Brian

It's a flaw. Not fatal, but a visible flaw, and will affect the value and/or outcome the same as any visible flaw. This goes for it whether it is shingane or umegane. Let's just say it isn't a good thing. Brian

I chatted a bit to Ford and looked in my references, and it appears that the exact methods aren't well publicised. However the theories come from what was available and known at the time. This makes it likely that these methods were used, but without any concrete proof. It seems likely that they first cut the initial tiny hole. They had the tools to do this. Then some form of thin copper, silk, horsehair etc was used together with a fine abrasive such as carborundum and maybe laquer, and a sawing motion would do the cuts. While this was labour intensive, we already know that the Japanese craftsmen didn't concern themselves with speed or ease of manufacture. So if it took 2 days..then so be it If anyone has any further info or theories, I would be glad to hear them. The "insert spacer and hammer to shape" idea is highly unlikely though, so they were definitely cut. Brian

Malcolm, I will find out the details a bit later, but I believe it is done using a soft wire such as copper, and an abrasive dust (not diamonds) The abrasives set into the soft wire, and a repeated sawing motion cuts through the metal. The dust can be added while sawing, and will embed into the cutting wire while working. I believe it is actually quite effective. Will add to this a bit later once I confirm. Regards, Brian

Umegane? Brian Edit: Pfft! Beaten by Jean :lol:

Carlo, Yes, I got your intentions perfectly. Saying that not only the yokote, but the type of polish should be guided by the togishi, and I agree. As for sashikomi vs hadori, there are excellent articles out there. Our own John Bowhay wrote this one on Rich S's site: http://www.geocities.com/alchemyst/hadori.htm and then Guido also has a great one that is at: http://www.bushidojapaneseswords.com/po ... eaning.pdf Worth a read before you decide. Brian

Yep, the signatures on kogatana (blade) are rarely anything of value. They are often gimei and not of much consequence. Many/most are signed. The kozuka (handle) is quite nice though, and I think I may be correct that it is probably worth more than the kogatana. Iron may be earlier than the soft metal ones, and harder to produce. This one is quite nice, and worth finding out more about imho. Brian

A whois record search gives the registrar as: Toshihiko Kirita 4-3-13-201 S. Yukigaya Ota, Tokyo 1450066 Japan Public online info, so I am sure it isn't secret. That's all I have for them. Brian

Milt, I think it has been proven that the fittings don't have to match. However look at it this way.. If you have all matching fittings, you know that they came together and are a set. If they aren't, then you will always wonder if they are cobbled together, and never know for sure. That is why matching is preferable, even if they weren't always. Brian

I can thoroughly recommend this badly needed service, and have used Stephen for this in the past. For a small service fee, you can send him Paypal plus fees and he will send the guy a money order, and the seller can either ship to you, or to Stephen for forwarding. All you have to ask the seller is if he minds sending to a USA address. Handy for the sellers who won't ship internationally. Just make sure it is ok with the seller beforehand. Brian

Henry, don't be silly. it is a Jewish bird wearing a yarmulke! As for it's use, well..that is anyone's guess. I would think that it would have been a merchant's sword based on how flashy it is, but anything possible. For the trendy samurai while lounging at the beach :D Got a blade you are thinking of using it for, or just keeping as a koshirae? Brian

Henry, That saya is a lot of work, and is probably high class merchant style..but doesn't do all that much for me personally. However the rest of the fittings are very nice indeed. I like that f/k, menuki and tsuba a lot. Hmm...if you took the sum of those parts alone, average values...would it come to more or less than the cost of the whole koshirae? Not sure how to work it out, but let's say low prices of $300 for f/k, menuki $250, tsuba $450..that gives $1000 already. Is the koshirae much more than that? I might be inclined personally to have a new plain black saya made for it for display. Would look good with the light ito. Then again, maybe something better comes up at the DTI. But if it is a good deal, I would say go for it. At least your currency hasn't dropped 55% :lol: Brian

A good polisher will be able to tell you what belongs there, and not allow you to choose yourself. It isn't an optional thing. It as either forged to be there, or not. I do suggest maybe taking it with to the shinsa and see if one of the panel would be prepared to advise you. Brian

Thanks Eric, great prize and one that isn't usually in many libraries. (Should be) We also have some nice new prizes from Ted and a few other ppl, and I think there will be more than 20 prizes this year. Books, as per last year, will be given as first drawn gets first pick, so most will be able to get something they don't have. We have more than 10 books and catalogs so far, and it will take time to go down the list, so I think books are sorted for the raffle, thanks folks. Oneday I'll approach some of the Japanese and other dealers who get so much free publicity here, and see if i can get them to reach into their pockets. Better than selling advertising :lol: Regards, Brian

Ford, Very glad to hear it. I would ask everyone to take it easy on our resident "helps-people" (I didn't want to say experts or teachers etc) This includes all of them, from Ford to Koichi to Guido to.. (I am missing a bunch, but you all know who you are) As you can see, they have a lot emotionally vested in assisting as often as they do, and it does reach breaking point sometimes. Just think of this before bombarding them with questions or expecting help or whatever. Debates can be had, but in a polite manner, and above all else, try and listen to what they are saying, even if you have other views. Let's respect everyone who gives advice, and also give them their space when they need it. We'll make sure that they all come back from the DTI refreshed and ready to assist within their limits. Sanity above all else Brian

and now back to the subject of netsuke...... Brian

Yes, I'm also waiting for Jean to replace the missing "B" in one of those Shinshinto here too..or gimei. The mei looks well done, but fresh. Still, shinshinto wouldn't be a bad result if shoshin. Worth a slot imho. Brian

Dr S.....Now that is a great signature line if I ever saw one :lol: Brian

Henry, Beautiful tsuba, showing some lovely work. I don't know if it was just a consequence of the way it was made, brought out deliberately to incorporate the theme, or just appeared through wear, but it is still lovely to see. I'm open to any opinions on that aspect. Milt, I think you are hinting that the one tsuba looks modern and "cookie cutter" mass produced. That is my take on it anyways, and my opinion too. The other one I would love to hear more about. No..they don't belong together and aren't a pair, but one seems to make up for the other. Brian

Charles, Some (the majority?) of kogatana are not forged or folded, and don't have hamon and hada. Then again, there are some that are indeed forged and show wonderful workmanship. These can go upwards of $500 on their own in that case. So I would be very hesitant in doing any work on it until you know what you have. As stated, only one side gets polished (opposite side of any mei) Btw, please could you post a pic or 2 of the kozuka, maybe both sides? I don't think you should be writing it off just yet..looks interesting. Iron? Brian

Ford, All I can say is that I am really sorry to see you withdraw from offering advice like this, but I do understand why, from our (almost daily) phone conversations...for which which I am sure your wife will eventually take out a hit on me for The stresses involved are well known by many who attempt anything of this scale online, and especially any regular internet forum participants. Glad to hear you will still be "lurking" and I am sure we will all harass you endlessly on your forum. Wishing you all the very best, and hopefully the situation improves in the future to the point that we can lean on you for your knowledge here again. The door is always open, and your title of "heretic" awaits you anytime you wish to avail yourself of it. Will see you in Japan over (many) flasks of sake Regards, Brian

Milt, From what I am gathering here, no..the colour of the shakudo doesn't have a lot to do with the quality. The work has to confirm the attribution. However good works by their nature will have a good patina if in good condition. I don't think the shakudo patination is very deep at all, so surface wear will make the patina look dull and aged. Good patina leads you to look further at the piece, but I don't think it is conclusive of anything at all. Brian

Don't worry Guido, I don't think I know either While writing that, I took 3 phonecalls and by the time I was finished, I think I forgot where i was going :lol: Agreed on all those points. I think I was also re-itterating what you all already said that that use of shakudo was more aesthetic than prestigious, and was carefully thought out and not just by chance. Phew...anyone seen any marbles lying around?..I think I am losing a few :D Brian

Guido, Why not just use copper then? This would be easier than a copper/gold alloy I agree that shakudo wasn't as "precious" as sometimes though, but I was thinking that when making plugs, lead (as sometimes seen) or plain copper would be the easy way out. Mind you, that doesn't apply in this case where the plugs are more decorative than just fillers and I assume shakudo was used to achieve a certain look after patination, but in the case of tsuba that do have shakudo plugs only for the kozuka and kogai bitsu I would think that they were going for slightly more than the easy way out. I guess this is in keeping with the Japanese aesthetic where the easy way out was seldom used though, and the art was more important Brian

Actual value aside, how was shakudo regarded in those days? I mean compared to gold, silver, shibuichi, shinchu etc etc. Was it regarded as a better alloy, or just another one in the workshop that you could grab to use? For them to go to the trouble of veneering/sleeving habaki and tsuba etc occasionally, I would guess that it was fairly well respected as a working medium? To do simple plugs, I am assuming that there are easier metals to work with and they weren't taking the easier way out in this case? They obviously liked the patina that they could bring out, and did it for aesthetic reasons? Just wondering on this slow Tuesday.. Brian