Mino was founded, tradition holds, by immigrants: Kaneuji of the Yamato Tegai line settled at Shizu to work in the new Sōshū manner, so persuasively that later appraisers judged his best blades the closest of any to Masamune.
NihontoWatchNihontoWatch南北朝時代、美濃伝の開祖、兼氏に極められた作品。 本作は大磨上無銘の刀で、志津と鑑せられている。志津とは元来は美濃の地名であるが、この地に大和より正宗の門人兼氏が来住して鍛刀したことから、地名を取って志津三郎兼氏と呼称しており、兼氏の別称となっている。兼氏は正宗十哲と称される刀工の中では最も正宗に近似の作域を示していることで知られており、本作も大磨上ながらなお反り深く、大切先の豪壮な体配に、刃文、総体に小沸出来の浅いのたれ刃に、所々激しく沸づき、二重、三重に輝く沸が煌めいて沸の叢消えを呈し、地鉄、小板目肌よくつみ、細かな地景を交え、地沸厚くついてよく潤い、一見すると正宗に見まごう優れた作風を示している。子細に見ると刃中の荒沸が地に僅かに零れる様子が見て取れる所を捉えての志津極めであろうか、総体に格調高い変化に溢れた見所が多い優品である。金梨地菊桐紋散蒔絵鞘糸巻太刀拵が付帯している。
大磨上無銘の刀で志津と伝えている。 志津とは、元来、美濃の地名であるが、大和手搔派の刀工包氏が相州正宗の門に学び、 成業の後、その地に移住して、 名を兼氏と改めた彼の略称である。 時代的には鎌倉の末から南北朝期にかけて活躍している。この刀は志津の相州伝が強 い作風を示した一口であり、糸巻太刀拵がついている。
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Mino-den · Mino
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The Shizu tradition originated in Mino Province during the late Kamakura period when Kaneuji—originally of the Yamato Tegai school—relocated from his studies under Masamune of Sagami to the village of Shizu in Tagai District. Taking the place-name as his appellation, he became known as Shizu Saburō Kaneuji, and established a lineage that would become one of the most celebrated branches among the so-called Masamune Jittetsu (Ten Great Disciples of Masamune). While Kaneuji himself is often considered the paramount master of this group, the designation "Shizu" came to be applied broadly to unsigned works displaying the characteristic manner of this school, encompassing not only Kaneuji but also his contemporaries and successors working within the same stylistic orbit. A related category, Yamato Shizu, refers either to Kaneuji's early production before settling in Mino—when his work retained stronger Yamato Tegai characteristics—or to smiths of the Kanetsugu lineage who remained in Yamato rather than migrating to Mino. The collective hallmarks of Shizu workmanship reveal a distinctive synthesis of Sōshū-den brilliance and Yamato structural sensibilities. The forging typically displays flowing itame-hada mixed with mokume, frequently tending toward hada-dachi (standing grain), with areas where masame inclinations appear along the edge. A defining feature is the dense application of fine ji-nie, often described as thickly adhering, accompanied by abundant chikei that enter repeatedly to produce a notably clear and bright appearance. The hamon favors shallow notare as a foundation, mixed with gunome, ko-gunome, and pointed elements (togariba), forming compositions that range from gentle undulations to boldly disturbed patterns.
The temper is richly nie-based, with vigorous sunagashi streaming through the pattern, frequent kinsuji, and in many examples a temper built on notare (notare-ba). Characteristic activities include hotsure along the habuchi, occasional nijūba (double-temper) effects that recall Yamato influence, and in some works the presence of linked gunome sequences. The bōshi commonly enters in midare-komi or notare-komi, turning back with pointed or rounded forms, and frequently displays hakikake at the tip. Among the upper tier of Sōshū-den productions, works attributed to the Shizu lineage are particularly valued for the way their gleaming ha-nie activities create patterns that are both vigorous and refined. The thick ji-nie and prominent chikei in the forging, combined with the bright, clear nioiguchi in the temper, result in blades that are described as saeru—possessing a luminous clarity that distinguishes superior examples. While the style stands closest to Masamune among his disciples, the Shizu manner retains its own individuality: the blending of Yamato characteristics into the Sōshū tradition produces a distinctive temperament in both ji and ha that connoisseurs recognize at a glance. Many extant examples survive only as greatly shortened (ō-suriage) and unsigned (mumei) blades, yet the workmanship in such pieces typically remains sound and well-preserved (kenzen), testifying to the fundamental excellence of forging and tempering that defines this celebrated school. Learn more →
| Smith | Era | Designated |
|---|---|---|
| Kaneuji兼氏 | 1319-1321 | 161 |
| Naoshizu直鎭 | 1532-1555 | 0 |
Mino in the Nanbokuchō period
Mino was founded, tradition holds, by immigrants: Kaneuji of the Yamato Tegai line settled at Shizu to work in the new Sōshū manner, so persuasively that later appraisers judged his best blades the closest of any to Masamune.
A blade of top-grade workmanship and condition, formally judged to rank with a nationally recognized Important Art Object (Jūyō Bijutsuhin). Awarded only at the NBTHK’s competitive annual examination.
Of Japan’s roughly 2.5 million registered swords, only 12,348 (about 1 in 202) have ever attained Jūyō.
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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