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kyushukairu

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kyushukairu last won the day on August 20

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About kyushukairu

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    Jo Jo Saku
  • Birthday July 26

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    Belfast, Northern Ireland

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    Kyle

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  1. Iyo tsuba and Tosogu menuki now sold
  2. There are a couple of characters which I can't make out too well, but it seems to be a commemorative piece ~chu kuni ju Yamazaki (no) kami Tsuneyoshi (~中國住山崎守常吉) Made for 1,100 year anniversary (?記念千百年為作)
  3. Dan, there's not really much to koshirae kanteisho papers. There's no suggested attribution to whom or which school produced the koshirae, the paper simply provides a description of the parts, which I have translated for you 
  4. Thanks, Brian. I have gained a lot of knowledge from the board, so I'm happy to give back what I can
  5. At one of the Irish Token Society meetings I decided to give a talk on shingunto, as they are perhaps the most commonly encountered Japanese sword in the English speaking world (due to the widespread dissemination to British, American, and Commonwealth troops during the Second World War). For the meeting I threw together a 'primer' on shingunto, which I thought might also be useful for NMB members too. It's quite basic in terms of the information provided, and which any military sword collector will already know, but it should be helpful for those first encountering shingunto Shingunto.pptx
  6. I think 東塩子 is actually a gō ( possibly read Tōenshi), rather than a place name. The second character looks like 與 to me, which is read as 'yo' or 'tomo'.
  7. The fuchi mei should be read as 'Mito ju Kuniyoshi' (水戸住邦吉). The yagenagata nakago is also a kantei point for the Hankei school, so that might be a good guess for the origin of this blade: http://www.sho-shin.com/edo-noda.html
  8. The kanji after 'Muromachi' are 前期 (zenki), which means 'early period'. Before 'Muromachi' is 時代 (jidai) which is just 'period/ era/ age'. For future reference, latter period is 後期(kouki)
  9. I never tire of seeing that koshirae, Ray. It's stunning. The mei on the fuchi is 'Kenkōsai Kazutomo' (謙光齋 一和)
  10. From Hawley's Mon the Japanese Family Crest (1976)
  11. I can't help with the trade mark, but the lantern that the figure is carrying states 'beware of fire' (火の用心). Even today, in rural Japan, in order to make people aware of fire, someone will walk through the town carrying hyoshigi (a set of bamboo blocks which are also used in kabuki), and I suspect this what your figure would have been holding. Personally, though I would gave him a lit torch...
  12. I have consolidated and updated my sales post. Some prices have been lowered, descriptions altered, and new pictures added. In light of recent debates on the general forum and other sales posts, I wish to make explicit the conditions of sale. 1. Unless papered, all items are sold as 'gimei'/ unsigned. The price is based on the quality of the item, not the signature. This is to avoid entering into disputes about authenticity. It is recommended that buyers to do their own research. Whilst I understand not everyone has access to such resources, I will be happy to provide screenshots of shoshin signatures and information on artists/ schools from my library upon request. 2. All items come with a 3 day inspection period. If you wish to return the item, postage will be at your expense. Thus, I advise you to think carefully before making an offer and agreeing to deal. Should you desire any further photos, I am happy to supply these, and I will answer any questions as clearly and honestly as I can. 3. Postage is at actual cost. Items are fairly priced (and well below dealer's prices), so please do not send low-ball offers and ask to include shipping. The cost of an average tsuba tracked and signed is £5 to UK, and £10 to Europe/ USA . Kind regards, Kyle KMJS Tosogu Update.pdf
  13. You are very welcome, Tony. Here is the Japanese for the Sekibun tsuba (minus the three characters which are illegible), just in case there's anything else you were unsure of, or want to translate yourself. 赤文の作は板鍔に高肉彫式で??を施すものと、片切彫とがあり、そのなか間の薄肉彫手法もみられ、図柄は動植物、昆虫?を取材して多岐にわたる。 この鍔は鋤出高彫手法の雄渾な作で、同工の代表的な逸品である。 赤文は桂野氏、越前国村上生まれる。江戸へ出て修業を積み、京にも遊学し、文政7年(1824)35歳で庄内藩酒井家の抱え工となり、鶴岡新町に住。明治8年(1875)87歳の長寿で没した。
  14. Haruaki Tsuba The dragon rising to the heavens beyond the white snow-capped Mt. Fuji makes the clouds and draws the landscape that is spiralling on the ground. Carving in high relief (takabori) with gold inlay (kinzogan) of Mt. Fuji and the dragon, and distributing silver for the snow, sense of colour is abandoned. Haruaki toured around Tohoku, produced works at destinations such as North Kanto and Hokuetsu, and left behind the names of those places. In the 4th year of Ansei (1857) he died at Echigo Shibata. 白雪を冠した富士を越えた天に昇る龍は、雲を越こし、地には波涛うずまく景を描いている。富士と龍を高彫して金象嵌、雪は銀色を配して色彩感覚も豊かである。 春明は東北を巡遊し、また北関東、北越などの旅先でも作品を造り、その地名を切銘したものが残されている。安政4年(1857)に越後新発田で没しいる。
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