paulb

I have seen online a number of games and competitions asking people to pick their world class fantasy football (Soccer for our U.S. Colleagues) teams. There has been a great deal of discussion recently about collecting, it is after all a major part of why we are here, but with too much time on my hands I thought I would take the fantasy concept onboard and try and pick my “Fantasy Nihon-To collection”. I know this has been done in various forms in the past but it might be worth re-visiting. If nothing else it might help you identify on what you really appreciate in a sword. Below is mine and is selected mainly based on smiths who’s work I have been lucky enough to see in hand (most but not all). There are what might be considered some glaring omissions but this is not based on reputation of a smith, just on workmanship that really appeals to my own aesthetic. 1. An Awataguchi daito preferably by Kunitomo, Hisakuni or Norikuni. 2. A ko-Bizen daito preferably Tomonari 3. A tanto by Shintogo Kunimitsu or Yukimitsu (early work style) 4. An Aoe blade from mid to late Kamakura by Sadatsugu or Tsunetsugu 5. A tanto by Rai Kunimitsu 6. A Yamato daito by either a Taima smith or by Shodai Kanenaga(Tegai) 7. A Bizen Osafune daito by Shodai Nagamitsu or Kagemitsu 8. A daito by Shodai Yamato Shizu. 9. An Osaka shinto daito by Inoue Shinkai 10. A daito by Nanki Shigekuni 11. A daito by Sa Yukihide While in many ways it is a trivial exercise it might be worth doing, keeping the list and then re-doing a few years later just to see if and how your views evolve as you progress in to the subject.

Forgive me Ray but I am not sure how specifying my collection in detail reinforces the points being made. I hope that the approach would hold true whether one is focusing at the top, middle or lower end of the market. Also I confess to be uncomfortable disclosing any collection mine or any other in detail on an open forum. Perhaps I am old fashioned but it doesn't quite seem to be the right thing to do. As an overview I have focused predominantly on Yamashiro work ranging in dates from early to late Kamakura period. I have also included work that I believe to be Yamashiro influenced such as Chu-Aoe and Enju. In addition I have an interest in Yamato so have examples of Hosho and Shikkake blades. For completeness and a similar vain to my good friend Jean, I have included Bizen and Mino examples to complete the Gokaden. My one shinto blade would be very familiar to you it is an Osaka Ishido wakizashi. The ubu shin-shinto work has been discussed here before. I chose the swords I did because in the main they exhibit the features I most value. strong and elegant sugata, good quality tightly forged ji-hada conservative suguha or gentle midare hamon ( even my Bizen blade is suguha) in ko-nie deki and a great deal of activity within the jigane. I am always drawn to tight ko-itame hada, before settling on Yamashiro I was a great Hizen fan (still am to some extent) not sure if this answers your question sufficiently but hope it helps.

There has been a great deal of discussion around what one should collect, how one should collect and what is right and wrong. Having been caught up in that debate, in some cases rather uncomfortably, I have taken some time to think about what I do and how I do it, to try and create a framework to help me understand the reasoning behind choices made. Collecting in any field is multi-facetted and everyone is motivated by different things. I think this why misunderstandings and sometimes arguments occur. Debates as to whether something should be polished or otherwise restored often occur because of these differences. For some it is purely a financial decision, for others more emotional and driven by more abstract concepts. While there should be no debate as to how something should be restored, i.e. by someone qualified to do it, there will always be varying views on whether something should be restored or simply conserved. For the sake of transparency I should confirm that my own collection has evolved over almost 40 years. It started as many do by buying anything that appeared to be Japanese and sharp. I accumulated a number of not very good swords. As I learned more and looked at more good swords my searches refined in to some specific areas. About 15 years ago I took the decision to reduce the number and improve the quality of what I held. I did this fairly ruthlessly over the next three or four years until I had what I believed to be the best examples I could afford of the schools I was interested in. Since reaching that point I have added one further blade that I regard as an important addition, but also two or three others simply because I found them interesting or enjoyed what I was seeing in them. Within my current collection which is predominantly work from the Koto period I have two signed koto works and one signed Shinto piece. The remainder are all o-suriage with the exception of an ubu, mumei shin-shinto work. While I am reluctant to say I have stopped collecting I do pretty much believe I have reached the end point in what I can achieve. While it would be foolish to say I will never buy another sword I certainly have no plans or immediate ambition to do so. Having reached this point I have looked at what I believe to be important in this pursuit and how it should be approached. I must also make it clear that this is a personal view; it is not a recommendation, instruction or any form of guidance. It is an explanation of how I have collected. Basic rules to myself: 1. Always study the very best examples of blades that you can find. Take every opportunity you can to look at good quality workmanship. This may be at a museum (although access can prove problematic) viewing days at auctions (less frequent and poorer quality than they used to be) and at sword events and shows such as the DTI, S.F. show and other specialist fairs. Or if lucky looking at swords in other enthusiasts’ collections. 2. Also look on line. The quality of blades published on various websites is exceptional and the images first class. While this is not a substitute for looking at good pieces in hand it is a useful addition and greatly broadens the opportunity to see works that might otherwise not be available. However also be aware that images can be and sometimes are doctored or modified by less scrupulous dealers. By doing the above one can identify which aspects of a sword have the greatest appeal. In good quality blades features such as utsuri, activity within the jigane and hamon etc. are generally more clearly visible and identifiable. Having seen them clearly in these pieces it is easier to identify them in lesser work, or pieces in less than perfect polish. 3. Once you have identified what you like and want to add an example to your collection find the best example you can afford. As has often been said patience is required. By waiting and saving a little longer a better example may become available. However one also needs to be realistic in setting targets and what can be achieved. 4. One of the challenges a collector will ultimately face is that as they learn more they become more discerning and as one colleague once put it “their knowledge surpasses their budget”. As understanding increases one often hears of collectors refining their collection and moving toward the “fewer good quality pieces are a better collection than many mediocre” concept. 5. But then there comes the odd ball. Occasionally, albeit increasingly rarely, a piece may appear that does not fit in to the criteria identified above but it just appeals. It has features that can be enjoyed and appreciated. It doesn’t have to be a great work or by a recognised master it is simply a good thing. However that assessment is not based on “I just buy what I like” it is a view formed after following the steps above and after time studying good workmanship. The nearest comparison I can make is in painting or sculpture. I know the masters I really love and study as much as I can. That study does not stop me appreciating work by lesser painters or from buying work that appeals. Adding this to a collection does not necessarily improve it, add to ones education or understanding, but it can enhance enjoyment. Put simply it can just be a beautiful thing and can be appreciated for that alone. So do I always stick to the above? No, I am human and sometimes for all sorts of reasons I take a flyer, thinking I see something in a particular piece that could make it worthwhile. More often than not I am wrong but I learn though the process. Fortunately that hasn’t happened too often. However if I do get it wrong one thing I have not, nor will I do, is try and pass on my mistake to someone else. If you gamble and it fails live with the consequences. I think we are all motivated by different aspects of collecting. My approach will be different to many and similar to others. There is not a wrong or right way. The important thing is that whichever route one chooses to follow is based on an understanding of the subject and of one’s motives for collecting. Once those are understood it is much easier to enjoy the process.

I have heard of refusal to carry but not "destruction on sight " before Royal mail have had a 1 metre length restriction on small parcel service for some time. It is certainly becoming much harder to move things around

Brian give your contact my mobile number and I will try and put him in touch with someone. There and no Northampton is far from remote it is within London commuter belt cheers

Well done George those images help a lot and I can see the hamon is there Also never worry or apologise for enthusiasm it is much better for the subject than indifference Good luck with your project

What Chris says makes perfect sense. However before getting in to too much soul searching about what t do next I think the first step that can be done as is and with sword in hand is to answer the question "Is there a hamon?". The images show a very clearly defined area of hadori but I cant see any evidence of a proper hamon ( no obvious nioiguchi). This can be determined in the classic way of pointing it towards a single light source and look along the blade. If it is there it will stand out. If it isn't there then I think all other issues become irrelevant.

John, I think Chris has summarised the situation very clearly. In reality the debate has less to do with "is the sword authentic" than what is the markets perception of selling a blade with a green paper. If this was papered to Echizen Seki and confirmed by an NTHK paper I doubt many would be over concerned. But this is a big name and if authentic of relatively high value. This being the case the obvious buyer question would be "why hasn't it been resubmitted?" I understand the arguments about inconvenience the ease of having a local shinsa paper compared to sending it to Japan but the brutal market reality is that there will always be the question "why hasn't it been resubmitted" and that will hold back the value.

Hi Mike, Just to support Michaels comments and make sure you don't feel alone I must confess that patience isn't my strong suit either and in the past I have allowed enthusiasm to get the better of me. The reality is you can learn the most, most quickly from good quality swords. This is mainly because good work is generally in a good state of polish and all the features it has to offer are clearly visible. Once identified in these better pieces you can then see them more easily in blades in lesser condition. In the past I have seen pieces in very poor condition, out of polish and with no detail discernable being offered as "study piece" I have to ask if you cant see anything what can you study and learn from it? There is no substitute for studying good swords in hand but as a second best seeing as many as you can either in museums (beware though just because a blade i in a museum doesn't guarantee it's quality) and in good images online of which there are an ever increasing number. Then ask a lot of questions. Try and meet up with a local group and talk to people I think there will be many willing to help you.

You know gentlemen I think this clearly illustrates that making these calls is not an exact science, especially when working on photos. Where we are actually ending up is a time span of possibly 50 years or so from the end of the Muromachi to the beginning of shinto. I think looking again Ray is probably close to the money but I am not sure we can get too much closer.

Hi Ray, Yes thats a perfectly reasonable call. I think the masame in the shinogi-ji and the generqal look of hada, lack of activity in the hamon moved me to think it is later. I admit I did not see bo-utsuri. Bob, "Sue" basically places blades in the later part of a schools period so vairies from school to school.

I'm still leaning toward shinto but as JP says it looks to be a well made blade in relatively good condition, especially if it has been through the war. As always it depends what you are looking for in a sword and whether what you are seeing matches your criteria.

I don't make any claim to expertise JP maybe in another 30 or so years or the next life! The pointers for me is the masame in the shinogi-ji and the look of the hamon. The shape and the nakago can always be made to look earlier but the construction is telling us something I think

from your description I am more inclined to think it is more likely shinto or even shin-shinto but all you can see in the images is the shape which could be earlier and a broad nioiguchi which would suggest later. If I had to bet on it I would go late shinto but it is just that a guess.

Adam, You say "masame in the ji" do you mean in the shinogi-ji? if so that might suggest your blade is later rather than earlier. You see this sometimes in Yamato and Mino works of the late Kamakura and Nambokucho but more commonly it is regarded as an indicator of shinto workmanship

Gentlemen, Before you get too carried away with master plans to send or not send to Japan or whatever can I suggest a good first step might be to let someone with some experience look at it in hand? Steve if you pm me your contact details I will try and put you in touch with a member of the Token of GB who is closest to you. In hand they can better judge what it is and condition and advise you on the next step. Regards Paul

Hi Alex, yes this formed part of the original defenses outlined when they modified the offensive weapons act in 2005 (or 6)

just some feedback the dark theme makes pms illegible light grey text on white background

worked fine thank you. Now for Gods sake lie down and take it easy!!!!!!

I have always perceived this as a gentle transition in form. I think I have read the same reference as Michael regarding ratio of length vs width at yokote but remembered it as being 2.5+ for O-kissaki. I have studied several blades that are described as having an extended chu-kissaki and which date from the late Kamakura period.

sorry don't want to add to your workload in current situation and it really isn't that important but ctrl F5 didn't change anything. As said no rush and ok to continue as is in the meantime

sorry I cant find a theme menu

congratulations Matt. Do you have any images of it after the polish that you can share?

You are right Adam but the number of top polishers regarded as offering a "juyo level polish" (I think this a fairly new concept BTW hadn't heard of it until a few years ago) means that even mainline dealers can have a long wait. I am not able to judge the merits of this particular blade, it isn't my thing and I don't know the school that well. My impression is that it is the least highly regarded of the Ichimonji groups, others who study them in greater detail will know better than I do, But they still figure high on the list of possible Juyo passes. However I would doubt it is a foregone conclusion that it would pass in the same way a Fukuoka ichimonji or ko-ichimonji might.

John may well be right but it could also be a timing issue. The wait for polish submitting to shinsa and if successful the 6 to 12 month delay before getting the blade back and saleable again might make the wait unattractive. Less cash today may be a better option than possibly more tomorrow.