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Showing content with the highest reputation on 03/15/2021 in all areas
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Won't crucify you...but will say that is bad advice. They sell dross....stuff that has no market in Japan and has little to teach anyone. I daresay you can do much better on this forum. Our members offer far better stuff at better prices, if you just watch carefully for a while.4 points
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Yesterday I did a computer update on my Dell Laptop. Usually I ignore the tour that comes with the update. Since this was a big update I looked at them. The interesting feature that is available in Word, Excel and PowerPoint is that if you highlight a word or phrase and right click your mouse and choose translate you can select both the original language e.g English and the language to translate to e.g. Japanese. You could also translate from Japanese to English. Any of our members who are not English speakers can translate from their native language to English. Try it out!3 points
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JP, a Hozon paper is often all some older / top collectors in Japan bother with. It has served its purpose to verify what the owner thinks and beside that, if the owner is confident and experienced, the attitude could be: “why bother / I know what I have and I know it is outstanding.” To be honest, oftentimes it is vanity and ego which motivate us, sometimes it is a monetary imperative. There is another aspect: sometimes Japanese collectors are secretive and do not wish others to know what they have. And since the NBTHK publishes the names of the submitters, and in the past - of the owners, this could become uncomfortable to some people. So they prefer their treasure to be “secret”, unpublished in the Juyo/ TJ Zufu. Some years ago, I decided to have few but decent blades. That necessitated culling my already modest collection of 4-5 items to 1 only, before building it up to the current 3. It all depends on what collectors want and like.2 points
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Yes im posting on a old thread. Ill take my lashing with wet bucatini noodle please. If this is not saved to files or pin perhaps it would be considered.2 points
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https://publicdomainreview.org/collection/photographs-of-Japanese-sword-guards-19161 point
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I was twice burned by Daimyo54 I pass his listing without looking. Don't waste your money.1 point
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I don't know if its a manufacturer's mark, or a kamon. It's the character 本 (hon, moto = origin) written in a seal-script type font. As a kamon its called maru-ni-hon-no-kakuji (angled character "hon" in a circle), but yours looks more like a maker's mark to me. Here is a link that shows the kamon https://www.akinofont.com/shop/item_detail.php?mode=_ITEM_DETAIL&i_xid=48151 point
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That is a good plan JP. It will be a long save but think about 5+ years in the future if you manage to stick with the plan.1 point
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A similar sword was recently acquired by ribendao and can be seen at the link below. Light weight/Dress Shingunto1 point
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Marcos, This is a very interesting paper. Thank you! Many people are challenged by the idea that Japanese swords and fittings are - not mere craft - but "art". (I certainly am!) This paper helped me understand why and how sword values were managed. You may even be right! In any case, and as I said, Thank you! Peter1 point
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I think vanity really is a motivation here. I mean, who can be honest and not be happy to say: " hey, this sword is 700 years old and was made by @#%&=$ and was in the hands of 2#$&43$” ?" Better for the ego than a mumei John Doe sword made during Genroku, eh? That's why I don’t put much interest in papers, that and, let’s be honest, they are more expensive. Still, I believe a beautiful, mumei sword by John Doe, even suriage, is still a beautiful sword. So that sword above may not be what it claims to be,, it is still a very nice sword. As for the other part of the quote, I’m finishing paying for some books and the armor I’m buying then plan to put 500 euros in the bank every month until I have enough to get what I want (my dream? Bizen Ichimonji, but that will probably be never possible to achieve). As for selling swords? No way. Those are part of my history. When I take them in my hand, from the most humble one to the most prestigious, it reminds me of the day I got them. That memory is more precious than any sword.1 point
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That’s what I’m doing, Michael. My next sword won’t be before a few years, though I’m pretty sure I can’t afford such a beauty without selling my house, both kidneys and forcing the kids I don’t have into prostitution! Still, I’ll be getting a nice one in the far future, although to be honest, I don’t give a damn about papers. They’re just good if you want to resell. Besides, since TH and Juyo will forever be out of my reach, a simple Hozon will do.1 point
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Hi Bob: I'm impressed! Post #15 - the kozuka has amazing calligraphy. I think that an enlarged photos of that would make an excellent piece of art. Post # 17 cranes is a fine work that reflects the makers study of the bird. It too is interesting art. Post#18 - Love Ford's work. I have two soft metal and one iron tsuba of his. Keep the show coming!1 point
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Hi John: Asking is a good way to learn. There is a lot to learn in this hobby. Welcome to nmb.1 point
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It has been my experience shooting muskets and black powder cannon that a smoke ring is as much to do with atmospherics as the load. High humidity seems to be a factor.1 point
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Dear Jeremy. Apart from the very early chokuto the orthodoxy is that swords with such shallow sori, assuming they are ubu, developed during early to mid Shinto as a response to changing demands in time of relative peace and the rise of schools of swordsmanship using shinae. In this context they re not symbolic but associated with a style of swordsmanship. As you suggest the sugata was revived at various times subsequently, including the so called royalist swords of the Shinshinto period. Once again this was connected to swordsmanship rather than being symbolic, the political allegiance of the domain where the style was popular leads to the connection. Sori alone is not a reliable guide to period as other factors in the shape of the blade are significant; kissaki, taper and so on. I am not sure that any of this answers your question but I am sure that others will add to this. All the best.1 point
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The issue was recently discussed in this thread. It would seem that newer papers don't have the ownership info on the back.1 point
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Jan, the photos do not allow to read the signature of the TSUBA correctly, but it may read ECHIZEN KINAI. If so, it could well be a genuine TSUBA which was silver coated in the recent past to match the other parts of the mounting. That may indeed be the work of an amateur as Brian suggested. Except for precious metals, all other metals usually were patinated. Silver can appear as bright metal if the design required it, e.g. to represent the moon. The lacquer work cannot be judged by photos, I am afraid. Modern SAYA usually have printed on decoration which looks very even in magnification. Traditional lacquerwork looks different. As Stephen suggested, a look into the KOI-GUCHI might reveal more (to an expert who can compare). I like the shape of the blade very much, so I hope for you that it is the real deal! I should say that the criticism vs. your KOSHIRAE is just a 'technical' or artistic one, and you should not feel bad about us pointing out weak features of it. This should not keep you from liking it, but as most of us, you will be in a learning process which will change your view the more you see and compare.1 point
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Better pictures. Think i got a handle on making hamon and hada show. I couldn’t fathom why anyone would put a gimei on something with such a spectacular hamon. I guess some people just want to watch the world burn😑. I educated myself a little more on the retemper and im starting to believe its not retempered. Apparently they wrap the nakago with wet turnips or beets while they reheat it and this will leave a difference in the rust patina. Comparing it to others i have it seems natural. At any rate a retemper of this quality would be as much a talking point as anything else about the blade. Ive seen less flashy gimei go for 4k (a muramasa advertised gimei, and a sadamune gimei that was a muromachi period inscription) I just can’t convince myself to be unhappy with it. If its a retemper and gimei its the nicest one ill ever find. Would i be correct in calling this a hitatsura hamon?1 point
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These guys will all probably crucify me for this. I recommend you buy yourself something cheap from daimyou54eb on ebay to study in hand before buying anything expensive. By cheap i mean under 1k$. They handle low end stuff that wont receive a paper but its all guaranteed nihonto as he is in Japan and the laws governing swords there are very strict. Dont pay full price he always accepts offers. It might have a crack or some rust but having the real thing in your hand will help you avoid some costly mistakes in the future. It wont be worth exactly what you paid in Japan or anything, but it will be worth more than that abomination.1 point
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Hello all, I am here mostly to learn the proper approach to the Japanese sword so I most likely will be reading more than posting I have a few interesting examples from different eras that have to be discussed but I will do so when I am ready to participate actively rather than just ask.. Great to be here - cheers John1 point
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輙切り落とし No idea what that kanji points to. One reading of it is わきき (wakiki), which sounds suspiciously close to "wakike". Wakike is a cut across the upper chest, but it describes a location of a cut, rather than a part that is to be cut off. I'd be keen to hear any other explanations. Anyway, this is a digression from discussion of when the sword was made. Edo period, mid-1600s is my guess.1 point
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Another small detail is I do not see any provision for a scabbard lock on these while Bruce's does have a scabbard lock. The fitting are army all the way through and that rules out use by other government organizations. I think these are pre-1938 manufacture and tend to agree with John above. Bruce's sword seems to be the next step in the evolution of the concept. Make is showy but also make it functionial.1 point
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Yes, mine is 1.05in (26.7mm) at the edge of the habaki. At the yakote: 19.05mm Bohi begins: 2.9mm from mune and is 7.38mm wide.1 point
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I measured the blade and it appeared to be exactly 0.9 inches. I attempted to poke out the menuki but couldn’t get it to budge. One side of the menuki Ana is covered by the ito wrap. I was able to move it a little but the ito wrap is so tight and fragile I would rather not futz with it for now. ps. Any one know what clan the mon is?1 point
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The blade appears to be The exact style as the type 19 dress swords. Acid etched Hamon and chrome plated. No edge on the place either. As for the fittings every thing seems to be the same as a typical type 98 except proportioned smaller. The only difference I noticed is the throat of the scabbard seems to be slightly different. I do not see any evidence there was a second hanger. I will attach photos I thought were relevant and let you decide.1 point
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The koshirae of the Honjo is known. It is nothing like this.1 point
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On the display, I'd put white cloth under each of the blades. It's a respect thing, and it will prevent metal-to-metal scratches and electro-driven rusting.1 point
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Maybe expand your board and include a Kai Gunto so you’ve also got Navy involved. it really depends on whether or not you’re happy with a representative from each area or you could go deeper into a specific one such as the NCO”s for example. Also I believe the Japanese way of displaying them is with the handles at the left. More of a peace time non aggressive thing, as it makes it harder for you to grab one out and start Slicing away! Nice collection.1 point
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於三島 - In Mishima, 守谷宗光作之 - Moriya Munemitsu made this. 昭和十九年六月日 - Showa 19th year, 6th month1 point
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Seems like a pretty nice blade. Could be worth getting professionally polished. The bohi going all the way to end of the nakago is a strong indicator that it's been (significantly) cut down at some point. It's not terribly uncommon. At best, this could be a VERY vague indication of age. I don't think I've seen this on a blade newer than early Edo. Here's a few examples of bohis going to the end of the nakago. https://tokka.biz/sword/norimitsu3.html https://tokka.biz/sword/tadayoshi17.html https://tokka.biz/sword/kiyomitsu6.html1 point
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Hello Niels, and Alexander I am new to this forum and was interested in your thesis and interest in munechika. I believe the only reliable source about Myochin ki Munechika ( it is the same reading as Munekane, but apparently when he was register as a resident in Edo, he insisted on being registered as Munechika) is his diary ( In Japanese). Munechika was probably the last "official" armor maker of the bakufu, hence this official gift given to the Dutch king. Unfortunately, on the 2 armors that was given, the maidates are missing. The armors left Japan with the Maedate, and there is big chance they reach Holland but for some reasons were lost ( stolen?, storage? war?). That would be an interesting search if there is some document of this period left . Munechika was a well know armor maker, and made armors for both bakufu officials, and individuals ( who could afford his work). His adoptive father and Munechika as well, had some students, and their work are very, (incredibly) similar. In Mr. Ishida book, you have a genealogy of this branch, and students. When Munechika was called by the bakufu to work in Edo, he became extremely famous, and very wealthy. Munechika -'s armor was like having a Hermes bag. It was about status and prestige. He had a workshop, and over the years, I was lucky enough to find 3 sets of his armors with the exact scale size, even the fabric used for 2 of them were identic. 2 of the armors are signed, and the other one ( leather) is not signed, but easy to tell, they were made using the same scales, and from the same workshop. Even the maidate come from the same clan. I do not know why this leather armor is not signed.( Made by one of his student? No sign on leather armors? ) Mr. Ishida who was a specialist of Myochin ( unfortunately passed away a couple years ago), asked Munechika descendant about any left documents from Munechika. They had a lot, but everything was destroyed during the Bombing of Tokyo during WW2. What is left ( for now may be) is his diary, and studying his armors. Signature and date are usually found under the right arm. Some other Sangu parts can have a signature but not mandatory. If it is a full set, you should have the signs in the helmet ( with the date), the mask, and the cuirass ( right arm sign and dates) For "tatami" armors, sign and date in the helmet, sign in the mask, and sign and date on the cuirass, but hidden under the back plate. Of course as an armor maker, he also made some renewal work on damaged armors, made new armors using old helmet for example, etc. I saw an interesting helmet few years ago, but probably not his work. Only the shikoro was signed. Munechika probably only made the shikoro to match the helmet. Sometimes it was a collaborative work, where he did only one part of the armor. Hope it helps. Good luck in your thesis. Would be very interested to read it when completed. Kind regards1 point
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Here is some info about the frontside of the papers, that I have grasped from papers presented online. Date perforations were probably added around the beginning of Heisei 7 (1995), as both Hozon & Tokubetsu Hozon papers from Heisei 7 now have this feature. The location of small "日刀保" seems to have changed around beginning of Heisei 9 (1997), as Tokubetsu Hozon from February of that year still have old placement of these but Hozon papers bit earlier in February already had the new placement.1 point
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The kanji 広 is the simplified form of 廣. They are virtually interchangeable. The process of simplification was accelerated after the war, but the simplified versions existed from before the war. (In other words, its not an error.)1 point
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Hi, The signature says: 遠江住太田親秀 Ota Chikahide in Totomi province(Shizuoka prefecture).1 point