Kanenaga

According to Markus Sesko, quoting from earlier sources, Ohara Sanemori (or the lineage of Ohara Sanemoris) worked in the Heian period (12th century) or possibly earlier. Wakizashi like this one were not made in any significant numbers until the Nanbokucho period ( mid-14th century).

I'm interested to know if anyone has dealt with Tokyo dealer and online seller Ginza Seiyudo and is willing to share their experience? Please feel free to pm me if that's more comfortable. Thanks. Les

This is a great topic. Since no one else has mentioned these, here are some things that can make my pulse race. Naturally, the many physical aspects of the sword as discussed are also very important to me, but these three can add a special frisson of excitement: 1. Signature 2. Date 3. Good horimono Some might say "elitist,' but I would disagree. Many fine Shinshinto and Gendaito blades have these features, and to my eye they add an extra dimension of interest.

It's been my understanding that the kuyo mon, as depicted on this sword, is most strongly associated with the Hosokawa daimyo of Higo province. I can't think why this should appear on a sword purporting to be by an early generation Kunikane. However, I have noted that Kunikane blades, especially the early ones, command a high price at DTI, so perhaps are worthy of counterfeiting.

...and "sold out."

I just received word that Paul Davidson has passed away. Paul was not active on this Board, but was a good friend and excellent colleague to many of us, and a leading figure in the world of nihonto study and collecting as President of the NBTHK-American Branch. His loss leaves a major void in our little community. Les

Thanks to all for the education. Great to have so many knowledgeable people on this board.

Hope I'm not violating a board policy. This is just a heads-up that I've listed a kai-gunto in the "for sale' section. Les

Isn't this the same blade referred to as Taima in the previous post?

I was told these are called shigure yasuri, meaning like a rainshower.

Christian, Once COVID-19 is over, visit Japan. Go to DTI. Also, visit Sokendo and introduce yourself politely to Kurokawa-san. You will see what you are seeking, because they do exist.

The kozuka itself is also lacquerwork of flowers and a poem (can anyone read this?) and signed. I can't even tell if the poem is right-side up or not. Can anyone read the signatures? Apologies again for the photos, quickie phone-shots. Black-on-black is hard to photograph anyway.

Not sure if this is what you are looking for, but here's a kozuka slot signed I believe by the lacquer artist who did the amazing black-on-black carved plants and flowers on the saya. Apologies for the poor photo. Tanto is by Arikoto.

When I see a blade like this on a dealer website, I suspect it has already been submitted to Juyo shinsa and failed. The shinsa numbers indicate that there must be many such "near-miss Juyo" blades out there, that show up for sale as TH (which is a requirement for submission). Someone once recommended to me that this was a desirable category of blades for collecting -- near-Juyo quality at a much lower price.

Mike, The sword looks fine, but I really envy you the koshirae. I've been collecting fittings with the peach theme -- not very common, and as you likely know an attribute of Seiobo, Queen Mother pf the West, in whose garden grew the peach tree of immortality. I have tsuba, kozuka, kogai, and menuki, but I've never seen a fuchi-kashira with this theme, until now. Very rare. Congratulations. Les

If you find him, could you let me know? I think he may be the one who sent me down this rabbit hole many years ago. I'd like to say thanks. Les

Perhaps time for more photos. Sabi?

Nice that this thread has resurfaced. Not sure I can put it into words, but I think I know wabi and sabi when I see them.

Authenticity aside, why is a yomeiri tanto not collectible?

This thread, while distressing in some ways, is of interest to some of us lurkers out here in internetland. I would like to add a small comment, if that is not out of line. My wise and sadly-departed friend, Ralph Bell, was often heard to say: “It’s a hobby! It’s supposed to be fun.” That’s what I see as missing from this discussion, namely, the word enjoyment. Is that not why we collect these things – because they give us pleasure? I would not disparage study, but I think many collectors collect because they find these things fascinating, or beautiful. So for study, substitute appreciate, or enjoy; and then add on the study part for another, secondary, dimension – but in many instances is not really why we acquired that piece. How is it possible to argue with I bought it because I like it? To me, that’s what it’s all about. I think there is much pleasure to be found in the beauty of the sword or fitting, and also I suppose in the somewhat competitive aspect of collecting, which is different. It seems that Snowflake is focused only on this secondary aspect of collecting as a pursuit, some kind of competition, and disregarding the enjoyment to be had from the beauty of item(s) themselves. I see this as a loss of direction, a perversion of the original reason to be involved in this (or any other) hobby. And none of this excuses rudeness or boorishness. Rant over. One of my teachers once advised buy the sword, not the signature. I’d say there’s room for debate. Nevertheless, the OP bought a sword he found beautiful. No excuse necessary. We thank him for sharing it.

I've bought these from the gift shop at Tokyo National Museum in Ueno Park.

Does anyone know the name for those dark lines in the ji of Barry's blade? They seem much too wide to be layers of masame lamination.

I'm planning to be there. Mask on, wearing gloves to handle toys (a good idea anyway). Les

In my humble estimation, shinsa papers are about two things: validating signatures, and identifying quality. All else is hubris.

Grey -- do you have (or can you get) a copy?