• Ishido Sakon Korekazu

REFERENCE EXAMPLE
This item is not for sale.

Exhibited:
Morikami Museum 2014

Published:
Token Bijutsu
Shinto Kantei, Markus Sesko

This sword was featured as a kantei blade in the Token Bijutsu and also included in Markus Sesko’s publication on Shinto Kantei. Description reproduced from the Token Bijitsu below.

227.619 katana
mei: Korekazu (是一)
nagasa: 64,2 cm, sori 1,8 cm, shinogi-zukuri, iori-mune
ji: ko-itame-hada with much nagare which tends almost to masame, in addition ji-nie and a midare-utsuri
hamon: chōji-midare in nioi-deki mixed with ko-gunome and small togariba, partially also with small dimensioned midare, the yakiba gets wider towards the tip, in addition ashi and yō and sunagashi along the lower half of the blade
bōshi: midare-komi over the yokote which turns into sugu with a ko-maru-kaeri.

The varied and vivid chōji-midare, the utsuri and the sori are the first what catches the eye on this blade. But the sori does not tend towards a koshizori and so we rather don´t have here a Kamakura period tachi. And the compact nioiguchi and the fewer and not so conspicious hataraki within the ha speak also for a shintō-period Bizen work, and so we arrive at the Ishidō school.

The Bizen tradition was somehow neglected during the Keichō era (慶長, 1596-1615) but was more or less soon revived by the Ishidō school which flourished in Edo, Ōsaka, Kishū, Fukuoka and also other places. The kantei blade is now a typical work of the Edo-Ishidō branch and goes back to the 1st gen. Musashi no Daijō Korekazu (武蔵大掾是一).

The 1st gen. Korekazu forged a kitae which strongly tends to masame and applied a hamon in chōjimidare. So he is somewhat out of the ordinary of his school´s style and demonstrates a strongpersonality which can be grasped on this blade in pure form. Also typical for him is a slanting hamon, that the individual elements of the hamon are rather small dimensioned, and that the yakiba gets wider towards the monouchi.

The vast majority got that right and went atari for Korekazu but because of the sori and the partially larger dimensioned yakiba there were also bids on Koretsugu (是次) and Moritsugu (守次) from the Fukuoka-Ishidō branch. Both were namely students of Korekazu and so it is no surprise that they demonstrated a similar workmanship. But in general they applied larger hamon elements which are also arranged into certain groups or which go beyond the shinogi in places. That means they laid an emphasis on very noticeable ups and downs. Also they applied the peculiar ika no atama (lit. „squid heads“). But a bōshi in midare-komi which turns into a sugu or shallow notare and which ends in a roundish kaeri is typical for the Edo-Ishidō school. There were also some bids on Edo-Ishidō Mitsuhira (光平). But he did not forge in such a strong masame and his midareba is with its ups and downs more close to the kotō-period Ichimonji originals.

By the way, this blade bears a niji-mei without the honorary title „Musashi no Daijō“. And as also the signature style differs a bit it is assumed that this is one of his few extant blades from his time before he received his honorary title.

Microsoft Word - shinto-e

370760004

kanteisho
説明 :
武蔵大掾是一は、川上左近といい、生国は近江国蒲生郡石堂村で近江石堂一派に属し、後に江戸に出て江戸石堂派の祖と称されている。出羽守光平、対馬守常光などと共に江戸石堂の名を大いに高め、是一門からは福岡石堂派の是次を輩出している。古作:一文字に範をとって丁子乱れの刃文を得意とし、地鉄、刃中及び鎬などに柾目肌がでる処が古作と相違する。幕末まで連錦は続き、運寿是一が七代目を継いでいる。
 本作は、銘振りより初代:是一が「武蔵大掾」を受領する以前の初期作と鑑せられる。初・二代の代別は存外に易しく、「是」の字における「疋」の第三角目が右下より左上にはね上げる様に切るのが初代であり、右から左へ真横に切るのが二代となる。
 やや寸が詰まり、身幅の広い造り込みは特別な注文に寄るものであろうか。実際に持ってみると手持ちがズシリと重く、平肉がよく残っており、ほぼ製作当時のままの健全さであることを物語っており、茎も殆ど手擦れがなく綺麗となっている。刃文は古作:一文字に倣った丁子乱れ焼き、焼きが部分的に鎬にかかるほどに高く華やかとなっている。是一の初期作に、既にこれほど見事な丁子乱れを完成させており、同工の技倆の高さに感嘆するばかりである。余談ながら、本作と同様の是一二字銘の刀が日光東照宮に所蔵されている。

korekazu