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.
NihontoWatchNihontoWatch出ました出ました歴史的に素晴らしく有名な名刀の出現です。室町時代の相州の刀匠で沸と地景と金筋を特徴とする正宗以来の伝統を良く守り廣光、秋廣に続く名品を残している皆様が憧れの相州鍛冶の代表刀匠の相州住綱廣の初代は初銘が正廣で、北条氏綱より小田原に召し出され氏綱より綱の一字を授けられ綱廣と改めます。本刀は三代目の相州住綱廣、山村宇右衛門です。室町時代天文16年（1547年）（478年前）に生まれ、徳川家康より鎌倉扇ケ谷を授けられます。江戸時代初期慶長10年（1605年）（420年前）（58歳）桜が咲く季節には200万人以上の観光客が集う有名な青森県の弘前城を作った津軽弘前藩4万7千石大浦為信初代藩主の招きによって津軽に赴き300腰の刀を作り帰国時には黄金三〇枚と鞍乗せ馬を賜ったことは刀剣界では歴史的に素晴らしく有名な話です。本刀の元は2尺5寸程の長寸の刀を後世の武士が自分の差料にしたいが為に自分の剣法に合わせて区をやや送った元身幅広く先身幅も広い切っ先の大きい豪壮な刀姿を現し、地金は板目肌が詰み地には地景を現し、刃紋は御覧の様に素晴らしくさまざまの変化の有る互の目、矢筈風の頭の割れた互の目刃、頭の丸い互の目刃、小のたれ、匂い口の締まった刃に小沸が付き地には変化の多い形の様々な飛び焼きを焼いて皆焼刃（ひたつらは）となり覇気有る魅力的な刃を焼いています、帽子は丸く返って上手です。相州住綱廣の相州伝皆焼刃は刀剣愛好家の垂涎の的の作品です。この度古いお数寄者様から自分も年を取ったので人気の相州伝の相州住綱廣の名刀をお安くお譲り下さいとお預かりした為に特別に格安にてご提供いたします。歴史に名を残した有名な3代目の相州住綱廣の豪壮な貴重な名刀を是非お楽しみ下さい。
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As written by the shop
Soshu-den · Sagami · around 1592-1605
Fujishiro Jo saku · Tōken Taikan top 37%
1 piece on the market now
Where Tsunahiro 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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Years he was demonstrably active, proven by signed-and-dated blades
Soshu-den · Sagami
Phase: Sue-Sōshū末相州· 1356–1868
21 pieces on the market now
When the great Kamakura masters had passed and the country slid into the wars of the late Muromachi, a residual Soshu-den held on in Sagami under a new patron. The Later Hojo, ruling from Odawara castle, kept smiths at hand, and it was from this orbit that the leading name of the window emerged: Tsunahiro, transmitted as a retained smith of the Odawara Hojo who took the character tsuna from Hojo Ujitsuna. The first generation's earliest dated works fall in the Tenbun era, and the line runs forward in the conventional reckoning through Tensho, Keicho, Kan'ei, and Manji, the third generation drawn west to Tsugaru by Tamenobu to forge daisho before returning home. Around him stood a wider Sagami population working the same idiom: Hirotsugu of Kamakura, whose strongest hands cluster near the Meio and Tenbun years; Hiromasa and Soso, names carried across several indistinct generations; Masahiro, reaching back toward Joji; and the Odawara group of Yasuharu, Yasukuni, and Fusamune, the last praised above all for his carving. These smiths inherited the manner of the Nanbokucho apex at a remove of generations rather than by direct descent from the mainline of Masamune and Sadamune. The signature of the phase is the open declaration of the full temper. The forging stays itame mixed with mokume, the grain inclined to stand (hadadachi-gokoro), with ji-nie and chikei; over it the smiths ran a notare-and-gunome ground that climbs the upper half into hitatsura, tobiyaki and muneyaki firing across ji and mune, sunagashi and kinsuji threading the ha. This is the hitatsura and o-midare learned from Hiromitsu and Akihiro, but pushed toward display: the Hirotsugu katana of the 61st Juyo runs its temper so high it reaches the shinogi, mixing choji, togariba, and yahazu-gata into a demonstrative yakidaka pattern.
The contrast with the classic apex is precise and the appraisers mark it. Where Masamune raised nie to its deepest refinement over a bright, clear steel, the Sue-Soshu ji tends to shirake, a whitish cast standing in for that clarity, and the nioiguchi inclines to shizumi, a sunken or subdued quality rather than depth. The 238th Jubi record states the point plainly for the first-generation Tsunahiro: the ji and ha carry abundant nie, yet the very shape of the hamon departs from that of Hiromitsu and Akihiro. The temper is broader and busier across the surface, but it lacks the quiet command and the leaping interior activity of the original. To kantei the window is to separate this demonstrative late temper from the classic Soshu-den it imitates: a standing itame with shirake, a wide hitatsura worked with yahazu and crescent tobiyaki, a nioiguchi that sinks rather than deepens, and signatures reading Soshu-ju with full given names rather than the o-suriage mumei of the great forebears. The named hands carry the distinctions, Fusamune through his dense, precise horimono of kurikara and bonji, Tsunahiro through his crescent tobiyaki and high monouchi fire, Hirotsugu through a hitatsura vigorous enough to recall Hasebe. Provenance keeps these blades close to power: several are recorded in Honma's inventory of the Imperial collection, one bearing the ownership inscription of Akimoto Yoshihide of Kozuke, another the Hachiman Daibosatsu invocation of a Sengoku warrior, the Tsunahiro commission tied by its dated nakago to the Tsugaru house. Learn more →
| Smith | Era | Designated |
|---|---|---|
| Fusamune總宗 | 1504-1521 | 5 |
| Tsunahiro綱廣 | 1532-1555 | 14 |
| Hiromasa廣正 | 1444-1456 | 4 |
| Hirotsugu廣次 | 1492-1501 | 4 |
| Tsunaie綱家 | 1532-1555 | 3 |
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.
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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