In the Sengoku era the school served a second warrior court: the Later Hōjō at Odawara, whose patronage kept the Tsunahiro line forging hitatsura for the uchigatana age until the castle fell to Hideyoshi in 1590.
NihontoWatchNihontoWatchHozon Token Mumei fuyuhiro with Hozon Tosogu Koshirae and Shirosaya. 本作は、冬廣に極められた室町時代後期の短刀です。 やや大振りで、わずかに反りを見せる姿に板目肌を鍛え、互の目乱れを焼いた見応えのある刀身です。 拵には保存刀装具鑑定書が付属しています。 This is a late Muromachi-period tantō attributed to Fuyuhiro. The blade has a somewhat large, slightly curved form, is forged in itame-hada, and tempered in gunome-midare, making it a highly impressive piece. The mounting is accompanied by a Hozon Tōsōgu certificate. 「刀姿 sword figure」 平造り庵棟、身幅重尋常、反り僅かで中鋒。茎は生で筋違い鑢がかかり、茎尻は栗尻。 Hira-zukuri construction with an iori-mune ridge. The blade width and thickness are standard. It has slight curvature and a medium kissaki. The nakago is ubu (unaltered), with sujikai yasurime file marks. The nakago-jiri is kurijiri. 「地鉄 jigane」 地鉄は板目肌、刃縁寄り柾となり、地肌立つ。 The jihada is itame, becoming masame toward the ha, and the grain stands out clearly. 「刃紋 hamon」 刃紋は互の目乱れ、刃縁沸付き砂流し良くかかり、刃中は金筋が働く。釯子は乱れ込み小丸に返る。 The hamon is gunome-midare. The habuchi is covered with nie, with sunagashi appearing prominently. Within the hamon, kinsuji activity is present. The bōshi turns irregularly into the point and returns in a komaru. 「特徴 detailed」 初代若狭州住冬廣は、相州二代廣次の子と伝えられる刀工です。寛正頃(1460年頃)に相模国から若狭国(若州小浜)へ移住した冬廣家は、室町時代後期にその系譜を興し、相州伝に備前伝を取り入れながら、時代の需要に応じた作刀を行い、江戸時代に至るまで代々続いた若狭の名門として知られています。若狭国(若州小浜)は北陸道に位置し、現在の福井県南部、いわゆる嶺南地方にあたります。 本作は、室町時代後期頃の若州住冬廣による短刀です。やや大振りで、わずかに反りを見せる姿に板目肌を鍛え、互の目乱れを焼いた見どころの多い一振りです。刀身は古研ぎのため、多少の汚れが見られます。 拵は黒石目唐文塗鞘拵を備え、保存刀装具鑑定書が付属しています。拵の保存状態も良好です。もとは大小拵として保存刀装具鑑定書が付されていましたが、現在は大(刀)の方が失われ、小(短刀)のみが残されています。 Shodai Wakasa no Jū Fuyuhiro is traditionally regarded as the son of Hirotsugu II of the Sōshū tradition. Around the Kanshō era (c. 1460), the Fuyuhiro family relocated from Sagami Province to Wakasa Province (Obama in Jakushū). There they established a line in the late Muromachi period, blending elements of the Bizen tradition into the Sōshū tradition and producing swords suited to contemporary demand. The school continued through successive generations into the Edo period, and is recognized as one of the distinguished lineages of Wakasa. Wakasa Province, or Jakushū Obama, lay on the Hokurikudō and corresponds to the Reinan region in the southern part of present-day Fukui Prefecture. This piece is a tantō by Jakushū-jū Fuyuhiro, dating to around the late Muromachi period. It has a somewhat large and slightly curved form, is forged in itame-hada, and displays a gunome-midare hamon, making it a work of considerable interest. Owing to its old polish, the blade shows some minor staining. The tantō is mounted in black ishime karakusa-lacquer saya koshirae and is accompanied by a Hozon Tōsōgu certificate. The mounting itself is also well preserved. It was originally part of a certificated daishō koshirae, but the larger element of the pair has been lost, and only the smaller mounting for the tantō survives. 「拵 Koshirae」 ハバキ(habaki) :素銅地一重の磨き地。 鍔(Tsuba) :鉄地七宝模様図。 縁頭(FuchiKashira) :赤銅地郭巨図。 目貫(menuki) :赤銅地枝椿図。 柄(Tsuka) :鮫は巻鮫、正絹黄橡色笹波糸諸撮巻。 鞘(Saya) :黒石目唐文塗鞘。 小柄(Kozuka) :素銅魚子地梅に鳥の図。 「刀剣の状態 condition of blade」 研:古研ぎのため、多少汚れが有ります。 傷:肌立っていますが、鍛え割れ等の欠点に成るような傷は有りません。
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Soshu-den · Wakasa
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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 | 1487-1489 | 0 |
| Fuyuhiro冬廣 | 1624-1644 | 0 |
| Fuyuhiro冬廣 | 1501-1504 | 0 |
| Fuyuhiro冬廣 | 1661-1673 | 0 |
Sōshū in the Muromachi period
In the Sengoku era the school served a second warrior court: the Later Hōjō at Odawara, whose patronage kept the Tsunahiro line forging hitatsura for the uchigatana age until the castle fell to Hideyoshi in 1590.
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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