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Ronin 47

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Everything posted by Ronin 47

  1. I can second the The Wallace Collection in London, probably one of the finest collections of medieval European arms and armor anywhere in the world, plus the spectacular art collection upstairs. I was a bit disappointed with the The British Museum, I know they have a spectacular collection of Japanese arms and armor but most of it wasn't on display when I lived in the London. Chinese porcelain on the other hand is a different story. Ditto the V&A. Unfortunately never got up to the The Royal Armouries Museum, Leeds, but heard great things. Not in the London, but the Oriental Art Museum in Venice probably has the most comprehensive collection of Japanese arms and armor that I can remember seeing in Europe. For some reason most Western museum curators have an aversion to displaying these things, either because they have no idea what they are or they have lowly opinion of objets d'honneur chevalerie. Kodogu get a bit more play in the museum space, but the blades typically play second fiddle. For instance, I think recently the MET in New York even reduced the number of Nihonto on display, not that they ever had that many on display to begin with. Sincerely, Austin R
  2. Hi all, I am doing a bit of research on this smith and just wanted to see if anyone knew what their connection was to Wakasa (no) Kami Ujifusa (若狭守氏房). Where they fellow students under Seki Kanefusa (関兼房), or any other information about this smith other than being part of the Kanefusa lineage? Thanks in advance for any help! Sincerely, Austin Ross
  3. Thanks for the feedback! I am not so sure it is one from Kyōhō (1716-1736), it looks like a Muromachi period work, possibly around MEI-O (1492). There were apparently a couple of smiths signing this way in Bungo that were an offshoot of the Rai school, so might be something like that: http://www.sho-shin.com/sai11.htm Will have to look through the books and see if I can locate another example of one signed with that cursive 州. Bit more difficult doing research on these lesser known smiths as they don't typically get much coverage in the reference books. If anyone comes across a similar signed work let me know? Thanks! Sincerely, Austin Ross
  4. Hi all, I was wondering if anyone could confirm if the first two characters of this signature are indeed 豊州 (hōshū). So the entire signature should read Hōshū ju Kunitsugu (豊州住國次), correct? I am assuming this is one of the Bungo guys in the Muromachi period. Thanks in advance for any help! Sincerely, Austin
  5. Ronin 47


    I got as far as Shinto-Soshu, and my mind automatically went Horikawa school. I did think of Satsuma at one point, but the shape made me think it was a bit earlier. I guess hindsight is 20/20. Thanks for the exercise!
  6. Ronin 47


  7. Hi all, Selling a few Tsuba for a friend: 1.) A Saotome Mokogata Sukashi Tsuba with designs of Mushrooms; Mid to late Edo? 325.00 USD 2.) A Saotome-Tempo school Mokogata Sukashi Tsuba; Mid Edo. 275.00 USD 3.) Later Kaneiye style tsuba, with design of geese and reeds, possibly Saga; Mid to late Edo? 175.00 USD 4.) Not sure of the school, late Edo period, rather thick. I am assuming there was more inlay once upon a time. 125.00 USD *All prices exclusive of shipping and insurance (if so desired). Please PM me if you’re interested in one or more of the above or need further pictures. PayPal would be the preferred method of payment. Thanks! Sincerely, Austin Ross
  8. Hi Bruno, I will take 3 and 4 please. Thanks!
  9. This is absolutely horrible news! I was very lucky some years ago to be introduced to Kodama-san by Jim McElhinney, and Kodama-san was kind enough to give me and my mentor a private viewing of his spectacular collection. Kodama-san and his wife were incredibly gracious host and some of the nicest people you could ever hope to meet. Absolutely disgraceful to take away a collection he spent a lifetime putting together. I certainly hope he is ok and the police find the crooks who did this and put them behind bars and return this collection to its rightful owner. Thank you David for positing this, as it is important that the wider collector community is aware of this.
  10. Hi, Does anyone have an Oshigata/info or link to pictures of a blade made by TSUGUTOSHI (次俊) of the Ko-Aoe school? From my research, he was apparently a student of TSUGUIYE (次家), one of the Twenty-four GOBAN KAJI. Thanks in advance for any help! Sincerely, Austin R
  11. Does anyone care to explain this one to me? https://www.sothebys.com/en/buy/auction/2021/the-samurai-Japanese-arms-and-armour-2/a-katana-signed-tenmangu-ni-oite-rokujunichi-kyoku 126,000 GBP??? Umm, I don't get it?
  12. Much like the last auction at Tessier-Sarrou, this was a very interesting auction. While I did bid on a couple of items, I unfortunately didn't come away with anything this time around. The overall quality of the items was high, but the prices, in my opinion, were a bit absurd. Perhaps the winning bidders were largely finding their valuations in the koshirae? As outlined above, some of these prices were approaching juyo level, and with the astronomical buyers premium, I felt that such gambling was best left to those who can indulge. There might have been a couple of sleepers, but I felt that the first auction had far more items in that category than this one. For instance, lot 22: the Mumei Katana, struck me as a shin-shinto piece. Even if one is assuming it is Nambokucho, at 10,000€+ what is one exactly hoping that it turns out to be in order to justify that initial investment? You can buy this https://www.aoijapan.com/katanamumeiyamato-shizu/ for 16,792.59 Euro, which given the cost of polish and papers (assuming it even stands a chance of juyo) is about the same price. Granted, I couldn't attend the auction in person, so perhaps the items in person really were worth the prices they commanded? But is this https://www.tessier-sarrou.com/lot/116199/15882150? a 20k item? Somehow I feel that the provenance of some of the items had more to due with the prices than the items themselves. Boring market talk aside, they were almost all very lovely things, and hopefully will be cherished and taken care of for many generations to come by whomever was lucky enough to take them home.
  13. Very happy to see that I got it Thanks for the exercise Eric, looks like a beautiful example of his work. My second guess would have been Bizen - Yasumitsu, but the suguha led me to Norimitsu, as its slightly more typical on his work. My translation skills are bit meh, so will let someone else have a crack at that , even though I know who did the Sayagaki
  14. I am going to venture that it is Bizen Osafune Norimitsu, early Muromachi, so Oei-Bizen (応永 備前) or something along those lines.
  15. I see what I believe to be Sanbonsugi, so my gut instinct was Kanemoto school, as the blade appears to be Koto. There does look like their might be some masame in the Shinogi-ji, which further makes me think its something in Mino, possible Kanemoto school. The ji also appears to have some mokume hada with traces of masame, so that also makes me think Mino. The boshi is a bit indistinct for me to say definitely one way or another, but nobody said doing this with just photos was going to be easy Even though the blade is Osuriage, it does look like there is a tendency to Saki-zori, which makes me think its a mid to late Muromachi work. Anyways, that is some of the logic behind my groggy afterwork guess. I patiently await the results to see how far off the mark I was
  16. My guess would be late Muromachi Mino. Possibly Den Kanemoto or something along those lines.
  17. Well, that is slight relief that it probably not for ashes. I guess I will put flowers in it until the day I find the gravesite to return it to. Thanks again!
  18. Well, that is a bit morbid. I found it at a flee market and thought it looked like a nice chinese-style bronze-vase, but certainly wouldn't have purchased it if I knew its actual purpose. I guess I need to practice my kanji some more It would be nice to return it to the family or the at least the gravesite it came from, but I guess that might prove difficult. Just for clarification, would this have been used to burn incense or put flowers in? Kinda hoping its not the family-urn, albeit I guess that is another possibility? Thank you both for helping out with the translation!
  19. A better view of the left-side... Thanks again!
  20. Hi, I was wondering if anyone might be able to help me translate the inscription on this Japanese bronze vase? My lack of practice is showing on this one, so I am afraid I have not made too much progress before giving up. Below is my best crack at it, and the pictures of the inscription below. Any and all help would be very much appreciated. Thank you! 爲松誉鶴壽鶴福定尼 ( Think I may only have the first two and last three kanji correct here, so not sure what it says?) 追善 (Tsuizen, remedy?) 施主下浦広 (Owner Hiroshi Shimoura?) 昭和十年三月 (March of of Showa ten (1935) 二十三世 ( Twenty third generation?) 教誉代 ( Not sure about that second kanji, so bit unsure what the meaning is, I guess it could be teach honor for the ages, or something like that?)
  21. For example, the following tanto by Katsumitsu (勝光): http://sanmei.com/contents/media/T2174_T5010_PUP_E.html has the Shugendō Mantra "Rin Hyo Toh Sha Kai Jin Retsu Zai Zen" engraved on the Nakago-mune. (臨) Rin – POWER over oneself & others (兵) hyo – DIRECTION of Energy (闘) Toh – HARMONY with nature (者) Sha – HEALING of oneself & others (皆) Kai – PREMONITION of danger (陣) Jin– KNOWING the thoughts of others (列) Retsu – Dimension (在) Zai - Creation (前) Zen – ENLIGHTENMENT I believe this kind of esoteric carving become very popular in the Nambokucho and Muromachi period, albeit you do see it occasionally in the Kamakura and Heian.
  22. Hi Bruce, I believe this bit covers it, though I suspect there are many variations on the story: " Kiṃkara and Ceṭaka are also sometimes interpreted as transformations or emanations of Acala himself. In a sense, they reflect Acala's original characterization as an attendant of Vairocana; indeed, their servile nature is reflected in their names (Ceṭaka for instance means "slave") and their topknots, the mark of banished people and slaves. In other texts, they are also described as manifestations of Avalokiteśvara (Kannon) and Vajrapāṇi or as transformations of the dragon Kurikara, who is himself sometimes seen as one of Acala's various incarnations." Admittedly, my classes on Buddhism where awhile ago, but I believe this all tied into Vajrayana Buddhism, or Buddhist esotericism, which in Japan is called Mikkyō (密教, "secret teachings"). For instance, a lot of the Ninja mythology comes from the Yamabushi (山伏, mountain warriors) who practiced Shugendō (修験道), a form of Vajrayana Buddhism that incorporates elements of Taoism, specifically the magic and alchemic elements.
  23. "The cult of Acala ( Fudō) first brought to Japan by the esoteric master Kūkai, the founder of the Shingon school, and his successors, where it developed as part of the growing popularity of rituals for the protection of the state...Acala, as a powerful vanquisher of evil, was regarded both as a protector of the imperial court and the nation as a whole (in which capacity he was invoked during state-sponsored rituals) and the personal guardian of ritual practitioners. Many eminent Buddhist priests like Kūkai, Kakuban, Ennin, Enchin, and Sōō worshiped Acala as their patron deity, and stories of how he miraculously rescued his devotees in times of danger were widely circulated." You can find more information here: https://en.wikipedia.org/wiki/Acala, including why one often sees the Dragon paired with the Ken on some horimono, or like the menuki above.
  24. Apologies for that. Work was bit crazy this week, so didn't have time to check in here. Anyways, congrats to Marius for a fine purchase
  25. I would be interested in it at $50. Could you please pm me on how much shipping would be to Oakland, CA? Thanks! Sincerely, Austin Ross
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