NihontoWatchModern sword 27 generation Kanemoto and Kanenori gassaku with Koshirae 室町時代から続く孫六兼元の直系の子孫、第二十七代兼元の優作(最後の兼元)。 本作、身幅が太く豪壮な刀姿に、家伝の三本杉を見事に焼き上げています。 拵は痛みが少なくコンディションは良いです。 刀身は少し重いですがバランス良く、居合、試斬に最適です。 This sword is a collaboration work of Kanemoto and Kanenari. Kanemoto is important Intangible Cultural Property of Gifu prefecture. Also,he is a deirect descendants of Magoroku Kanemoto and he is last Kanemoto. This sword is wide and has a dynamic figure. Also, this sword has Hamon of wonderful Sanhonsugi. it has good balance so perfect for Iai-do nad Shizan-do. 「刀姿 sword figure」 鎬造り庵棟、身幅太く重尋常、鳥居反中鋒。茎は生で鑢目は鷹の羽、茎尻は入山形。 「彫物 carving」 表裏に片チリの棒樋が鎺下に掻き流しと成る。 「地鉄 jigane」 地鉄は良く練れた杢目肌が詰み、地沸微塵に付く。 「刃紋 hamon」 刃紋は尖り互の目で、俗に言う三本杉、刃中砂流し良くかかり、太い互の目足が刃先に向かって伸びる。釯子は乱れ込み小丸に返る。 「特徴 detailed」 二十七代兼元、本名は金子達一郎、大正13年1月26日に生まれ、関市にて作刀されていました。昭和12年関市日本刀鍛錬塾に入塾、渡辺兼永刀匠に師事する。昭和19年に二十七代兼元を襲名、戦後は新作刀展に出品し 数々の賞を受賞する。また昭和49年に日本刀鍛錬道場を造り、後輩の育成にも力を注ぎ、昭和55年関市産業功労賞受賞、平成元年関刀匠会会長就任、平成9年には岐阜県重要無形文化財に指定されました。 そして平成20年1月24日、83歳で亡くなられました。 兼則(小島兼則)、本名は小島太郎、明治40年生まれ、渡辺兼永の門下となり日本刀鍛錬塾で学び、陸軍受命刀匠となる、兄は先代小島兼道(小島時二郎)刀匠。戦後は昭和44年2月7日に作刀承認を受ける、その後新作刀名刀展にて数々の賞を受ける。 本作、合作刀ですが、殆ど兼元刀匠が作ったものだと思います、身幅が太く豪壮な刀姿に伝統の三本杉を焼いた素晴らしい刀です。 刀身が太いため、重量は少し重いですが、バランスが良く手持ちはあまり重さを感じさせません。 刃は凄く立っており、居合のみならず試斬でも使えます。 「拵 Koshirae」 拵はガタツキや痛みも無く、コンディションも良いほうです。 ハバキ(habaki) :銀無垢一重の腰祐乗。 鍔(tsuba) :鉄地松樹木透かし。 縁頭(futikasira):真鍮地肥後唐草図。 目貫(menuki) :金地龍の図。 柄(tsuka) :鮫は親粒が付く、柄糸は正絹黒の諸捻り巻き。 鞘(saya) :黒石目。 「刀剣の状態 condition of blade」 研:古研ぎですが、地刃は良く見えます。錆は無いです。 傷:差裏の横手筋手前の平地に小さな傷が2箇所有りますが、気にならない程度です、その他は良好です。
NihontoWatchKanemoto兼元
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As written by the shop
Mino-den · Mino · around 1926-1989
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Mino-den · Mino
22 pieces on the market now
Kanemoto (兼元) worked at Akasaka in Mino Province, and the line takes its place among the smiths of the late Muromachi period whom the NBTHK registers under the Mino-den tradition centered on Seki. The setsumei place the family within the Sue-Seki (Sue-Mino) milieu, naming Kanemoto alongside Kanesada as the two leading figures of the province in this era; one tantō note instead pairs the name with Kaneshiba, and another with Izumi no Kami Kaneshige, marking the company the line kept. The name passed through successive generations, and the records repeatedly state that distinguishing each generation has not been definitively settled. Dated long signatures reading "Nōshū Akasaka-jū Kanemoto" survive from the Meiō, Bunki, Daiei, Kyōroku, and Eishō eras, while two-character signatures bear no date. The first generation is documented through pieces dated Meiō 6, 8, 9, and 10, all giving the Akasaka residence; the most accomplished hand, and the one the world singles out under the sobriquet "Magoroku Kanemoto," is the second generation. The shared vocabulary of the line is the sanbonsugi (three-cedar) gunome, a sequence of linked pointed crests that rise and fall in groups. The ground is Mino-den through and through: itame-hada mixed with mokume and flowing masame, tending toward standing grain (hada-dachi), with fine ji-nie, chikei, and a whitish shirake-utsuri that the setsumei call out again and again. The temper mixes togariba (pointed elements) and gunome, is nioi-dominant with ko-nie, and runs sunagashi, kinsuji, and occasional tobiyaki; the bōshi is typically midare-komi turning in ko-maru, often described as Jizō-like with hakikake or a falling kaeri. The chief means of separating the second generation from the later line is regularity: as the generations descend, the pointed crests grow sharply angular and standardized, whereas Magoroku's sanbonsugi is deliberately uneven, the gunome heads rounded in places, and the pattern shifts freely into nihonsugi, yonsugi, and gosugi groupings of two, four, and five. The records describe this as a gyōsō (cursive, free) manner.
The first generation, by contrast, does not emphasize sanbonsugi at all, favoring gunome mixed with gunome-chōji and at times yubashiri and tobiyaki; both generations also made suguha, and one tantō is an uncommon Rai-utsushi in elegant straight temper that evokes Kaneyuki. For kantei, the line is read through the standing Mino grain, the shirake-utsuri, and above all the irregular sanbonsugi, with the leaning bōshi a noted point: the records observe that the honka model and these blades share a bōshi that falls over. Named and documented works recur across the register. A naginata dated Kyōroku 1 (1528) carries the full Akasaka signature and is valued as documentary source material, dated two-character pieces being scarce. A katana bearing a kinzōgan inscription on the reverse is known as "Sasatsuyu Kanemoto" and is recorded in the hands of Makishima Kenmotsu Akishige, of the same clan as Furuta Kosukezaemon. The "Aoki Kanemoto," a second-generation work, is said to be the sword with which Aoki Ichishige, a retainer of Tokugawa Ieyasu, killed Magara Masataka of the Asakura side at the Battle of Anegawa in Genki 1 (1570). A further katana carries a Genna 1 (1615) kinzōgan cutting-test inscription by Nakagawa Saheita reading "two bodies," and one suguha katana descended in the Echizen Matsudaira family. Two katana signed Kanemoto are recorded in Honma's inventory of the Imperial collection. Across these works the line is registered as the cutting-edged representative of Sue-Seki, its hand recognized wherever the three-cedar temper runs uneven over standing Mino steel. Learn more →
| Smith | Era | Designated |
|---|---|---|
| Kanemoto兼元 | 1521-1528 | 30 |
| Kanemoto兼元 | 1532-1555 | 0 |
| Kanemoto兼元 | 1573-1592 | 0 |
| Kanemoto兼元 | 1592-1596 | 0 |
| Kanemoto兼元 | 1818-1830 | 0 |
Shōwa to the present: destruction and revival
The twentieth century nearly killed the craft twice: wartime distortion, then the occupation ban. The NBTHK’s founding in 1948 and licensed forging from 1953 rebuilt the sword as an art, crowned by Living National Treasures and the mukansa rank.
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