Guido

Although this sword is signed "resident of Seki, Mino province", ist was made when Daidô already lived in Kyôto. That's why bids to other smiths of the Mino-den in the Momoyama period receive a "Kuni Iri Yoku". Ujifusa, Ujisada, Ujinobu and the Akasaka Senjuin school would be "Dozen". Gassan is "Tori Yoku", but the one bid going to Shinshintô is "Jidai Chigai". The Mino characteristics are still there, but the Jihada is very dense in comparison to Muromachi work, and the Gunome is incorporated in Notare and without Togari. There is also more Nie and Nie-based Hataraki than found in earlier Mino blades. Nambokuchô is of course the first thought when looking at the Sugata, but it's too healthy for that age, and the Horimono don't fit (assuming they are contemporary to the blade). One also usually would not find Masame in the Shinogi-ji. There are two points I would like to investigate further, and I'm grateful for any input on the matter: A) Daidô rarely used his title of Mutsu no Kami. Considering how much effort it took to receive a title, and how proud most smiths were of it, I find this remarkable. Even if he omitted it due to the exalted rank of the person who ordered this blade, it still doesn't explain all the other blades that lack his title. B) To find the Horimono, or even Bonji, of Jizô on a blade is *etremely* rare. In fact, this is the only sword I ever saw in all of my years of studying Nihontô that I encountered with this deity. Even if Mr. Miyoshi was a devoted follower of the Shingon sect, it's an odd choice.

The sword is signed Omote: Mino Kuni Seki JÅ«nin DaidÅ Saku 美濃國関ä½äººå¤§é“作 Ura: Nushi Bingo Kuni JÅ«nin Miyoshi Shikibu-TayÅ« Hiroâ–¡ 主備後國ä½äººä¸‰å‰æ­¦éƒ¨å¤§è¼”廣□ TenshÅ JÅ«hachinen Gogatsu Kichijitsu 天正拾八年五月å‰æ—¥ (May 1590) DaidÅ is said to be the ninth generation grandson of Shizu SaburÅ Kaneuji, the founder of Mino-den and pupil of Masamune. He belonged to the Muroya group of the seven schools of Seki (Seki-shishi-ryÅ«), founded by Kaneari. He originally signed Kanemichi, and received the character ÅŒ 大 from Emperor ÅŒgimachi during the 12'th year of Eiroku (1569) after presenting him with a sword, changing his signature to ÅŒ-Kanemichi. After receiving the title Mutsu no Kami in Eiroku 17, or 1574, he changed his name again to DaidÅ. Also during Eiroku, he moved to NishinotÅin in KyÅto with his sons Iga no Kami Kinmichi, Izumi no Kami Rai Kinmichi, Tamba no Kami Yoshimichi , and EtchÅ« no Kami Masatoshi, making swords for Oda Nobunaga. Together with Omi no Kami Hisamichi (the pupil of Iga no Kami Kinmichi) the brothers were to become known as the KyÅto Gokaji, or five great swordsmiths of KyÅto, also forming the largest group of ShintÅ smiths making up the Mishina school. DaidÅ's work period dates around the transition years in the Azuchi-Momoyama period where KotÅ gave way to ShintÅ. This sword is a ChÅ«mon-uchi, or order made blade, for a Miyoshi Hiro-â–¡ (second character of the given name lost due to shortening), who held the title of Shikibu-TayÅ« (which also can be read Shikubu-Taifu), and lived in Bingo province. TayÅ« is an imperial government title (ChÅtei Hyakkan), given to the deputy chief of the ShikibushÅ (ministry of ceremonies that examined the merits of officials in reference to their advancement, fixed rewards, and superintended universities). There are Buddhist related Horimono on both sides of the blade by a Horimono specialist. Although they are contemporary to the blade, they have to be considered "ato" since they were not engraved by DaidÅ himself. The Kurikara (also called KenmakiryÅ«) on the Omote is a manifestation of FudÅ MyÅÅ, the Buddhist Wisdom King. It has its origins in a contest between FudÅ and a non-Buddhist heretic in the course of which he transformed himself into a dragon, and threatened to devour the sword into which the heretic had changed himself. The Bodhisattva JizÅ on the Ura, accompanied by the Sanskrit character "KA" that stands for him, works to ease the suffering and shorten the sentence of those serving time in hell. He is the patron saint of expectant mothers, children, firemen, travelers, pilgrims, and the protector of all beings caught in the six realms of reincarnation. Both FudÅ and JizÅ are two of the five main deities of the Shingon sect. Here's the Sayagaki, written by Mr. Tanobe: A big "thank you" goes to Koichi Moriyama for proof-reading my transcription, and pointing out alternative readings and the differences to its reading in more modern Japanese. However, any possible mistakes in the translation are entirely my fault. 濃刕関ä½å¤§é“ nÅshÅ« seki no jÅ« daidŠ少シ磨上ä¹å­—銘並ニ天正拾八年紀有之 sukoshi suriage, kujimei narabi ni tenshÅ jÅ«hachi nenki kore ari Slightly Suriage, and there is a nine character Mei and a date of TenshÅ 18 (1590). 備後國ä½ä¸‰å‰å¼éƒ¨å¤ªè¼”廣□ノ需ニ應ジタル作也 bingo no kuni jÅ« miyoshi shikibu tayÅ« hiroâ–¡ no motome ni Åjitaru saku nari This is a work made at the order of Miyoshi Shikibu-TayÅ« Hiroâ–¡, resident of Bingo. 陸奥守大é“åŒäººãƒ‹å€™ mutsu no kami daidÅ dÅjin ni sÅrÅ This is the same smith as Mutsu no kami DaidÅ. 豪快ナル姿態ヲ示シ特色アル湾ニ互乃目交ジリノ刃文ヲ焼キ gÅkai naru shitai o shimeshi, tokushoku aru notare gunome majiri no hamon o yaki, The sword shows an imposing Sugata, and its Hamon is typical Notare mixed with Gunome. é›éŒ¬ãƒ¢å®œæ•·ç·é«”ニåŒå·¥ãƒŽè¦‹è™•ãƒ²é¡•ç¤ºã‚·ã‚¿ãƒ«ä½³å“也 tanren mo yoroshiku, sÅtai ni dÅkÅ no midokoro o kenji shitaru kahin nari Its Jigane is also very good. On the whole, this is a masterpiece that shows the smith’s characteristics. 刃長貳尺四寸ä¹åˆ†å¼±æœ‰ä¹‹ hachÅ ni-shaku yon-sun kyÅ«-bu jaku kore ari Length: a little less than 2 Shaku 4 Sun 9 Bu. 干時戊å­æš¦å¦‚月下浣 toki ni tsuchi-no-e ne koyomi kisaragi gekan At the end of February in 2008. 探山觀並誌 tanzan kan narabi ni shirusu Tanzan observed and wrote.

As kind of a pre-answer I post pics of the Nakago - maybe some want to try to translate it. A more detailed explanation will follow tomorrow.

It's called "Ishime" (stone texture). One way it's done is described here. However, I think that's Kanshitsu Ishime, "regular" Ishime is done with charcoal powder - but my memory is a little blurry ...

Another hint: the Horimono were not carved by the smith (but they are contemporary to the blade).

Good old italian work... :D

Only in the first round of bids, one can change his mind even in "real" Kantei. So far your bid is "Kuni iri yoku".

Hmmm, three days up, over 180 views, only three bids, and a deafening silence from the usual suspects - it's either my bad breath, or something else that I'm doing wrong. In any case, the following should point the Kantei newcomers in the right direction, especially since the pictures seem to be not clear enough: Ko-itame Hada that almost becomes Masame in the Shinogi-ji, Notare-ba mixed with Gunome, and there are Tobiyaki, Kinsuji and Chikei. Long swords with Ō-Kissaki and wide Mihaba were of course made in the NambokuchŠperiod, and there was a renaissance of this style in the Momoyama period, rather like copies of Ō-Suriage NambokuchŠblades, and again later in the ShinshintŠperiod.

http://www.webdiva4hire.com/kenshinkan/suitability.html

Hi All, Wow, what a great idea! I don't mean to sound cynical, and I am sure this is the seller's way of expressing his confidence, but this is also a brilliant marketing strategy. If I had a sword to sell and want $10,000 for it, I will ask $15,000 and offer the juyo guarantee or else refund $4,000. Buyer will be happy, I will be happy, and NBTHK will certainly be happy to collect the shinsa fee. We all win. Why don't more dealers do this, I wonder. Kaji Matsumoto-san, if you think that scheme will work will all swords and all dealers, I strongly urge you to do this kind of business yourself - you'll be stinkingly rich in no time!

Brian, no problem indeed, but it takes time , so you can't take it back with you personally when you visit Japan. Since Tanegashima are not as popular as swords, you might get one for a very reasonable price. I saw some in the 300,000 Yen range that were quite collectable.

They need a license in Japan, and have to go through the same procedure as swords when you want to export them.

Jacques, yet another self-serving post, in line with your desire to be controversial. You're presenting a replica of a rare matchlock pistol of German / Polish design. Yes, they were made in Europe, but only a very few. Fact is that they were much more popular in India and Japan. Just go to this link http://www.geocities.com/Yosemite/Campg ... earms.html and scroll down - they say almost exactly what I wrote.

After discussing all the pro's and con's of photo and "real" Kantei, I'm presenting one today that should come as close to the real thing as the internet allows - I hope! Btw, it's a well known smith. Mr. Tanobe wrote in the Sayagaki that this is not only a *typical* work of him, but also one of his masterpieces. (Sorry for the crappy editing job with the Habaki and Tsuka, but I thought it's more realistic than simply cutting off the Nakago, or erasing the Mei.) Measurements: length 75.5 cm Sori 1.85 cm Motohaba 3.16 cm Sakihaba 2.37 cm

We're not talking about *muskets*, we're talking about *pistols*!

A few were made in Europe, but they were much more popular in Japan and especially India.

I hope no one minds if I go off topic even a little more, but being rather new to the Tsuba game, I wonder why Yasuchika is always listed as Kinkô even though he (mainly?) worked in iron; the same goes for Tsuba makers from Higo who occasionally worked in the-pretty-hard-stuff. I'll probably slap my forehead when I get the answer, but "no pain, no gain!"

http://www.aoi-art.com/auction/en/aucti ... 1213703271 And what a majestic mountain it is! :lol: But I think they really shouldn't glorify those weird sexual offenders in Japan ... http://www.aoi-art.com/auction/en/aucti ... 1213703271

No contest, and I don't see anybody saying something to the contrary. My above post was a reply to Brian's question in regard to "regular" Nyûsatsu Kantei, and what I experienced there. It had nothing to do with the Sa Yukihiro. I don't know what it did for the other participants, but for me this is exactly the lesson learned. And since I'm not suffering from delusions of grandeuer and infallibility, I have no problem learning this lesson in public. :D

It took me a couple of days, but I just sent you 10 articles / charts (and more to follow) that I edited and updated for the NMB, including some that already are published elsewhere; there's no copyright attached - with the exception of maybe my own - and I firmly believe in sharing information. I did all the files in PDF format, letter size (because most forumites are located in the US, and letter should print out in A4 o.k. as well), but if anyone has problems with the formatting, ,just let me know. The same goes for spelling and grammar mistakes (after all, I'm not a native English speaker), or any other mistakes that may have occured. Well, Brian, no more excuses: get to work!

I go for Aoe, too - not because I can really see any of the trademark features like Chirimen-hada, Dan-utsuri or Sumigane, but mostly because Mr. Tsuruta writes "He cut the signature on the Katana mei not Tachi mei." which is a dead ringer for Aoe .

Generally speaking, the majority of blades in a "real Kantei" are more or less typical works, only occasionally is an atypical blade thrown in for "educational purposes"; however, this happens more often recently, IMO to keep Kantei more lively for the Nihontô old hands :lol:. I remember a Nyûsatsu Kantei session at the NBTHK last year that Zenon van Damme (who visited Japan ahead of the DTI) and I attended. Of the five blades on the table, one was unmistakenly a 3'rd generation Tadayoshi, but of the others we only got two "Jidai Chigai Yoku" or so, and were totally lost with the remaining two. (BTW, Zenon and I did the Kantei independently, and only compared notes after that, so there was no talking each other into the same bids .) Judging by the murmers that went through the crowd when the answers were given, we were not the only ones that were flabbergasted with the answers, and some of the contestants seemd to be outright angry. OTOH, this was one of the most interesting sessions I ever attended, gaining a lot of new information, even if it was the hard way. To summarize: starting, advancing, and even getting comfortable with Kantei, typical work is to be preferred. After that a few atypical blades keep your brain in gear and things more interesting. But even with the more straight Kantei you're never save from overthinking, which happens quite frequently, and - at least in my case - serves as a great excuse for giving the wrong answer !

That's exactly what happened when I answered "Yukimitsu", despite the Boshi and other features. I can't remember ever seeing a Sa school blade of this outstanding quality, so I went for another smith within the time period / style who sometimes departed from the more common Hamon in that bracket. Not that I ever will become a huge fan of photo Kantei , but this is indeed an excellent example of where one can go astray if it's not a "typical" work, second-guessing oneself into the wrong answer. I'm looking forward to your new book!

You can count on me, especially since my monitor is still not properly calibrated .

Having myself outed before as a photo-Kantei-hater, I still hope I can play . Anyhow, my books are still in transit, so I'll do a Kantei "from the belly" without a long explanation (kind of an "all or nothing", first impression Kantei):