NihontoWatchHozon Token Mumei Mino Senjuin with Higo Koshirae. 室町時代後期の永正頃に作られた腰刀です。 鎺元の棟に均等に入った3個の切り込みが、戦国時代の過酷な戦場を勝ち抜いてきた証です。 This sword was made in around 1510. Three marks of killing an enemy are engraved on the MINE of the sword. This is a testament to winning the toughest battles. 「体配 style」 鎬造り庵棟、身幅重共尋常、反り強く腰反り。茎は生で鑢目は筋違い、茎尻は栗尻。 「地鉄 jigane」 板目肌に杢目が交じり、地沸付く。 「刃紋 hamon」 互の目乱れ、尖り刃を交え、砂流し栄んにかかり、刃中金筋が入る。釯子は乱れ込み掃き掛け尖り返る。 「特徴 detailed」 美濃千手院派は、平安末期より続く大和国千手院派が、南北朝期に美濃国赤坂に移住した一派。赤坂千手院とも呼ばれている。 祖は、南北朝初期、貞和頃の国長と云われています。美濃千手院派は室町時代後期まで繁栄しました。 本作、室町時代後期の作られた腰刀で、鎧の前差として使われたのでしょう。その証拠として差裏の鎺元の棟に均等に入った切り込みが有ります、これは多分戦場での鎧組打で上げた首級の数だと思われます。茎の棟に刻まれた物は何回か見た事が有りますが、刀身に刻まれたのは初めて見ました。 拵は肥後拵で、江戸時代中期の物で、縁頭鐺、鍔、栗形は一作です。可なり高価な拵で身分の高い武士の差料だったと思われます。 過酷な戦場を勝ち抜いてきた脇差です、是非コレクションに加えて下さい。 「拵 Koshirae」 ハバキ(habaki) :素銅地銀着一重の唐草模様。 鍔(tsuba) :鉄地木瓜形桜金象嵌小刀鍔。 縁頭(fhchikashira):鉄地肥後桜金象嵌。 栗形(Kurikata) :鉄地瓢箪形桜金象嵌。 鐺(Kojiri) :鉄地錨形桜金象嵌。 目貫(menuki) :赤銅地 柄(Tsuka) :鮫は親粒が付き巻鮫。柄糸は紙縒り諸撮み巻きに、焦茶色の漆塗り。 馬針(Bashin) :鉄地。 笄(kougai) :鉄地肥後勝虫の図。 鞘(saya) :焦茶色鱗模様の変わり塗り。 「刀剣の状態 condition of blade」 研:概ね良好です。 傷:欠点に成るような傷は有りません。
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Yamato-den · Yamato
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Among the five schools of the Yamato-den, Senjuin (千手院) is held to be the earliest in origin, its name drawn from the Senjudo, a hall enshrining Senju Kannon (the Thousand-Armed Avalokitesvara) said to have stood at the western foothills of Mt. Wakakusa in Nara. The smiths who gathered in that quarter, working under the patronage and within the orbit of the great temples, formed the group, and their close association with the warrior-monks of the monastic establishments is thought to account for the scarcity of signed work that marks the school across its whole span. Old transmitted writings name two masters of the late Heian period, Yukinobu and Shigehiro, though no secure example by either has been confirmed; the oldest surviving signed piece is a tachi cut with the three-character inscription "Senjuin," placed in the early Kamakura period. Blades prefixed Ko-Senjuin are assigned to the earliest phase and retain the lingering presence of the straight-sword (chokuto) tradition, material indispensable to the study of how the curved shinogi-zukuri blade took form. Production runs from the late Heian period through the Nanbokucho era. The school's vocabulary is rooted firmly in Yamato practice. The jigane is an itame mixed with mokume and passages of nagare-masame, often tending toward hada-dachi, with thick ji-nie adhering well, abundant chikei, and in finer examples a faint nie-utsuri that leaves the steel bright and clear; the masame gathers and strengthens toward the edge on the most Yamato of the blades. The hamon is fundamentally a suguha with a shallow notare tendency, mixing ko-choji, ko-gunome, and ko-midare, the habuchi fraying into hotsure with uchi-noke, nijuba, kuichigai-ba, and yubashiri worked in profusion; thick ko-nie lies along a clear nioiguchi, while kinsuji and sunagashi run vigorously through the ji and ha. The boshi enters straight and forms a ko-maru with vigorous hakikake, or finishes in yakizume.
Within this shared foundation the hands diverge. Yoshihiro is singled out as the smith whose ji and ha vary most, his nie especially strong, swelling from the school's quiet suguha into a flamboyant large midare with kinsuji and sunagashi that reads toward Soshu. Sukemitsu gathers ko-choji, ko-gunome, and small midare on a bright suguha-cho, a Bizen-leaning admixture set against the school's plainer temper, his bold two-character mei itself a mark of the hand. Nobuyoshi of the Ryumon group, a Yamato branch, divides between a lively midare carrying utsuri and a Bizen character and a subdued suguha fraying into hotsure in which the Yamato color stands strongest. To kantei a Senjuin blade is to read its position among its neighbours, and the long-standing rule holds that within the Yamato Five Schools a hamon of unusually vigorous and changeable character should be appraised as Senjuin, against the more restrained tempers of Tegai, Shikkake, Taima, and Hosho. The masame in the ha, the hotsure, kuichigai-ba, and nijuba, and the yakizume or hakikake boshi keep the work within Yamato, while the brightness of the nioiguchi and the ko-midare on the edge set it apart from the plainer suguha of its sister schools. Surviving forms span tachi, katana, kodachi, ken, and yari, the ken notably numerous because they served as goshintai and ritual implements rather than weapons of the warrior class; many blades keep their ubu nakago, with pronounced koshizori and funbari of archaic bearing. Yoshihiro's dated signatures give him a face among many anonymous hands, his manner the touchstone for Soshu-tinged mumei attributions; Nobuyoshi is carried to high standing by a single great signed tachi recorded in Honma's inventory of the Imperial collection; Sukemitsu is anchored by a dated reference tachi in the Tokyo National Museum. The bulk of the school's record is mumei, the attributions resting on construction, the flowing masame-inclined forging, and the bright suguha alone, and provenance runs through religious institutions such as Tanzan Shrine and Kyoo Gokoku-ji (To-ji), attesting to the school's monastic roots. Learn more →
| Smith | Era | Designated |
|---|---|---|
| Nobuyoshi延吉 | 1288-1293 | 29 |
| Yoshihiro吉弘 | 1352-1356 | 5 |
| Yoshihiro義弘 | 1312-1317 | 3 |
| Yasushige康重 | 1306-1308 | 1 |
| Akimitsu日光 | 1303-1306 | 0 |
Yamato in the Muromachi period
The monasteries that had sustained Yamato lost ground through the Muromachi period, and the schools thinned with them; Sue-Tegai kept the old masame manner alive in quantity. The burning of Tōdaiji’s Great Buddha hall in 1567 closed the temple age.
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