NihontoWatch昼夜金具とは文字通り昼と夜を表現した意匠で、一つの金具の中央付近で表情を別ける凝った技法。例えば鉄地素材の上に半分だけ金鍍金をし昼夜とする安易な場合と、銅地と銀地などの異なる素材を繋ぎ合わせて昼夜とする技法がある。異材質を繋ぐには蝋付けの難しさから卓越した技術が必要といわれ、金具師の腕の見せ所である。 本作、銀と素銅という異なる素材を繋ぎ合わせて昼と夜を表現し、また、通常は昼夜で図柄を変えるためやや一体感は削がれるのだが、本作は銀地と素銅地の牡丹図が素材の垣根を越えて一体となり、あたかも色絵で塗り違えているが如く違和感がない。頭から小尻までその完成度は感嘆するばかりで、当時の技術を思い知らされる。鞘は茶石目地に大振りな葵紋が金高蒔絵され、柄は黒表皮巻き。小柄と割笄はもちろん一作造りで総体的に保存状態よく、一般の武士では持てない高級感が漂っている。 刀身は平造りの寸延短刀で、江戸後期頃の冬広。室町期に相州から若狭へ移住した刀工で、幕末までの永きに渡って代を重ねている。地鉄は板目に杢目肌を交えて疵気もなく、湾れ刃文には葉に入って落ち着いている。茎は無銘で化粧鑢だけが入って当初から無銘で仕上げている。拵はもちろん刀身も真面目で、自信を持ってお薦めできる。尚、下緒は新しいもので、昼夜の正絹を弊社で選んでみた。保存刀剣鑑定書附。
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Soshu-den · Wakasa
7 pieces on the market now
The Fuyuhiro line worked at Obama in Wakasa Province, and the setsumei consistently trace its founder to Sagami. He is recorded as the son of the third-generation Hirotsugu of Sagami, said to have relocated to Obama around the Kōshō era (1455 to 1457), with one blade instead reporting that he studied under Tsunahiro of Sagami. The earliest hand is identified on a two-character mei attributed to the first-generation Wakasa Fuyuhiro, and the name continued thereafter, the lineage held to have run for some five generations and the signature extending into the shinshintō period and the closing years of the Edo period. " Several blades carry residence inscriptions for places far from Wakasa, among them Hōki, Unshū, Izumo, Bizen, and Bitchū, including a katana made at Matsuyama in Bitchū; whether these issued from one man or several is left by the setsumei as a matter for further study. The descent from Sagami places the line within the Soshu-den, working its late, provincial idiom. Across these blades the forging is itame mixed with mokume and nagare, repeatedly described as inclining toward hada-dachi, or standing grain, with ji-nie and frequent chikei. Two tempering modes recur. One follows late Sōshū and Sue-Sōshū taste, a wide notare or ō-notare mixed with ko-gunome, ko-chōji, and togariba, carrying ashi and yō, nie that adheres thickly and at times coarsely, with sunagashi and kinsuji, and in the most active examples tobiyaki and muneyaki that build into hitatsura. The other approaches Sue-Bizen, seen in a gunome-midare with koshi-biraki tendency or a tighter nioiguchi over ko-nie.
A third register appears as a broad suguha-chō set with ko-gunome and ko-notare. The bōshi is typically midare-komi, turning ko-maru or pointed with hakikake. To read the hand, the setsumei point to the standing grain and bright nioiguchi, the often grand sakizori construction with extended or ō-kissaki, and the carving: bō-hi with soe-hi, and on one blade a kurikara with bonji and goma-bashi whose manner is likened to Heianjō Nagayoshi rather than to Sōshū. Generations and modes separate by whether the workmanship leans Sue-Sōshū or Sue-Bizen. For kantei, the setsumei treat the place-stating signatures and dated tangs as the principal documentary value, several blades singled out for the clarity their inscriptions bring to the line's chronology and geographic reach; one Tenshō 8 katana adds the invocation "Hachiman Daibosatsu" beside the mekugi-ana and "Jūdai" cut on the mune. The recurring open question of the far-flung residence signatures, Hōki through Bitchū, frames the standing of the name as one whose precise membership the register still weighs. Among individual works, the writers name a suriage katana as a kessaku, a wholly hardened blade close to late Bizen, and a two-character first-generation piece judged the finest in jigane and hamon. Accompanying uchigatana koshirae survive on two katana, one with shakudō nanako fittings bearing the "Misu aoi" crest, the other a black-lacquered leather katate-maki mounting whose saya is held close in date to the blade. The setsumei present Fuyuhiro as a capable smith adept in both suguha and midare and in horimono, his Wakasa workshop carrying the Soshu-den into the late Muromachi and beyond. Learn more →
| Smith | Era | Designated |
|---|---|---|
| Fuyuhiro冬廣 | 1521-1568 | 5 |
| Fuyuhiro冬廣 | 1624-1644 | 0 |
| Fuyuhiro冬廣 | 1487-1489 | 0 |
| Fuyuhiro冬廣 | 1661-1673 | 0 |
| Fuyuhiro冬廣 | 1532-1555 | 1 |
The Shinshintō revival
Around 1800 Suishinshi Masahide argued in his writings that the craft must return to the old masters’ methods: the fukkotō revival. His greatest successor Naotane worked convincingly in Bizen and Sōshū manners that had been dead for centuries.
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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