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kyushukairu last won the day on November 19 2021

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About kyushukairu

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  1. Colin, one thing to note is although ‘Kunihide’ [国秀] is a fairly common name, the mei on your tanto is signed with 圀, which is an unusual character for Kuni. I believe this to be the work of Enryūshi Kunihide [円龍子圀秀], who resided in Kōzuke, Annaka [上州安中] (modern day Gunma prefecture), and was trained by Nakayama Ikkansai Yoshihiro” (中山一貫斎義弘), who worked in the Norishige style. Here is another example of Kunihide’s work - https://www.nipponto.co.jp/swords4/KY328889.htm The one in the link is dated three years after yours, also displays the same pronounced hada, and is listed as an utsushi of Norishige.
  2. I really hope DTI will go ahead this year, and I would definitively be interested in the Yakatabune party event, Robert!
  3. The presence of a tōrokusho (registration paper), which is attached to the saya, indicates that this is a real sword. These papers are issued by experienced members of a nihonto organisation who assess the sword and make a record of it before issuing a registration paper. Although the tōrokusho states that the blade is ‘mumei’ [無名] (unsigned), it is still possible to learn about the sword from seeing the nakago. The pin should push out with no problem. Once you have removed the koshirae, take clear photos of the full profile of the blade, nakago, kissaki, and try to show the hamon and hada if possible too. With such photos the members here should be able to provide you with more information on what you have. Ps. This also should have been posted in ‘nihonto’. The ‘tosogu’ topic is for sword fittings such as tsuba, menuki, fuchigashira etc
  4. Yurie-san, I’m sorry to hear that you are having trouble with your publisher. It seems that Alpha Publisher are quite unprofessional. I ordered a copy of the e-book some months ago, but I found the quality to be less than desirable - the words seem to be applied as images rather than text, so they blur when you attempt to zoom in. Moreover, for this reason it is not possible to highlight text or search for keywords in the e-book, which is one of the main benefits of an e-book for me. Nevertheless, I think the content is excellent. I really like how you explain the development of nihonto through historical events. This is an approach I take in my own work - when I write about philosophical problems, I always explain them within their historical context. I think it is essential to understand historical events, in order to comprehend changes in ideas and technology. I also think your approach makes it much easier and more enjoyable to learn about nihonto. Rather than simply memorising changes in forging techniques in different periods, you help us to understand why those changes came about, and enable us to associate changes with specific historic events (such as the Mongol invasion). Overall, I think this is a wonderful book and I would certainly recommend it to anyone who wishes to seriously learn about nihonto. Well done, and thank you for your effort! Yours authentically, Kyle
  5. In The Japanese tōsō-kinkō Schools, Markus Sesko claims there were several artists who used this mei, and that Japanese sources differ on whether there were three or four different artists (2012: 93-94). According to Fukushi Shigeo, there were four Shigeyoshi: 1. The first Myōshin Shigeyoshi (明真重義), 2. Umetada Shichizaemon Tachibana Shigeyoshi (埋忠七左衛門橘重義), 3. the 2nd gen. with the same name but a different signature, 4. Shigeyoshi who signed with the supplement „Akashi-jū“ (明石住), i.e. „resident of Akashi“ in Harima province. Tōsō-kodōgu-kōza“ states there were three: 1. Hikojirō Shigeyoshi (彦次郎重義) who was active around Kanei in Kyōto 2. a Kanbun-era Shichizaemon Shigeyoshi also from Kyōto 3. and a Shichizaemon Shigeyoshi who worked around Genroku (1688-1704) in Edo.
  6. To follow up on what Richard said about lineage, Sesko also notes that it is unknown why Teruhide’s 5th son (Terumitsu) became the successor. However, in The Japanese Tōsō-Kinkō Schools, Sesko speculates that whilst it is unlikely that the first four sons died, “Maybe his oldest or the first two sons died young and it turned out that Terumitsu was the talented one of the remaining sons” (2012: 186). Another factor to add in to the price is that the kanteisho was Tokubetsu Hozon. As with swords, tokubetsu papers make a significant difference to the value of tōsōgu. However, it seems a bit much for what it is. As others have mentioned, it’s a nice daisho set of Omori work, and of a good standard, but a not a particularly prolific artist. Yahoo seems to be getting closer to Dai Token Ichi prices these days, though without the possibility of negotiating
  7. Bruce, the middle part of the document just lists the mei ‘Noshu Seki ju Kojima Katsumasa saku’ (濃州関住小島勝正作). Unfortunately the text at the top and bottom is too small to read.
  8. I had this little lady come to visit and spend the past few days on my balcony (females have six segments and are flightless). Before relocating her to some greenery, where she can find food and a mate, I couldn’t resist a photo opportunity. I think you will appreciate this, Jesse @Infinite_Wisdumb
  9. The nengo reads ‘a lucky day in August, on the 2nd year of Eiroku (1559) [永禄二年八月吉日]
  10. Lot’s of very good quality and very well-priced pieces, Curran!
  11. The given kanji should be read as Otsuryūken (乙柳軒) Miboku (味墨) Hamano ( 浜野) Both Otsuryūken (乙柳軒) and Miboku (味墨) are gō, or arts names. Hamano ( 浜野) is a surname, and the name of a school in the Nara tradition. The gō Otsuryūken (乙柳軒) and Miboku (味墨) were both used by Nobuyuki, the third generation of the Hamano school, and Masanobu, the founder of the Ōoka line of the Hamano.
  12. This is what Jean was referring to. It’s most likely a small area of flaking. From the additional pictures, the tsuba looks good to me. The surface would be termed something like ‘tate yasurime’ (縦鑢目), literately ‘vertical file marks’. Unfortunately, I don’t know of any group to whom this was an attribute. In my opinion, if sent to shinsa, it would most likely receive the attribute of ‘Shoami’, as you suggested .
  13. Here are a few which I noticed: - Tanto sized ‘nanban’ tsuba (purple) - Saotome tsuba (red) - Two which may be Owari (green) - An Echizen Kinai, which Jean already mentioned (red) - A ‘nanban’ tsuba, which I personally believe to be Hirado (blue)
  14. There are two artists who used the name ‘Sōjo’ [宗壽] listed in Sesko’s meikan, but the kao on your tsuba doesn’t match either.
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