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Everything posted by Rivkin

  1. Rivkin


    There are signed Sueyuki, typically they are offered in 10mil yen price range though. To me Sadatoshi attribution denotes Heian to mid Kamakura sugata and Seuyuki is accordingly mid to end (1250-1310) period. In both cases the craft is very antiquated with minimal trace of influences as established by Rai Kuniyuki and other more fashionable school. Obviously condition issues are such that even well preserved work will have somewhat non-uniform jigane, but: The jigane is in general weaker compared to Kuniyuki, the ji nie is less distinctive, the color is noticably whiter and hazier. As in Sanjo work, hamon is ko nie based, there can be prominent masame close to ha producing hotsure/uchinoke and tobiyaki tend to line up with masame lines. There can be rather rough ara nie, though hamon's nie size is very well controlled. Nioiguchi is quite bright, though in books its other qualities tend to be emphasized more. Yakiba can be a strange (antiquated) mixture of ko choji, togari and almost Yamato looking "belts" of nie. Utsuri like in this work can be quite prominent, but its not as clearly defined as in later works (midare? jifu?). Boshi has prominent hakkikake but is rather thin when it begins. I considered waiting a bit more, but I felt bad about people going into completely different directions, maybe in part relying on my answer to Enju quess.
  2. For some reason attributing Muromachi blades specifically to Akihiro was a common thing in Edo period. I had quite a few Honami attributions like that. Go figure.
  3. Late Muromachi 1520- waki, maybe in Soshu or Seki, Sengo or other related style (nakago will tell more). Today Muromachi attributions to Akihiro are not supported, though for earlier Muromachi periods they are not outright rejected.
  4. Rivkin

    Suke Kani

    Even with non-informative photos. I feel a bit strange about this one.
  5. Quite a few of the blades mentioned I would take for Nambokucho, like this one: https://nihontou.jp/choice03/toukenkobugu/katana/1084/00.html Longer kissaki, flatter curvature... The seller is being aggressive in the description.
  6. Late Kamakura blades do not have a reputation for being confused with other periods. There are some Rai or Yamato works that were quite well replicated or imitated in early Muromachi sugata included, but that's about it. The danger zone is something like Soshu from 1360-1380s. There is like a stack of papers oscillating between "Shimada" and far more seldom "Uda" and Nobukuni, Etchu Tametsugu and first generation Soshu Masahiro.
  7. There is two order magnitude difference between the commonality of late kamakura blades (i.e. post-Mongol): Tegai, Rai Kunitoshi etc. and early Kamakura blades (ko Bizen, Rai Kuniyuki etc.). Late Kamakura does have a hard reset at 1330x when sugata changed.
  8. Rivkin


    I am definitely the last person to be relied upon for proper understanding of the terminology and rules, but: the blade is Ayanokoji, Kamakura. In most tables this is dozen to things like Munechika and maybe something like Rai Kuniyuki. With Enju I had to look up the tables, and (I hope I got this one correctly) some books like Conneusiers... placed Enju as tori yoku for Ayanakoji. Rai would be dozen for Enju.
  9. Rivkin


    With a different, i.e. Kamakura shape here. Hoping not to sound too professorial, but that's what the earliest pieces look like - Yamato, Soshu, Bizen (ko choji) all in one piece.
  10. Rivkin


    Since it was up for sometime, let me steal the knowledge from the internet. The school's founder, whose style is basically retained in this piece - this is how its portrayed in oshigata.
  11. Rivkin


    There might be a connection, but different period and island.
  12. Rivkin


    There are definitely areas with much kinsuji and tobiyaki lining up on masame. But negative on Yamato Shikkake.
  13. Rivkin


    Forgot the most revealing shot, obviously.
  14. Rivkin


    That's what happens when you post Bungo swords - people make assumptions about the future material Enju is tori yoku according to some books.
  15. Rivkin


    Two shaku, three sun. Work is typical for the school.
  16. Rivkin

    kozuka - unknown

    I have a feeling I saw it somewhere, but can't find anything in my library... Help is appreciated.
  17. Its more or less certain that the blade is from 1550-1650 period. The boshi is not distinctive. Too common in my opinion. It widens a bit per Muromachi trait I guess, but not exclusively so. There is bo utsuri, maybe shirakke or dan utsuri. The hada is not well seen. It looks to me quite well forged and lacking mokume of the kind typical for Muromachi Bizen or Mihara. I don't see a lot of masame except some nagare around the ha, but if its substantial, then its still Mihara. If its not dominant, but the hada is more along the lines of well defined individual itame strikes, then its Hizen. The forging is also quite dense, not common in late Muromachi, but more along the lines of shinto. Could also be Bungo Yukinaga, but in their work the hada comes out less wet and more sharp.
  18. Does it mean nobody got dozen and above? Typically kantei ends there.
  19. If it has a lot of masame can be sue mihara from the very end of muromachi.
  20. Wait a second, the certificate says its early shinto, Horikawa's school. Makes sense, somebody like Dewa Daijo Kunimichi worked like this. I would treat such attribution as (likely) believable.
  21. 5 years ago and before JASMK I thought were ok. He papered mostly mid-ranking blades, with reasonable plausability. Today you see a lot of Rai Kunitoshi and such level stuff with his certificates, and in person it feels that the blades were assessed rather optimistically.
  22. Rather wide sugu boshi and the fact that the curvature is nearly identical to your Takada. Kambun Yukinaga I would argue was a significant smith, your Takada maybe a bit earlier, and it is Yamato styled (no mokume, masame), which is the least quality version of Yukinaga's work (their best are Rai-styled or very seldom Soshu imitations). This one I would guess shinto, Joji (1640). Its acid etched. The style of work is very common nie Mino-ish inspired shinto work. In this polish I don't think its possible to go further.
  23. 17th century publications, from which considerable portion of this detailed genealogical information is derived, for some reason are quite inaccurate when it comes to 10th, 11th, 12th, and sometimes even 13th century. Nobody knows why. Its one of the great mysteries of this world. I mean if it says the smith was active 1173-1196, you would expect him to wait for the first day of 1173, pick up his tools, and then as any decent person would - put them away in 1196, making sure his name not to be used as signature ever since. But there is a crazy theory out there, which I personally don't believe in. It might be they did not read Meikan.
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