The Shintō era was largely invented in Kyōto: Umetada Myōju’s workshop trained the movement, Horikawa Kunihiro raised a generation, and the Hon’ami appraisers, who held no forge, governed the meaning of famous blades.
NihontoWatchNihontoWatchTokubetsu Hozon Token Ominokami Minamoto Hisamichi with Koshirae and Shirosaya. 新刀上作、初代近江守源久道の脇差、元禄時代に作られた作品、お洒落な刃を焼いている。 拵のコンディションも良く、コレクションに最適です。 This Wakizashi is the work of the 1st generation Hisamichi of Shintou Josaku. This Wakizashi blade has a stylish Yakiha and is in good condition. And, Koshirae has good condition too so Perfect for collections. 「体配 style」 鎬造り庵棟、身幅重尋常、鳥居反り中鋒。茎は生で筋違い、茎尻は刃上がりの剣形。 「地鉄 jigane」 地鉄は小板目が良く詰み、地沸良く付き、細かに地景が入る。 「刃紋 hamon」 刃文は湾れ互の目、匂深く沸良く付き、砂流しかかり、刃中は葉が入る。釯子は先掃き掛け、小丸に返る。 「特徴 detailed」 近江守源久道は堀六郎兵衛いい、寛永三年江州野洲群野村に生を受けます。上京し二代伊賀守金道の門人となり、三品姓を名乗ることを許されます。久道と名乗り、寛文元年近江大掾を受領、同年近江守に転任。朝廷より菊紋を切ることを許され、茎に十六葉の菊紋、または枝菊を切り添える。正徳元年八十五歳にて逝去。当時より京五鍛冶の一人として挙げられる名工です。 本作、初代近江守久道の脇差で、元禄頃の作品だと思われます。差裏の刃紋は一箇所山刃を焼いてアクセントを付けたお洒落な刃紋で、元禄時代の華やかな文化を想像させます。 付属する拵はコンディションが良く。コレクションに最適です。 「拵 koshirae」 縁頭(fhchikashira):赤銅魚子地壇ノ浦の図。 目貫(menuki) :金地雲竜の図。 柄(tsuka) :鮫革は巻鮫。柄巻きは正絹金茶色の諸撮み巻き。 鞘(saya) :黒呂。 「刀身の状態 condition of blade」 研:良好です。 傷: 欠点に成るような傷は有りません。
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As written by the shop
Shinto · Yamashiro · around 1648-1652
Fujishiro Jo saku · Tōken Taikan top 31%
6 pieces on the market now
Where Hisamichi stands among comparable artisans: across all of nihontō, and within tradition, era, and period. The tiers (Foremost · Leading · Major · Notable) weigh official designations from the NBTHK and Japan's Agency for Cultural Affairs, together with historical honors of lasting repute such as the Sansaku and Meibutsu-chō.
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Shinto · Yamashiro
55 pieces on the market now
The Mishina school (三品), one of the two dominant smithing groups of early Edo Kyoto beside the Horikawa, grew from the late-Mino workshop of Kanemichi of Seki, whose dated blades run through the Tenbun, Eiroku, and Tenshō eras. During the closing decades of the sixteenth century Kanemichi came up to the capital with his four sons and settled at Nishinotōin Ebisugawa, where the eldest, Iga no Kami Kinmichi, is recorded as having greatly raised the name of the line. The brothers, Kinmichi together with Izumi no Kami Rai Kinmichi, Tanba no Kami Yoshimichi, and Etchū no Kami Masatoshi, became known collectively as the Sanpin (三品) makers, and the published sources count Kinmichi head of the Kyō go-kaji, the five Kyoto smiths. From the second generation the house held a hereditary right to recommend smiths to the court for their titles and added that by-line to its signatures. The name continued under the same appellation to the end of the Tokugawa period, throwing off branches that included the Tango no Kami line working at Ōsaka into the Genroku years, though the published record consistently holds the founding generation the most outstanding of the line. Beneath every branch lies a shared vocabulary carried up from Mino-Seki. The jigane is the constant: an itame mixed with mokume that flows into nagare-hada and tends toward masame near the mune, the grain standing, with thick fine ji-nie and frequent chikei. Over it the Mino-derived gunome and togariba are refined toward a Kyoto manner, the nie strong and at times coarse, gathering unevenly, kinsuji and vigorous striped sunagashi running throughout. Two tells bind the house. The first is the Mishina bōshi, a notare or midare run-in pointed at the tip and swept with vigorous hakikake, the form Masatoshi shows at its clearest, described as if drawn from a picture. The second is sudareba, the bamboo-blind temper in which layered sunagashi and yubashiri stripe into parallel bands; Tanba no Kami Yoshimichi devised it, and the first-generation hand keeps it a free, semi-cursive disorder where his heirs would regularize it into a fixed lattice.
The lines diverge from that common ground. Kinmichi and his younger brother Masatoshi both excelled in a Shizu manner, the large midare of Mino grafted onto Sōshū nie, with Masatoshi the most versatile, ranging across Shizu, Mino sanbon-sugi, Yamato suguha, and Sōshū hitatsura. The later Ōsaka Tanba branch held to the sudareba alone, opening from a straight yakidashi, while the second Tango no Kami Kanemichi cast off the family chōji for a flamboyant tōran-style large gunome in alternating two-joined and three-joined groups, and a deep-nioi suguha read in the manner of Inoue Shinkai. To kantei Mishina is to read these two house marks first. The pointed, hakikake-swept bōshi and the striped sudareba, set over a standing itame that flows to masame, place a blade within the line before any signature is weighed; the sunagashi, far heavier than on a Bizen ji, is the very material from which the temper is built. Within the house the founding generation sets the standard. Fujishiro grades Kinmichi and Masatoshi Jō-jō saku, the Ōsaka Tanba shodai Jō-saku, and the second Tango no Kami Chū-jō saku, the sources judging the later Kyoto and Ōsaka generations markedly inferior to the founders as the manner thinned toward a single uniform pattern. Provenance on record runs through samurai and collector hands rather than great museums: a Kinmichi katana among the cherished swords of Tani Tateki, a Yoshimichi katana made for Naitō Kuroemon and another now in the Kyoto National Museum, Masatoshi blades passing through Oda Urakusai and the Imperial household, and a second Tango no Kami katana descending from the Aoyama wardens of Ōsaka castle. The brothers' blades are signed and knowable, dated examples rare, so the manner of the mei joins the workmanship in placing them; for the Ōsaka and Kyoto branches the cut of the character 守 separates one hand from the next. Most designated work is held rather than traded, so a signed founding-generation Mishina blade comes to light only from time to time, and with it the temper in which one of the most recognizable hamon of the Shintō era was first being worked out. Learn more →
| Smith | Era | Designated |
|---|---|---|
| Kinmichi金道 | 1596-1615 | 25 |
| Yoshimichi吉道 | 1596-1615 | 36 |
| Masatoshi正俊 | 1596-1615 | 29 |
| Kanemichi兼道 | 1681-1704 | 5 |
| Eisen来栄泉 | 1673-1688 | 3 |
Kyōto: the revival workshop
The Shintō era was largely invented in Kyōto: Umetada Myōju’s workshop trained the movement, Horikawa Kunihiro raised a generation, and the Hon’ami appraisers, who held no forge, governed the meaning of famous blades.
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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