀匠です。大和守吉道刀匠が素晴らしくダイナミックな刃紋を焼くことでも特に有名です。江戸時代初期承応元年（1652年）（374年前）から延宝三年までの年紀のある作刀が有ります。本刀の元は2尺5寸の長寸の刀を短くし元身幅と先身幅の差の有る反りの有る良い刀姿を現し、地金は小杢目肌良く詰み細かな地金を鍛え地には地沸が良く付き、刃紋の本来は元を直調の刃で焼き出し本刃は匂い出来に小沸の付いた大和守吉道の独創的な大胆な覇気有る鬼の角の様な丁子刃を高らかに焼き深く棟に迄焼きを入れ大和守吉道刀匠の傑作の名刀です。大坂には同時期に井上真改や津田越前守助廣が活躍し、大坂新刀の最も爛熟期を迎え、名門三品一門の頭領鍛冶大和守吉道も負けじと素晴らしい実力を現した名刀です。この度古い御数寄者様から自分も年を取りましたので保存刀剣には直ぐになりますので後進の方にお安くお譲り下さいとお預かりした為に特別に格安にてご提供いたします。人気の陸奥守吉行の師の大和守吉道の貴重な名刀を是非お楽しみください。
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Shinto · Yamashiro
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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 |
Kyōto: the revival workshop
The Shintō era was largely invented in Kyōto: Umetada Myōju’s workshop trained the movement, Horikawa Kunihiro raised a generation, and the Hon’ami appraisers, who held no forge, governed the meaning of famous blades.
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