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Gakusee last won the day on April 18 2019

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About Gakusee

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    Jo Jo Saku

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    Koto swords in order of personal preference: Bizen, Soshu, Yamashiro

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    Michael S

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  1. May he rest in piece. He was a lovely and friendly person.
  2. So, Jacques, you found one atari that is different? Surely you can do better! If you look into the shape, it is quite rare and not the typical one forgers usually counterfeit. Also, Masayuki went through a period when he made this particular configuration of sword in that period of time. He was into naginata / nagamaki in his creative period in 1843-1844. He occasionally returned to that sugata in 1850 too. But here we are close enough to period and signature.
  3. It depends on which Ichimonji school and when it was made. I had a Yoshioka Ichimonji which I have used for lectures at our ToKen Society. It had everything: sunagashi, kinsuji, yo and tobiyaki. Even konie, which was specifically mentioned in the Juyo paper. Soshu could be very intense in its sunagashi and kinsuji hataraki, much more than Ichimonji. If you want a lot of hataraki in the hamon, I suggest Ko-Bizen, Hoki, good Fukuoka Ichimonji, Soshu, Soden (eg Chogi, Kencho). Other schools are more subtle and you need a well trained eye to see them and know what you are seeing: Awataguchi, Rai, ko-Aoe. But they are there (usually ko-ashi, small yo). In the images below, the photos illustrating yo, tobiyaki, choji/togari, gunome are from the same Yoshioka. The images with inazuma , sunagashi and uchinoke are from the same Moriie.
  4. JP, not really the right approach. One should only really focus on Nakago patina with ubu swords or swords which are slightly Suriage and there is still a Mei visible or there are evident traces of the original old part of the nakago remaining. All the rest is pseudo science as even if the sword is old, if it got shortened in early Edo, the Nakago will have a patina from early Edo and so on. There are cases where old swords had their Nakago “reworked” relatively recently. For instance, I had one such sword, which bore the Mei of an Oei Bizen smith but the NBTHK did not approve of it. The Mei was removed, the Nakago - repatinated professionally by the previous owner and the blade ultimately papered to Yoshioka Ichimonji. The Nakago work was done in the last 15-20 years, before my custodianship, but I had the full paper trail. If one looked at the patina, they would form the wrong views. Nakago and patina are their own area of expertise, where focus and attention need to be paid. One needs to look at the blade in its entirety and form a congruous view with the composite picture in mind.
  5. From the minimum I can see, I would err on Shinto/ ShinShinto made in the fashion of Nanbokucho. May I suggest that you grab an online diagram of a Japanese sword and its parts as well as a glossary of key terms so that you are clear what is being discussed and we have a productive chat. Surprised no one has suggested it yet but you should: - measure the blade kasane / thickness: if 5-6mm then could theoretically be Nanbokucho (if things below also stack up) but if 7-8mm+ you are clearly likely looking at a newer blade - look at the hada: the skin of the steel on the side above the hamon. To me it looks too uniform in one of the pictures: a sign of a newer blade, generally (let us not go into the subtleties of fine Rai or Awataguchi here). The more diverse and rich the hada, generally the more likely you are to be in the older period or be confronted with one of the Shinto masters - look at the boshi: to me it looks like it follows the fukura, ie the curve of the blade tip. If indeed the boshi is so simple, it points to non-Kamakura usually - another small sign: look at the shinogi-ji end check if the hada there is straight (masame) or not. Straight, ceteris paribus, equals newer. - compare the kasane of the nakago vs the kasane of the blade to establish how any polishes it has seen And there are other things to look out for (such as the mune shape, how the hamon starts at the machi, etc) but the above basics should give you a general direction. If the blade is older, looks to have interesting hataraki and jigane, generally it might be more valuable and worthy of polish. If newer, the fact that it is shortened and without a mei generally works against you. Anyway, good to start this discussion and hopefully it leads to something good.
  6. Brano, not convinced in getting Tanobe sensei sayagaki on this sword. Save the request for something else.
  7. Guys Why are we calling utsuri black? Utsuri is white and the black area is antai. One can of course still have konie or nioi crystals in the antai area, which is transitional.
  8. I would focus on uma-no-ha and hakoba gunome schools
  9. Bizen Kaziuchimono do not need to have or even attempt to make masame. It could be larger grained itame nagare too. What of course you guys are right about is the generally low quality and openings in the jihada. The masame in shinogiji is a different indicator of the Muromachi blade and if combined with low quality nagare (some people sometimes mistake nagare for masame) or coarseness, we can probably then identify mass produced blades.
  10. I tend to like Fujishiro’s scent-free colourless oil best. The other highly recommended oils tend to have natural oils in there but I am always conscious of natural ingredients in the oils. They impart a beautiful scent but I prefer the purity of the mineral oil. The higher the grade and percentage of alcohol the better obviously. As it often gets mixed with water.
  11. Seems like rain dragon amid clouds?
  12. You are omitting his merchandise - the knives he is reselling or branding/styling himself. At $100-200 per knife, in addition to the stones, he is probably making handsome profits. Is he even a chef or something?
  13. The blade in this month’s kantei is one of my favourite ever. Still remember seeing it in their museum.
  14. Grev UK, perhaps the WW2 soldiers were not lyrically or romantically predisposed as their Zen-instilled forebears? I suggest instead reading something like Legends of the Samurai by SATO for a lot of poems by famous personages.
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