保羅·戴維森（Paul L. Davidson）收藏的重要日本劍和盔甲

重要收藏的銷售是拍賣界的關鍵部分，因為它們代表了敏銳的眼睛將碎片融合在一起的合併努力

The sales of important collections are key parts of the auction world, as they represent the consolidated efforts by keen eyes to bring together pieces that fit their most discerning tastes. While most conventionally seen in the collection of traditional works of art, anything can be made into a collection, as Paul L. Davidson proved with his assortment of Japanese swords and armor.

重要收藏的銷售是拍賣界的關鍵部分，因為它們代表了敏銳的眼睛將合併的努力匯集在一起​​，以匯集適合他們最挑剔的口味的作品。雖然大多數傳統的藝術品收藏中都可以看到，但任何東西都可以納入一個集合中，因為保羅·戴維森（Paul L. Davidson）以各種各樣的日本劍和裝甲證明了這一點。

A former US Marine and a lawyer by trade, Davidson was deeply engrossed in the world of Japanese swords and martial culture. He wrote and spoke Japanese and helped found the American branch of the Nippon Bijutsu Token Hozon Kyokai (NBTHK), the Society for the Preservation of Japanese Art Swords, serving as its president since 2003. Davidson passed away in 2021.

戴維森（Davidson）曾是美國海軍陸戰隊和律師，他深深地全神貫注於日本劍和武術文化的世界。他撰寫並講日語，並幫助建立了日本維護日本藝術劍協會的Nippon Bijutsu代幣Hozon Kyokai（NBTHK）的美國分支機構，自2003年以來擔任總統。戴維森於2021年去世。

Sotheby’s New York will offer, in an online sale, Davidson's collection of Japanese swords, armor sets, firearms, and other related items on sale between 13-25 March. Leading the sale is an exceptionally important sword from the 14th century attributed to the most important sword-making school in Japan at the time. It is estimated to be between US$180,000 and US$220,000.

蘇富比（Sotheby）的紐約將在在線銷售中提供戴維森（Davidson）的日本劍，裝甲套裝，槍支和其他相關物品的收藏，並在3月13日至25日之間提供。從14世紀，這是一把非常重要的劍，這歸因於當時日本最重要的劍術學校。據估計，它在180,000美元至220,000美元之間。

Estimate: US$180,000-220,000

估計：180,000-220,000美元

During the Kamakura Shogunate (1185-1333), the bakufu, the military government of Japan, realized the need to improve its sword production operations and ordered various swordsmiths to move their operations from Kyoto. The Ichimonji School would come from this move and would eventually split into various sub-groups, including the Yoshioka School in Yoshioka, Bizen Province.

在川村幕府（Kamakura Shogunate）（1185-1333）期間，日本軍事政府巴庫夫（Bakufu）意識到有必要改善其劍的生產行動，並命令各種劍匠將其業務從京都移動。 Ichimonji學校將來自此舉，最終將分為各個小組，包括位於Bizen Province Yoshioka的Yoshioka學校。

As a whole, the Ichimonji School was renowned for producing some of the greatest swords in this period, many of which have gone on to become famed national artifacts, with sources claiming that 70% of Japan’s national treasure swords originate from this era and school. Members of the school also served the Emperor directly, while more specifically, most of the members worked in Bizen, where the Yoshioka Ichimonji School was located.

總體而言，Ichimonji學校以生產這一時期最偉大的劍而聞名，其中許多人繼續成為著名的國家文物，消息人士聲稱，日本70％的國家寶藏劍來自這個時代和學校。學校的成員還直接為皇帝服務，而更具體地說，大多數成員在Bizen工作，Yoshioka Ichimonji學校所在的地方。

The Yoshioka School was in almost near-constant competition with its sister school, the Fukuoka School, for dominance in the swordsmith trade within the Bizen region, with the Yoshioka School, producers of this lot, winning out. The Fukuoka school tended to lose their characteristics and failed to innovate in ways that would keep the school alive, while the Yoshioka thrived in Bizen province.

Yoshioka學校幾乎與其姊妹學校Fukuoka School參加了幾乎恆定的競爭，以在Bizen地區的劍術貿易中占主導地位，而該地段的製片人Yoshioka School贏得了勝利。福岡學校傾向於失去他們的特徵，並且未能以使學校生存的方式進行創新，而Yoshioka在Bizen Province蓬勃發展。

Certain elements identify this blade as one that originated with the Yoshioka School. For example, the hamon of the sword is the physical effect that happens around the blade's edge when being hardened, with this blade’s being particularly vibrant and paired with a very notable midare-utsuri, or polish.

某些元素將此刀片識別為起源於Yoshioka學校的刀片。例如，劍的哈蒙（Hamon）是在變硬時在刀片邊緣周圍發生的物理效果，因為該刀片特別活躍，並與非常著名的Midare-utsuri或拋光劑配對。

The blade also has thicker lines within the grain of the blade, known as the kinsuji, and pronounced thin lines within the blade, such as the sunagashi, which are both more common in the Yoshioka school than their Fukuoka counterparts.

刀片在刀片的晶粒內（稱為Kinsuji）中也具有較厚的線條，並且在刀片中發出了明顯的細線，例如Sunagashi，在Yoshioka School中，它們在Yoshioka School中都比其福庫卡（Fukuoka）對應物更為常見。

What makes this lot so important, among Yoshioka School swords, is that the NBTHK has graded it as exceptionally important. This is due to its exceptional preservation and qualities that identify it as a well-crafted blade from the Kamakura Shogunate. Its provenance was also important as it was once property of the Akimoto family, a Daimyo family that ruled over the Tatebayashi domain, which lay slightly north of modern-day Tokyo, late in the Edo period of Japan.

在Yoshioka學校的劍中，這麼重要的是，NBTHK將其評分為非常重要的。這是由於其出色的保存和品質將其識別為kamakura Shogunate製作精良的刀片。它的出處也很重要，因為它曾經是Akimoto家族的財產，Akimoto家族統治了Tatebayashi領域，該域名是在日本江戶時代後期，位於現代東京以北的東北。

Additionally, this blade is considered within the top ten blades to have come from the school, with the only ones that surpass it being graded by Japan’s Agency for Cultural Affairs as artifacts that are important to the country and fall under export restrictions.

此外，該刀片被認為是來自學校的前十個刀片，唯一超過日本文化事務機構將其評分為對國家很重要並受到出口限制的文物的評分。

Estimate: US$150,000-200,000

估計：150,000-200,000美元

The production of Samurai swords was, as seen with the previous lot, dominated by these various schools, including the Rai School, which produced this lot. The de facto founder of the school, Kuniyuki’s successor, Kunitoshi, is a swordsmith to whom this lot is attributed.

從上一批中可以看出，武士劍的生產由這些不同的學校（包括Rai School）主導。事實上，學校的創始人Kuniyuki的繼任者Kunitoshi是一把劍史密斯，歸功於該劍。

This can be determined not just through his signature on the sword, but also, not unlike a piece of art, a swordsmith can imbue his sword with certain motifs or styles that are characteristic of a certain person. Elements such as the flamboyant hamon and the abundance of ko-nie, as well as crystals formed on the sword during the forging process, are identified as Kunitoshi work. The clarity of the metal and the slight bend also highlight this fact.

這不僅可以通過他在劍上的簽名來確定，而且與某種藝術不同，劍匠可以將其劍的某些圖案或樣式浸入某個人的特徵上。諸如華麗的Hamon和Ko-nie的豐富度以及在鍛造過程中形成的晶體等元素被確定為Kunitoshi工作。金屬和輕微彎曲的清晰度也突出了這一事實。

Collectors and the broader culture around Japanese swords highly regard works by Kunitoshi. Like the prior lot, other works by this swordsmith are protected by Japan’s Agency for Cultural Affairs, specifically a total of 23.

收藏家和圍繞日本劍的更廣泛的文化高度重視Kunitoshi的作品。像先前的批次一樣，這劍史密斯的其他作品受到日本文化事務機構的保護，尤其是23種。