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Showing content with the highest reputation since 03/14/2021 in all areas

  1. 13 points
    Well as I mentioned bit earlier this year in a thread in here I have been working on a index of Jūyō items. It has been ongoing for a few years now but now I have the 1st version finished. It took some time as I originally planned to just have old swords (Kotō) in a document (as they are my own personal interest), but then I didn't want to do a partial job, so I took on all of the swords, and finally I forced myself to tackle all the fittings, attachments and kinzōgan, kiritsuke etc. As I typed probably few hundred thousand kanji characters in by hand the project took a while. Now this should have all of the Japanese characters that appear in the index pages, and I have written smith / school etc. into Western characters, followed by Japanese characters. However I am not yet comfortable enough trying to translate the style of fittings, kiritsuke-mei, kinzōgan-mei etc. as I would make too many errors so for those you have the Japanese text that I typed in. The format in this should be very simple to follow. It is the same as in my last index (Kokuhō, Bunkazai, Bijutsuhin). 691 pages, 66. Jūyō sessions and 14792 items (if I added them up correctly). Hopefully the PDF will be easily readable (it should be searchable too). Now as this has been a solo project spanning over a long time period, there must be some errors in there that I have made (there are definately some in rare fittings makers as fittings are not really my thing and sometimes I found 0 results with Google on some of the mei). If you spot some errors, send me a message and I will fix them for next release. I plan to make a yearly updates after NBTHK releases the session results. Might be bit boring stuff as it is just lots of pages with plain text. I hope some will find this enjoyable and can find some help in personal research etc. Juyo Index.pdf
  2. 13 points
    Hi, The Poem: かへりみよ、これもむかしは花、すすき(薄)まねきしそで(袖)のなごりなりけり。 Meaning(free translation): When living, she(bone) was a beauty like a flower. But Japanese pampas grass is fluttering in the wind like sleeves of her Kimono now.
  3. 12 points
    I built a fire proof lined vault in the man cave and lined it with slat board. Then we got to work in the shop and made wooden, stepped brackets which allow a blade in shira saya to be displayed adjacent to the koshirae. Blades having just shirasaya simply rest on slatboard hooks. I’m now gradually repositioning blades and grouping them by eras, and schools which is useful for study purposes . jim
  4. 12 points
    Some time since the last update ... today I got informed that the result notification of the NBTHK Shinsa came in, it achieved Tokubetsu Hozon.
  5. 11 points
    Hello, I have completed the koshirae project. The first time I was wrapping a curved and rounded saya - naginata shape. It was an interesting experience. Working with samegawa is done after it gets wet and you need to know the drying and shrinking time of the skin to do this. What was new to me in this project were: - new shape of the seppa rim, - leveling the braid on the sides of the tsuka - jabaraito katatemaki, so that the attached tsukaito strips on tsuka ura are not visible - tsunagi - first job. Saya and tsuka was made of Ho wood, tsunagi - alder wood. I still need more practice with wood work, have to buy more tools Thanks for watching. Best
  6. 11 points
    Yes, Kumagai Yoshiaki (熊谷義明)  
  7. 10 points
    Yoshioka Bungo Suke Yoshioka, like Gotō, was a high-class kinkō school that worked exclusively for bakufu and daimyō. NBTHK Tokubetsu Hozon Paper //Robert
  8. 8 points
    A Type 98 with Samegawa saya, they are fairly uncommon to find on Army swords. The blade is a decent Seki-To by Murayama Kunitsugu, one of the nicer half forged ones I believe.
  9. 8 points
    Here is quick translation of the picture. I should have have all the smiths correctly but there might be some errors on the romanization of lamination styles. 高橋俊光 - Takahashi Toshimitsu / 三善長道 - Miyoshi Nagamichi / 秋広 - Akihiro / 折り返し三枚 – Orikaeshi Sanmai / 八枚合わせ - Hachimai Awase / 三枚合わせ – Sanmai Awase / 割り鋼 – Wari ? (I believe this is Wariha tetsu) / 無垢 (丸鍛之) – Muku (Maru kitae) 肥前忠吉 – Hizen Tadayoshi / 備前祐永 – Bizen Sukenaga / 信国 – Nobukuni / 四方詰め – Shihozume / 九枚合わせ – Kyūmai Awase / 五枚合わせ – Gomai Awase / まくり – Makuri 金剛兵衛盛高 – Kongōbyoe Moritaka / 備前景光 – Bizen Kagemitsu / 備前春光 – Bizen Harumitsu / 関兼先 – Seki Kanesaki / 本三枚 – Honsanmai / 七枚合わせ – Nanamai Awase / 甲伏せ (かぶせ) - Kōbuse
  10. 8 points
    Have very much enjoyed the above presentations. Hoping someone can clarify my offering. Purchased here at NMB just over a year ago from Mark who was very generous to me after being given something of a barracking from one, maybe more spectators on the "For Sale' sidelines. A Kwaiken, a concealable women's knife, great condition, about 16.8cm blade, originally a Kikutchi Yari cut down to make a small tanto in 1897 as per inscription on reformed tang. The maker's name is more obscure ?-Kane ? Koto period ? Actually it was Mark then BaZZa who put me in some of the picture. It is a lovely Kwaiken in my opinion. Thank you.
  11. 8 points
    Posted by Nick Komiya. Priceless stories, more valuable than the gunto we collect. https://www.warrelics.eu/forum/f216/1941-ija-weapons-prices-todays-values-786328-post2154949/#post2154949
  12. 8 points
    No. 11 - Mokko Tsuba in style of Sugiura Joi ? Copper with shakudo and gold inlays / highlights. Subject of Bishamonten and Oni . Signed Mitsumura ? in plaque 6.95 x 6.43 x 0.39cm One of these pieces that looks far better in the hand... Thickness reduces to approx. 0.22 cm at edge , fine surface texture all over background , both sides. Much detail difficult to see without magnification. Bought this off ebay 16 years ago before it got flooded with fakes.
  13. 8 points
    Probably you already know it https://library.si.edu/digital-library/book/hamonshu It is a three volume book about waves design. Regards Luca
  14. 7 points
    I offer for sale, a Spring 1943 Koa Isshin WW2 officer sword. They are rarely found in the original leather combat covers these days, which I have left on to preserve its originality. I have slightly peeled back the leather, and looks like the painted metal saya is immaculate underneath. The blade is in as found condition, no rust no pits, no chips. The features of the blade are there for the eyes to appreciate. As expected there is very slight staining with age and combat use. I love the patina on these swords that show that they have been taken to war, and not left in an office or cupboard. The mei is well cut, and the nakago is in very nice condition. To further prove its originality, the MUNE stamps are evident, and not obscured by rust that so often happens. At AUD3150, I will express post with tracking and signature any where. These swords are now very collectable and sought after, not often does an original example that hasn't been monkeyed with come up.
  15. 7 points
    For those who didn't see the story on Facebook, and didn't know about the discovery, I would urge you to check out the latest article in the Downloads section regarding a significant find in the Nihonto world. My thanks and congratulations go out to Ian Brooks - @Ian B3HR2UH Awesome story!
  16. 7 points
    A fine Edo-period Tsuba for sale Old Sakura / Ume - tree under the moon Iron,Gold,Silver Dimensions 87 mm x 83 mm x 4 mm Very nice condition Price is 180.- Euro ( plus shipping ) PM me if interestet Cheers! Christian
  17. 7 points
    I would like to thank everyone for their time and comments on a previous thread on a signed tsuba.. I disregarded that piece but ended up being lucky enough that Nihonto Australia was coming to my city and brought a heap of tsuba to have a look at and buy. Thanks John having read Kokubo's Ten Rules of Tsuba Collecting I followed rule number 3.., Respect and learn from other collector's opinions and knowledge... so after narrowing the choice to a few I asked some other collectors in the room their thoughts and they steered me towards this piece... a Japanese version of ying and yang... I was worried that the cut outs didn’t really look like they were finished to a high standard as they were not overly straight and symmetrical but I really was drawn to all the inlay work...Their advice was it was old and not to worry... it wasn’t until hours later at home I finally saw the ying yang shape the others were seeing... I was concentrating on the ugly U misshaped voids not the iron that was still there... Ah...you need to look at what’s there...not what you don’t have.....as soon as that thought popped into my head my next thought was... wow I need to live life like this motto too. sorry the story is so long but for those who read it I thought I would share. I’m not sure what the Japanese meaning of this piece is but now when ever I look or think about it to me it means “only look at what you have and don’t worry about what’s not there...” Hopefully I chosen well and it’s a good piece.. mid edo? what thoughts do you all have on the shape, it’s meaning and the school it’s from?
  18. 7 points
    Occasionally a nice, but mystery Gunto comes along, and no end of searching throws up any information about the swordsmith. And the best advice that can be given, is that he is an "undocumented" swordsmith, not that uncommon, but annoying when you are doing research. So here is an example, combined with a cry for help for any information. This is a 1943 YASUMASA, in what looks like its made in the MINO tradition. The photos don't do justice to the hada, homon and hataraki. It is well made in every sense, but I can't find any info about the maker. So any help would be appreciated.
  19. 7 points
    I think it's a step too far to say they made spades out of Tamahagane.. The spades were made out of bullet proof steel as they were used as part of field fortifications, which is very different.
  20. 7 points
    Could be somethig like 熊谷囗明 (Kumagai ...iaki)? See: https://blog.goo.ne.jp/tsuba_001/e/6227c6f39ad54c9eb403554d0d309267
  21. 7 points
    Well done, Georg, what a journey. If Saito san polished it, it must be stunning like a jewel now. He is one of the very-top polishers currently. If you leave it there, yes it is another year (as it might get exhibited too) but probably worthwhile. In this hobby unfortunately sometimes years pass before we see our treasured possessions. Frankly, even with “only TH” people in the know could judge the quality and understand that it is Juyo level. And if you do not intend to sell it or brag around that it is Juyo, then you know it is the same sword whether it is TH or Tokubetsu Juyo. This is one of these rare stories of serendipity that make people here happy and hopeful. Please continue sharing with us. Thank you.
  22. 7 points
    Drew, this is a very nice example of a preserved sword and its history. The swordsmith is Yoshida Kaneuji 吉田 兼氏 , his given name seems to be Suzuichi. He was from Seki and born 13 January 1925 (Taisho 14), and registered as a Seki tosho on 9 September 1938 (Showa 13) which was quite early. Look in NMB for other posts (30 Aug 2019 by David [m41700]) and also page 72 in Slough. His blades had both Sho/sakura and Seki stamps, and also some have a kokuin hot stamp. An early war blades notes he also used Yasuki steel for it. He used both long forms of mei and the short niji mei with some variations in cutting style. Attached some examples, others in Rick Steins Swordsmith Index. NOTE: His date of registration looked a bit odd (1938; S13.9.9) as he world be 13 years old. I re-checked and that is what is in the old Japanese record, is it an error? Also it is the only one in the whole list for Showa 13 (1938), so does not look correct. He could have started an apprenticeship at 13 but not be qualified.
  23. 7 points
    Good find from Junk dealer, seems to be late Edo period tanto. Signature is - 近江国胤勝 - Ōmi no kuni Tanekatsu. This smith Tanekatsu was rather unknown but he studied under the famous Taikei Naotane. Age would be in the mid-later 1800's.
  24. 6 points
    For anyone who collects modern knives..it's a Shirogorov 110 Kickstop. It's an awesome flipper, and an easy $1700 on the secondary market. So the waki isn't cheap. But it fits into my main interests better, and add a kozuka and kogai, I think antique swords will hold value better than modern customs. I'll do the deal. And then spend a few months trying to replace that knife anyways
  25. 6 points
    Blade isn't the main interest here I think. Here is a pic or 2 of the fittings. Not superb, but nice. It also has a decent kogai and a kozuka/kogatana. Tsuba isn't bad either.
  26. 6 points
    Jan Pettersson has been pushing me to write something about our latest defense at Tsuyama Castle. Therefore. Early on Sunday 4th April, our various baggage trains set out for magnificent Tsuyama in the pouring rain. We all arrived around 8:30 am to offload tons of kit as the rain grew more persistent. Perhaps 100 boxes and bags. "No point in putting on the armour and strapping on our swords", I thought as we lugged everything to the changing rooms. My back has been suddenly letting go recently, (since Tottori Castle above in mid-March) and I had brought a 'new' complicated set of Kote greaves that needed trying out for size, strength and fit, so I was not feeling entirely confident anyway, in body or outfit. At the back of my mind was also the worry that they might just push this thing through regardless. I should add that one of the characteristics of our troop is that we use genuine antique armour, sword fittings and matchlocks. If we do compromise, it is mostly in the footwear, although some members will insist on wearing genuine straw waraji, with their toes hanging off the front. One mark of a true leader is the ability to get people to do things they would not normally contemplate. Bento lunches appeared, gunpowder was handed out, and our marching and firing orders were given. Still the rain fell outside. Everyone started loading the guns, and donning armour, piece by piece, in time-honored fashion, as if they had not noticed the weather. A message came through that we had been summoned up the flights of steps to the second level of the castle, where the main Sakura Festival was being held. We gathered outside in the street, the banners were raised, the drums and gongs were beaten, and we formed into a snaking column, ready to march off to the castle gates. I tried to find somewhere dry for my powder and matchcord. There were very few people around, although rows of foodstalls had been set up in forlorn hopes. Again I counted the massive stone steps under my feet. "Step by step one gets to Rome", I muttered. Exactly seventy of these later we were up at the staging area. Luckily there were some small tents where we waited to be called. I managed to grab one of the few chairs, hoping age might come before beauty. Rain poured off the edge of the tent roof. Now I have a confession. The wife had made me promise to make the right decision over me back and the heavy gun. "I trust you", she added, (although I have never heard her say that before). All the way to the venue I had debated in my mind. Eventually I went to our leader and begged out of the 50 Monme part of the display. He reached down and picked up a sealed bag. He had prepared a special short section of hammered match for me with my name on it, so I felt both ashamed and guilty. He accepted, but took the opportunity to make loud comments over my shirking of duty, even over the microphone during the live display. Luckily I am old enough to laugh and shrug it off, and the spectators enjoyed the little tidbit. So there you have it. Suddenly all was movement as we stood up and formed outside, carrying guns and equipment to the main steps to the upper levels, forming the backdrop to our display. I lit my now shortened matchcord before leaving the safety of the tent, and kept it burning inside my cupped fist. All of our gun/cannon boxes and cases were kept closed until the last second, and then we began. The muzzle reports were strangely muted in the rain, and clouds of wadding landed wetly like Sakura petals. A knot of spectators, perhaps fifty or so, gathered under their umbrellas in front of us. I think they had come to see the famous newly-repatriated 100 Monme, advertised recently by the lovely DJ Misuzu San on Tsuyama FM radio. The highlight of the show was when Mr K lifted and fired the 100 Monme. This time it was loaded properly and the boom was most satisfactory. The kick knocked him over onto the sopping ground, but he managed to pull himself upright and recover. Finally it was time for our last full broadside. "Tama-gomé", came the shouted order. I poured a tube of blackpowder down the now slippery gun and tried to remove the wet ramrod. Impossible. For a second I thought of using my teeth, but gave up. As I leant over to insert priming powder, a trickle of drops fell from my kabuto into the firing pan, so I jerked my head right. Lifting up the slimy gun, I blew on the match one last time, fitted it, and cocked the serpentine. In the general roar of twenty matchlocks, she went off better than I was expecting. I am now more certain than ever that six shots in the rain is probably close to the limit for a matchlock, relying as it does on dry powder and cord. Awaiting photos...
  27. 6 points
  28. 6 points
    Andrew i paint this fast to explain. On the upper side you see gendaito / down side showato. You see on a gendaito the structures of the pearl matrix of the iron after hardning in water. On a showato all is uniform. with a mostly dark line during the hamon and dark shadows in the spikes of the hamon if it is not suguha-ba (straight hamon). Most of the gendaito where forged in masame hada - straight lines. Most of the showato you didn't see a hada between the layers of the iron. If you see some dark or bright shining spots which looks like asteroids rocks in front of the sun, this is nie and dark ones like ara-nie and a sure sign of gendaito. Btw: Don't forget that a wartime polish isn't such shining as a modern polish. The sword looks much more decent and you must play with the lights and angles to see all the beauty of a blade.
  29. 6 points
    What Jean Said. Micah, the problem here is that it seems that you have approached this the wrong way around in that you've decided what you would like the sword to be and tried to make its characteristics fit that description. The issue is that there isn't much that can be gleaned from this blade. Even if it was in perfect condition, you might struggle to get past late muromachi to shinto mu mei wakizashi but, in this condition, there's nothing definitive that can be said and to categorize it as a "Satsuma" blade, whether made in the province or used in the rebellion, doesn't add up. Yes it may be, but it's way more likely that it got into that condition being stuffed into someone's attic and forgotten about. When you hear the sound of hooves, think horse rather than zebra.
  30. 6 points
    Goto Teijo (Mitsumasa) was the 9th generation mainline master. His works cover many motifs and are always a treat to see. Happy to be the new caretaker for these 2 kozuka. A long eared rabbit theme done in copper with rabbit done in silver. Nanako is small and fine and the detail of the rabbit body hair and ear features is excellent. A massive drum on shakudo, gold uttori. Again, the nanako it's excellent and while I tried to capture with photos, how pronounced the drum figure looks in hand is quite spectacular. This piece has a special meaning due to where it came from. Both feature a kiwame-mei by the 15th generation master Shinjo (Mitsuyoshi) which attributes both to Teijo and states they are as Teijo made them without alteration ('saku'). A very exciting Friday to say the least.
  31. 6 points
    The most unusual we have ever seen!!!! A high class long Gendai Tanto, used as a mobile shrine..... The Mon side has a memorial tablet known as "eihai". It appears that the content was written by a Buddist monk and is virtually a chant taking elements from the monks name and temple, plus the posthumous name given to the deceased that must also include one Kanji from his real name,( in this case"tetsu"). This posthumous name is known as a "kaimyo". The date is the death of the officer. The other side has the rank and the real name of the dead officer, with a request, that his spirit resides in this blade. "The swordsmith is not mentioned,but presumably it was made after the date specified,according to Mr. Han Bing Siong sand and Ogasawara san's opinion, cleary made by Hori Toshihide. The Mon represents the dead mans familie. It is that of the Nakamura, Mizuno and Okudaira familie....... The tablet inscriptions read as follows.: "CHUSEIIN" (Name of the monks temple) KOYO JUNDO ( spiritual name implying the deceased was a matyr) "TETSUSHIN" (posthumous name) "KOJI" (Buddist layman) "SENSHI" (death in action. Showa 10 8 nen 9 gatsu 2 10 1 Hi (21.day of the 9. month in the 18. year of showa i.e. 21.september 1943. Rikugun (army) "SHUKEI" ( Intendance, accountant) "TAII" (1st Leutnant Kubota) "TESTSUO"( officers name) "RYU" (remain in) "KON" (soul spirit) "TO" sword, ie. Tanto. Army Intendance 1. Leutnant Kubota Testsuo, his spirit, soul, remain in this blade........
  32. 6 points
    From the ridiculus to the sublime , to coin a phrase - Item No. 20 Iron Mokkogata Tsuba 8.58cm x 8.28cm x 0.39cm ( 0.55cm over rim ) Shakudo plugs , sunburst pattern engraving. Fantastic patina with an oily lustre , deep chocolate brown on the field of the tsuba with the rim showing an almost charcoal grey. Much better in the hand than photographed. NBTHK papered to Myochin . Age unknown , but I would guestimate this to mid 18th cent. - please let me have your thoughts...
  33. 6 points
    Hi, Well my sword finally arrived surprised how different they look in hand opposed to dealer photos imo will use there photos as I still can't get the hang of it. nagasa 72.2cm, sori 1.9cm,base 30.1mm,yokote 20.9mm thickness ate base 7.6mm
  34. 6 points
    Complexity in Japanese visual art tradition keeps on intriguing me. Even supposedly common themes may reveal more than one interpretation. I was prompted by a recent post in NMB (https://www.militaria.co.za/nmb/topic/35147-kozuka-calligraphy/) to reconsider a record in my database (I've collected just images, not the real tsuba): The NBTHK paper reports in description: あなめ図鐔 - aname no zu tsuba. According to a legend the poet Ariwara no Narihira heard a voice from a skull and recognized the bones of his former lover Ono no Komachi. Aname means something like "Oh, my eyes hurt!", and refers to lamentation about the discomfort produced by grass growing in the skull orbits. Ono no Komachi was one of the Rokkasen, the six best waka poets of the early Heian period, and she was renowed for her unusual beauty. The theme nozarashi (野晒) seems, at my untrained eyes, indistinguishable, but should be based on poems by Matsuo Bashō. I'd like to know some more precise references about the two themes. Thank you for reading.
  35. 6 points
    No. You can report them to Youtube for copyright infringement and they will take them down. Go for it!
  36. 6 points
    If posted before feel free to delete
  37. 6 points
    NMB for your viewing pleasure I present my Shin Gunto collection. All the blades except for the Mantetsu in the middle are coated with Renaissance Wax. Any suggestions on what type/model I should be looking for next? Any suggestions for displaying the saya better? I'm rather limited by space.
  38. 6 points
    This falls under hidden weapons , this Soukou-toku were used by Edo police. Samurai were responsible for the police so due to the Mon on this one it may have belonged to a Samurai. This was filled with a combination of irritating powders including peppers. It was carried around the neck by a string and blown into the face of an opponent to temporarily blind them via a mouth oiece.This one still contains some of the powder.
  39. 6 points
    I would also advise that once you have a kozuka/kogatana or two in your collection, you should save your money for your next step on your nihonto journey. I know because I wasted a lot of money on mediocre pieces just because I could afford them. I was trying to find treasure in the bargain basement, when I really should have been saving my money for a piece that helped me progress as a sword enthusiast.
  40. 6 points
    Is that so. As far as my posts are concerned, I haven't posted anything that will improve the knowledge of the members. Rather I am a nosey parker. "Hey! Check it out! Such a strange thing was on sale." From the image Dale showed, I felt a "future threat". Its manufacture clearly created a three-dimensional mold from a two-dimensional image of the museum. Small factories in Japan are in trouble because the number of jobs is drastically reduced. They want to make anything if it makes money. I can't imagine the detailed means, but I think it's only a matter of time before the introduction of a 3D printer.
  41. 6 points
    John & Chris, thanks for the compliments! Christopher, don't worry - Oshigata and professional pictures were already "ordered". They finally are something to then share in here too. Michael, the blade is already polished. It was sent to Japan, Tanobe confirmed signature being authentic, then submitted to NBHTK Shinsa where it was also confirmed original, but papers will only be issued to blade in polish. Therefore it got a double gold habaki, shirasaya and was polished by Saito, submitted again for December shinsa where the result now was Tokubetsu Hozon paper achieved. So all done. Not sure if I should submit it to Juyo though, would mean another year in Japan.
  42. 6 points
    Jacques Thanks for the corrections and reminding us of the name of the progenitor of the doubts about Masamune, That is useful. I do remember there was a subsequent resurgence in 20th century of that vein of thought/belief, after Imamura Choga but I would need to dig it out. Why do you, however, have to be argumentative? You are not achieving anything by this but alienating people. I respect and look for thoughtful discourse rather than dismissive insults. You have knowledge and experience to bring to the forum but sometimes pettifoggingly cling on to a particular word or sentence. Please take it positively and not as an attempt by me to antagonise. I do pay attention, especially when I talk to Tanobe sensei, the NBTHK lecturers or people with extensive knowledge and collections. It is easy to be a desktop warrior, waging verbal campaigns. It is also easy to refer to 2-3 books, accepting them as canon, but it takes a broader minded person to question, interrogate, juxtapose texts with differing opinions. Every authority has something to teach us: Fujishiro, Kanzan, Kunzan, Tanzan, Nakahara, Nagayama, Yamanaka, etc etc. Of course, it is easier to understand that basing (inferring) mumei work via signed precedents is the strongest foundation for analysis. But nowadays the shinsa and others also place reliance on old (Honami usually, but also other) documented examples of the the masters - be they Masamune, or one of the students, even if these are not signed currently (or were never signed), or non-Soshu works. In other words, reliance is placed on preceding authorities who might have seen such signed examples before they were suriage, or compare to blades which have been preserved over the centuries in the various daimyo families. That is why we still have and refer to the Tsuchiya oshigata, Kozan oshigata, Imamura oshigata, Koon oshigata, Kyoho Meibutsucho, etc or in more modern times - indeed Fujishiro volumes, but also Kunzan’s Kanto Hibisho or Tanzan’s Go-ka-den No Tabi, etc. I could append documents talking about the existence of Go. And with all due respect to Fujishiro, they will be by arguably ‘greater’ experts than Fujishiro, having seen more than him and not just photocopied pictures of the mei of Kokuho, JuBi and JuBu swords available at the time. At least this how I view Honma Junji, Kunzan sensei, who in Nihon-koto-shi posits:”I conclude that Gō Yoshihiro is the most skilful smith amongst the students of Masamune and is equal to Sadamune in skill.” Anyway, this is a pointless argument and unwelcome digression from the topic at hand. The sword is beautiful and has been judged indeed by experts as Tametsugu. Understanding why the judgement has been conferred, and what the alternatives could be, shows eagerness and interest to learn.
  43. 6 points
    I thought that posting these photos here would hit the group most interested in Gunto Smiths and that all would enjoy this O-Dachi. It is in Kamura-Otoshi-zukuri form with a nagasa of 111.5 cm (44.9") . It is signed Hikosaburo ju-hachi sai tsukuru. (Hikosaburo made this at age 18). The Ura says (In commemoration of the triumphal return of my brother Sadayoshi from the war against China. Before going further, we have to thank John Tirado for his unbelievable work in resurrecting the original saya and Nick Benson who according to his father did all the polish work. I'm sure all will appreciate the work involved in working with this huge, heavy blade. He brought out features, most of which can only be discovered with the blade in hand. I hope to bring this blade to the Chicago show next month, if that event occurs. However, my youngest daughter is scheduled to present me with another grandson at about that time....... we'll see. To give a sense of scale I included another blade, a Yoshihara Kuniie, 28" + in length.
  44. 6 points
    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.
  45. 5 points
    Hiya Juan, this is why I advocate that these swords be referred to as Okashi-to (loaned swords)rather than Satsuma rebellion pieces. There is already a category of Satsuma style swords, and generally fine swords they are. Why the other type got given the name is one of those bits of history, along with Type 3's, Naval Landing Swords, and Kamikaze daggers..... and probably from the same date and the same reasons.....Post War dealers! If you are unfamiliar with the term Okashi-to it refers to swords held in armouries and issued out to lower class Samurai or Ashigaru as and when needed. There are other threads here covering the subject in more detail.
  46. 5 points
    Hi, here is another by Hiromasa
  47. 5 points
    Haha, ok where is Godzilla! This one?
  48. 5 points
    No. 18 Iron Sukashi Tsuba depicting a rain dragon 7.66cm x 7.46cm x 0.57cm . Early ? 19th cent. Purchased at auction some 9 years ago . Ex. Clarence McKenzie Lewis Jr. collection Ex. Naunton Collection Plate XXXVII - No 902 Okamoto work Signed ( indistinctly ) Sueshiro Magoyuki . Also - Matsudai Ni Koreo Kosu which I believe translates as ' made by the last of the family ' I cannot find any reference to this artist in Sesko's Geneologies , is there an entry in Haynes ? Possibly a commision piece as the signature is on the rear. If last of family , presumably last of school ? A powerfully carved rain dragon amongst clouds , with unusual treatment of the scales running down the backbone , most clearly seen on the omote. Nice Iron in good order.
  49. 5 points
    I was able to view and download the webpage in question via the Wayback Machine. It was, as you inferred, a rather interesting read. I for one am glad that you have such a good memory! Wayback Machine ryujinswords-tang-stamps-2017-1218.pdf
  50. 5 points
    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!
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