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Musashi Kaneshige - Großvater, Vater und Sohn. Katana und ein Wakizashi mit Saidan-Mei (Tameshigeritests)

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KANESHIGE (兼重), 2nd gen., Kanbun (寛文, 1661-1673), Musashi – “Kazusa no Suke Kaneshige” (上総介兼重), “Kazusa no Suke Fujiwara Kaneshige” (上総介藤原兼重), “Tsuji Kazusa no Suke Fujiwara Kaneshige” (辻上総介 藤原兼重), “Kazusa no Kami Kaneshige” (上総守兼重), “Kazusa no Kami Fujiwara Kaneshige” (上総守藤原兼重), real name Tsuji Suke´emon (辻助右衛門), son of the 1st gen. Kaneshige, he temporarily worked in Anotsu (阿濃津) in Ise province, there exist joint works with the 3rd gen. Yasutsugu (康継) and Hōjōji Masateru (法城寺正照), the workmanship is similar to Kotetsu (虎徹), it is said that he also matched his meiburi to that of Kotetsu, he was granted the honorary title Kazusa no Suke which was later raised to Kazusa no Kami, but there are only a few blades extant which are actually signed with Kazusa no Kami, there is the theory that this has something to do with the right that the post of governor (kami) of three provinves Hitachi, Kazusa and Kōzuke was always granted to the Imperial Prince, this right started in the 9th century but was officially never abandoned, that means Kaneshige returned to sign with his former honorary title Kazusa no Suke out of respect for the prince´s title, the workmanship is similar to his father but he also hardened a suguha or gunome mixed with the typical ashi of Kotetsu, the jigane is strong but not that bright as at Kotetsu, we know date signatures from the eighth year of Kanbun (1668) to the fifth year of Tenna (天和, 1685), ryō-wazamono, jō-saku

 

 

KANESHIGE (兼重), 1st gen., Shōhō (正保, 1644-1648), Musashi – “Izumi no Daijō Fujiwara Kaneshige” (和泉大掾藤原兼重), “Izumi no Kami Fujiwara Kaneshige” (和泉守藤原兼重), “Izumi no Kami Kaneshige” (和泉守兼重), real name Tsuji Suke´emon (辻助右衛門), he came originally from Echizen province and was there an arrowsmith before he became a swordsmith, during the early Kan´ei era (寛永, 1624-1644), he moved to Edo and was employed there by the Tōdō family (藤堂), he received the honorary title Izumi no Kami and there is the tradition that he was the master of Kotetsu (虎徹), and because of similarities in their workmanship – especially in the strength of the jigane – indeed a certain connection between Kaneshige and Kotetsu can be made out, in general Kaneshige, follows the workmanship of the Shimosaka smiths (下坂) from the lineage of Yasutsugu (康継) from his home province of Echizen, his jigane is a densely forged itame mixed with masame and fine ji-nie, but his jigane is not blackish it is common for Hokkoku-mono and also the hada does not stand out as it is the case at other smiths of the Yasutsugu school, the hamon is a suguha or a Shimosaka-like gunome in ko-nie-deki, ryō-wazamono

 

MORIKUNI (盛国), Kanbun (寛文, 1661-1673), Musashi – “Izumi no Kami Minamoto Morimasa” (和泉守源守正), “Izumi no Kami Senju´in Minamoto Morimasa tsukuru” (和泉守千手院源守正造), “Kōshō Kunnai ni oite Hachiman´yama Senju´in Yamato no Kami Minamoto Morimasa saku” (於甲州郡内八幡山千手院和泉守源 守正作), “Izumi no Kami Senju´in Morikuni saku” (和泉守千手院盛国作), “Izumi no Kami Morikuni kore o tsukuru” (和泉守盛国造之), he was a late smith of the Akasaka-Senju´in lineage and came originally from Kai province, later he moved to Edo where he studied according to tradition under Izumi no Kami Kaneshige (和泉守兼重), he signed in early years with the name Morimasa (守正), from the point of view of workmanship we can see common elements with Kaneshige, Kotetsu (虎徹), and Kazusa no Suke Kaneshige (上総介兼重), he signed in a peculiar manner with noticeable wavy and rounded-off strokes, jō-saku

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