NihontoWatch出ました出ました備州長船盛重の名刀が出ました。外国の方が何時もおっしゃるのは「日本は良いですね何百年以上昔に作られた作品を、今まで多くの方々が大切に大切にされて来た作品を現在個人で所有することが出来るのですから、外国では考えられません」本刀は正しくその言葉通りの貴重な作品です。本刀は南北朝応安頃（1368年）（657年前）備前長船兼光（大兼光）とその技を競ったことで有名な備前大宮盛重から始まります。本刀は応永備前から続くと言われる室町時代長享頃（1488年）（537年前）で刀を作りその作品が残っている守護大名で戦国大名として有名な赤松正則が嘉吉の乱で滅亡した赤松家を再興し加賀半国、播磨、美作、備前を自分の領国にした丁度その頃の古い古い昔に作られた貴重な健全な三代目の備州長船盛重の名刀です。姿は片抜き打ちに適した寸法の短い元に踏ん張りが有り腰反りで元身幅と先身幅の差の有る良い備前の刀姿を現し、地金は板目肌に杢目肌を交え地には元から淡く乱れ映りを現し趣が有り備前長船の典型的な刀です。刃紋は匂本位で沸が付いた腰のやや開いた低い複式の互の目丁子刃を明るく焼き覇気有る刃を焼いています。拵えも江戸期の黒ロー鞘の付いたお城に登城する為の殿中拵えが本備州長船盛重の刀に一層華を添えています。この度古い御数寄者様から自分も年を取った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500年以上昔の貴重な備州長船盛重の刀を特別に格安にて御提供いたします是非お楽しみ下さいませ。
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Bizen-den · Bizen · around 1429-1441
Fujishiro Chu-jo saku
1 piece on the market now
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Bizen-den · Bizen
6 pieces on the market now
The Omiya school (大宮) of Bizen traces its name and its blood to Kyoto, not to the Bizen heartland where it eventually settled. The published sources follow the line back to a remote ancestor, Kunimori, who is said to have left Inokuma Omiya in Yamashiro province and moved into Bizen during the Kamakura period, around the Bun'o years. With him the group carried a Yamashiro sensibility into the province of choji, and that transplanted origin remains the key to everything the school later became. Works by the earliest Omiya hands, Kunimori and Sukemori, survive in extremely small numbers, so the line first comes clearly into view at the close of the Kamakura period and then flowers through the height of the Nanbokucho era. Several names recur across these generations, among them Morishige, whose name passed down successive smiths from the late Kamakura into the Muromachi period; but the figure who left by far the largest body of work, and the highest reputation[[c:1]], is Morikage, who worked at Osafune and cut long, dated signatures such as Bishu Osafune Morikage across the Oan, Joji, Eiwa and Kakei years. What binds these smiths into a recognizable group is a particular blend, a temper that reads as Soden-Bizen yet is built differently from the clove-flower of mainstream Osafune. The jigane is the constant beneath the range: a standing itame mixed with mokume, the grain tending to open, with fine ji-nie, chikei entering, patches of jifu in the steel, and a Bizen midare-utsuri that rises on signed and mumei blades alike. Upon that ground the school sets a midare in which gunome, choji and an angular, pointed tendency intermingle, with ashi and yo entering well, nioi deepening to ko-nie, and fine sunagashi and kinsuji running through the ha. The recurring tells are a Yamashiro-tinged ji carrying that strong nie, and a boshi running midare-komi to a small round or a pointed turnback with hakikake. Within this shared vocabulary the hands diverge.
Morikage tends to a ko-notare base with somewhat angular crests and a subdued, shizumi nioiguchi rather than a showy temper, while his range stretches from that quiet register to a suguha the commentary likens to Aoe and the Unrui smiths[[c:2]]. Morishige favors a bold, opened-waist gunome, the koshi-hiraki pattern mixed with choji into flamboyant undulations. The breadth itself is a school trait, the published sources describing the Omiya saku-iki as wide, taking in notare-dominant work, florid choji-gunome midare, angular gunome, and the Aoe-manner suguha at its quiet edge. To kantei an Omiya blade is to read this fusion of Yamashiro-den refinement and Bizen-den flamboyance, then to separate it from its larger Osafune neighbors. The bright midare-utsuri and the nie-strong ji hold the school apart from Kanemitsu, whose temper undulates more broadly, and from the box-shaped large midare of Chogi, though the kinship to Chogi is real and acknowledged in the commentary, which places Morikage's workmanship beside it[[c:3]]. The school is often overshadowed by those two names, which makes the distinguishing read the more useful: the standing itame with its utsuri, the angular pointed elements, and the comparatively restrained nioiguchi. Morikage stands at the front rank of Nanbokucho Soden-Bizen and carries a Jo-jo saku grade in Fujishiro; his provenance runs through the daimyo houses, the Nabeshima of Hizen, the Uesugi, the Date and the Hisamatsu-Matsudaira, with a piece recorded in Honma's inventory of the Imperial collection. A modern scholarly question hangs over the name itself, the published sources recording a theory, now widely entertained, that the long-signature Morikage may belong to an Osafune collateral line connected to Chikakage and Yoshikage, and that the smiths who cut bold, large two-character signatures may be the true Omiya hands; the matter is left open. By the late Muromachi the distinctive Omiya traits fade, the Shinkuro generation of Morishige showing no difference from the general Sue-Bizen type, evidence that the subsidiary line was at last absorbed into the dominant Osafune school, a trajectory that gives the group its documentary value for the study of how Bizen's lesser lineages were drawn into the mainstream. Learn more →
| Smith | Era | Designated |
|---|---|---|
| Morikage盛景 | 1356-1390 | 93 |
| Morikage盛景 | 1299-1302 | 6 |
| Norifusa則房 | 1199-1201 | 0 |
| Tsugumori次盛 | 1278-1288 | 0 |
| Tomomori友盛 | 1156-1159 | 0 |
Bizen in the Nanbokuchō period
Sixty years of war between two courts drove blades long and broad, and Osafune met the demand: Kanemitsu and Chōgi led forges serving the provincial warriors who did the fighting, while Sōshū influence arrived with the armies to create Sōden-Bizen.
Certifies a genuine blade worth preserving: a signature confirmed correct, or, if unsigned, an era, province, and school that the NBTHK can reliably identify.
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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