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Japan2112

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  1. Well, everyone I have learned quite a bit about this helmet and thank everybody very much for your comments. I will now look upon this new find with a more discerning eye and question even more. If I discover something new and relevant in my study I will let everyone know. Best Regards, Mark
  2. Luc, As requested, here are some images of the mabizashi. I hope they're helpful. To all, Thank you for all your pointers concerning this helmet. I have learned a lot, somethings probably not found in books. Anyways, I have been pointed in the direction of Sasama Katchushi Meikan, a Jo I rated armorer. (not sure what that means). As I don't have any armor references being new to this study, what would be your thoughts about this katchushi? Mark
  3. Ian et al, Firstly, thank you for all your close observation and comments. Being my first study piece the more information flowing my way helps. Regarding the re lacquer process. In "fingering" the indents from the inside they clearly feel like round ball strikes -50 caliber or so. There are a total of five indents, 4 beyond the tameshi - 3 on the left side and one on the right. It is my thought that the lacquerer may have wished to preserve the ball strikes as sword polishers sometimes do to preserve a battle scar on an old blade. That being the case, it would suggest a Momoyama age. Just my thinking, Mark
  4. this is great discussion...much appreciated so far. I have attached a few more pics of the mei. Please note the nice condition of the iron plate and mei itself. Is this something that is left alone when being modernized? Thanks all again.
  5. Hello all, I purchased my first ever helmet this week, and it is something of a mystery. It is an 8 plate adoka nari bashi that has been re lacquered over some time ago into a 62 plate suji bashi (fascimile), It has what seems like several musket ball dents in the underlying iron plate ( one square in front, maybe a "proof" firing) and four others on both sides and in the rear. The ukebari has a nicely lined opening to view the signature and to enter a flashlight and finger into to examine the inside. Not very rusty inside. The ball strikes are very impressive. I'd read where old helmets were sometimes refurbished during Edo period into more fashionable items and that the adoka nari was not popular in Edo times. This has a signature on the inside rear plate.It reads - "Yamato (no) Kami Fujiwara Iyeyoshi". I am hoping it is a Muromachi item that saw battle and was re purposed later in its life. Any guidance as to who was this smith or my next step into this hachi's research is greatly appreciated. I am sharing five images that I hope will be helpful. Thanks in advance for any and all comments. Mark
  6. Very very nice, Marco. The design is great, construction professional and, I would imagine that you will know the exact location of each fitting and guard.
  7. Japan2112

    Umetada Tsuba

    Really nice, Richard.I thought the yakite shitate was all in the heating and mokume gitae added the chemical etch to enhance differences in iron, but it's nice to always learn more. I like the 2nd round of images, as it looks like a "harder" surface, but which set has the closest color? The darker is also very nice.
  8. It is hard to tell from here whether it is cast or not, but my vote is for modern work, particularly with the coloring. See below for 3rd gen. Kinai, forged and carved,
  9. Aha, the special cap he wears. Thanks, Stephen.
  10. It is interesting that once you focus on a motif, you begin to see it more often. Thanks of the tip, Steve. Can you give an example of this as a reference to Shoki? BTW, here is an 8th generation (?) Akasaka also with mokume plate - looks rather like an utsushi of the 5th above.
  11. Ah, yes. A good start. Thank you Curran and Steve.
  12. Hello gents, I have seen a couple of these Akasaka tsuba in books, always in mokume plate. Any ideas on what the sukashi motif represents? I was thinking rabbit over waves, but....? The image shown is from the Chic Sukashi Akasaka book by Sano museum. Thanks Mark C.
  13. I like the iron and the rim is really pleasing. It takes work to make that sukidashi mimi. The tsuba has an Edo Period feeling with some wabi sabi aesthetic. The price is right.
  14. Good decision, The finish looks nice. Enjoy.
  15. Sukesada, a Bizento, likely machi okuri and Muromachi age. The nakago appears "worn" for it's age adding to its history. A signed work with a few nakago ana always points to an interesting story. After all, the blade has past its useful purpose. Je serai au Canada la semaine prochaine et j'attends avec impatience une sortie de ce climat chaud de la Floride. Mark C.
  16. What a nice display. As always, Markus will weigh in with his good insight. I'd have to say that in the last 30 years I have not seen one. How unusual.
  17. Kuraya Hashimoto shop in Kyoto opposite Nijo castle is a wonderful place to experience swords. Regarding the tanto, it gives me a feeling of a yomeiri tanto, possibly a re purposed yari. The mei. adds to the auspicious nature of the gift. Meiji era , and a thoughtful gift indeed.. Sharp and delicate.
  18. Hello again, Pete. Here is a photo of this tsuba. I am very interested in your impression. Thank you. Mark
  19. Thanks, Pete. That is what I was guessing, as he praises the iron. Here is a translation of the hakogaki (courtesy of Markus S.) Mark Lid: Akasaka sandai saku 赤坂三代作 Akasaka work of the 3rd generation Akasaka futatsu-hiki kiri-sukashi tsuba 二引桐透鐔 Twofold hiki bar and paulownia sukashi Inside: marugata tetsu-ji sukashibori 丸形鉄地透彫 maru gata, iron, sukashi bori mumei Akasaka sandai 無銘赤坂三代 unsigned, 3rd generation Akasaka jigane yoroshii 地鉄宜矣 excellent iron Shôwa hinoto-hitsujidoshi haru 昭和丁未年春 Spring - year of the sheep of the Shôwa era Kanzan shirusu 寒山誌 written by Kanzan (1967)
  20. Hello all, I have seen Kanzan Sato hakogaki included with none, one, or in some cases, two seals. I have a ko Akasaka tsuba with accompanying 2 seals. Is there a significance to the application of two seals? Thanks, Mark C.
  21. Here is what I have tended to do, after years of collecting. Discover my study interest (Gokaden, Bizen, Shinshinto, Tadayoshi school...Impressionist, Goya, or whatever...)and buy something that is representative and of the best quality I can afford. The smith, school, period, village... representation provides timeless opportunity for study and enjoyment. If I like what I've found in research, I will buy another, or something that compliments or contrasts the work . In this way, a collection can become a just few pieces that really "talk" to you. As Ray points out, tastes change with appreciation - as in wines, so a collection may morph over time, but if you stay focused on quality you won't be so apt to "turnover" your purchase. An interesting collection focus could be - students of the Soden Bizen masters - those of Kanemitsu, Nagayoshi, Motoshige. The collection could be as small as 3, but what a story.
  22. Yogoro san. Very good comparison of Kanayama and Akasaka work, and nice tsuba, too. The Kanayama is very different from what is usually seen. here is a later Akasaka work (godai?) that reminds me of yours.
  23. Ed, my experience with a tightly fitting habaki is that it may be rusted in. The penetrating oil (WD40 or equivalent) for a few days with a gentle tapping with wood block and mallet (brass mekugi hammer is a good weight), then oil again, and repeat the process in a few days. The light tapping can "lift" the rust and allow for improved penetration on the second application. That is my experience, and good luck. Congratulations, BTW, on a good find.
  24. Congratulations, Grev, on such an ambitious and helpful project. I will order my copy today. Yes, it is disheartening to know of a museum's treasure trove, but not be able to view it. Your work brings that opportunity to light. Mark
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