NihontoWatch有名な九州肥後同田貫宗廣刀匠の明治3年（1870年）(152年前)の名刀です。刀で明治三年作をまま見ますが、明治三年は明治政府が初めて廃刀令を出した時で、刀匠も万感を込めて刀の打ち納めと言う覚悟としての意味を持った後世に残すべく作られた刀です。宗廣刀匠は有名な九州肥後同田貫上野介十代目の孫と称する同田貫派の卓美を飾る名工です。刀剣愛好家は必ず１口は持ちたいと思う九州肥後同田貫の刀です。本刀は宗廣刀匠の鎌倉時代山城来国俊を写した大変貴重な刀です。姿は反りの少ない姿を現し、地金は小板目肌良く詰み明るい地金を鍛え、彫は棒樋を掻き流し上手です。刃紋は来国俊の匂い出来に沸の付いた直調の刃を深々と焼き覇気有る刃を焼いた典型的な宗廣刀匠の名刀です。同田貫派の刀は萬屋錦之介の「子ずれ狼」の主人公拝一刀の佩刀として一躍有名になり大人気となりました戦後一番高価に取引されるようになった刀です。古来有名な九州肥後同田貫宗廣刀匠の後世に残そうとした名品を是非お楽しみください。この度世の中に初めて生で出た為に特別に格安にて御提供いたします是非お楽しみください。
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As written by the shop
Bizen-den · Higo · around 1830-1868
Tōken Taikan top 87%
Bizen-den · Higo
10 pieces on the market now
The Dōtanuki (同田貫) line took shape in Kikuchi District of Higo Province toward the close of the Muromachi period and carried its activity forward into the shintō era, spanning the Momoyama transition into early Edo. The setsumei of the group's own blades name several of its hands: Ueno no Suke, whose dated work runs from Tenshō through Keichō and who is therefore described as a maker active across the divide between old and new traditions; Fujiwara Masakuni, treated as a leading smith of the school; Masahiro, whose naginata the register notes is absent from the meikan and so supplements that omission; and Matahachi. The accounts further list Samanosuke, Hyōbu, Matahachizaemon, and Kunikatsu among the line's signing smiths. The group is repeatedly framed as a representative Kyūshū lineage of the period, working in the domain that would become the ground of Higo's later military culture. The shared vocabulary of the setsumei is plain and consistent. The sugata is described as sturdy and uncompromising, bukotsu, with wide mihaba, thick kasane, and ample hiraniku, and little difference between base and tip width; on swords the sakizori can be pronounced and the chū-kissaki extended, while the spears and large naginata show flaring, full heads. The kitae is itame, often with nagare and mokume mixed in and a tendency toward hada-dachi, with ji-nie adhering and chikei at times visible.
The hamon moves between two registers: a notare base mixed with ko-gunome, ko-chōji, and ko-togariba, and a quieter suguha with ko-ashi and yō; across both the nioiguchi tends to be tight, nie gathers densely, and sunagashi, kinsuji, tobiyaki, and muneyaki recur. The hand is recognized by this combination of robust unrefined build and a midareba whose tight nioiguchi and clustered nie read as rustic rather than ornamental. The register notes a shizumi-gokoro, a subdued tendency in both ji and ha, that lends a restrained austerity. " The setsumei return again and again to cutting power: the sharpness of these blades is highly praised, and they are recorded as practical weapons carried into use. Provenance survives in mounted form, including a naginata by Masakuni accompanied by a black lacquer mounting with gold maki-e judged contemporary with the blade, and a Matahachi naginata with its black-lacquered pole mounting. Within the line, individual works are singled out as superior examples that convey the school's character, the Ueno no Suke katana of Keichō 16 being read as exceptionally fine among its peers. The register places Dōtanuki as a Higo lineage whose unadorned strength and cutting reputation hold a recognized standing in the shintō-period record. Learn more →
| Smith | Era | Designated |
|---|---|---|
| Muneharu宗春 | 1865-1868 | 0 |
| Kunikatsu國勝 | 1558-1570 | 0 |
| Kagemasa景和 | 1596-1615 | 0 |
| Munehiro宗廣 | 1830-1868 | 0 |
| Kozukenosuke上野介 | 1596-1615 | 0 |
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.
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