Markus

Thank you @Rayhan for reaching out, full support from me.

I don't remember ever seeing an Edo period Hon'ami document that addresses details like such. Only entering the Meiji era, and then we already get overlapping/contradicting terminology. @Rivkin Hi Kirill on this occasion, long time no see. Downloaded your guide and eagerly read it the other day. Very good!

@SteveM I actually thought of ume first too. So similar in cursive.

The first character is a bit odd. Man'yōgana should be (波) for Ha, but it looks like it is either(柀) or (披), which do not read ha. But anyways, we have here a poem by Matsuo Bashō about early spring, with the last two elements, moon and plums (tsuki to ume) being a rebus as shown on the tsuba and not spelled out in the poem. 披る茂屋々 けしき登々乃ふ Haru mo yaya keshiki totonou tsuki to ume. "The scenery of spring is almost in place, with the moon and plums"

Teruyoshi studied with Hosokawa Masayoshi after he had received his initial training from Terukazu.

Just a couple of corrections, if I may. The two names in question are Gyokurinshi Hideji (玉林子英二) and Gyokurinshi Teruyoshi (玉鱗子英義), both smiths who had been adopted by Terukazu (英一).

As Jacques pointed out, just a different way of writing KANE (兼). There is even a term for that, uokane, when the KANE (兼) character resembles that for "fish" (魚, Japanese: uo/gyo/sakana).

I would like to thank you, Andy and Chi Fan 🙏

Amazing! This looks like something you can look at for years and discover new things. Thank you for sharing @Andrew Ickeringill

While there is no record on why the umegane were removed, I was able to narrow down the time frame between 1907 (when the fotos WITH them were taken for the Bulletin) and a record shot taken in 1922 where there were already gone. The museum had several Japanese consultants coming over once in a while around that time period, so I can guess it was maybe done on their recommendation. But, its a mystery...

Apologies for the confusion @Spartancrest Too early in the morning, lol. Trying to see if there are any records about that.

[Edited] Just realized was looking at the wrong thing. Try to see if I can find any records on when (why?) the ategane were removed.

@Brian Will be back later this fall on a more regular basis here 👍

No date, as Steve pointed out. What "worries" me a bit is that the cert quotes the gold inlaid cutting test under "mei" and not in a separate "kinzōgan-mei section"...

The puzzle is: Tsuki Mitsuoki chōsen (月光興彫鐫) – "Engraved by Tsuki Mitsuoki" The artist had the habit of abbreviating his Ōtsuki School name to just Tsuki and signing the Oki character very similar to a kaō monogram.

I have placed the orders for readers who pre-paid for the Tosogu Classroom project in several phases (some before, and some after my recent trip to Japan). Production of hardcovers takes a little longer than it was the case a few years back (anything improving recently?). Volumes 3 should be arriving soon, and I do not know why some get there sooner than others. I guess it depends on how close the print partner is Lulu.com uses for producing the books.

Direct link: https://mailchi.mp/7...om-the-field-2023-23 Link to some of the past issues: https://us19.campaig...4a0c23&id=1891b1f9ee

Thank you all for your support! Unless there were some mean posts that were deleted in the meantime, we can leave this thread open as I would like to give people a quick and easy opportunity to opt out of this project. Grey is proofreading the next chapters of the Tosogu Classroom as we speak, so this is very much alive and going forward (yes, slowly, and I apologize for that).

Thank you very much Bob @Surfson and Volker @Volker62 ! I will get in touch with you directly. I fully understand the frustration and am happy to refund everyone who wants to opt out. It is not that we are talking about a brief delay, it has been years now, which is embarrassing.

@Surfson Thank you Bob! Checked my records and you did not pay in, so your offer is greatly appreciated!

@Brian You did (can let you know the amount if you want), and thank you very much for leaving it in!

@Stephen Please forward me your PayPal to markus.sesko@gmail.com. Thx!

I was made aware of that thread as I hardly check NMB as of lately. I am happy to refund any backer if desired, but would appreciate if that does not happen all at once. Still working on it, however, but can not give an estimate about when finished as I will make it part of my Legacy ProjectTM that will deal with all the schools of sword making via individual volumes. Therefore, I fully understand if you prefer a refund and I will follow through with that as quickly as possible whenever a request come in. Best regards, Markus

You are very welcome, JT. Maybe others can chime in as I am afraid, I am no longer allowed to give any monetary evaluations or make comments on such (museum policy).

Thank you Jussi! Now I went through some papered Ujishige examples and learned that the NBTHK does tend to add Shodai (初代), First Generation, in parenthesis when they are referring to the "first first" generation that was active in the mid-1600s (see attached pic). Upon reversion, the lack of that not being mention on the paper does speak for the blade being a work by Ujishige III (氏重) / Ujishige I (氏繁). Also, the first two generations Ujishige (氏重) usually signed the SHIGE character very close to the UJI character, which is not the case with the blade in question either, what further suggests Ujishige III (氏重) / Ujishige I (氏繁). The Ujishige lineage goes as follows, with their years of death stated and their main active periods according to the meikan: Ujishige I (氏重, ?–1691) – Manji (万治, 1658–1661) Ujishige II (氏重, ?–1718) – Genroku (元禄, 1688–1704) Ujishige III (氏重, ?–1755) = Ujishige I (氏繁) – Genbun (元文, 1736–1741) Ujishige II (氏繁, ?–1783) – Meiwa (明和, 1764–1772) Ujishige III (氏繁, ?–1790) – Tenmei (天明, 1781–1789) Ujishige IV (氏繁, ?–1790) = Masashige (正繁, 1760–1830) – Kansei (寛政, 1789–1801) Ujishige V (氏繁, ?–?) – Bunka (文化, 1804–1818) When it comes to the existing body of work of this lineage, it mostly goes back to Masashige (正繁) and to Ujishige I (氏重, ?–1691). Reason for that is the sword boom of the 1660s and the patronage of Masashige. Ujishige III (氏繁, ?–1790) died early and Ujishige V (氏繁) was overshadowed by his predecessor Masashige. The others were active when the demand for swords had decreased significantly. Regarding your question whether later shintō or shinshintō, you are correct, the blade falls into the former category. Shinshintō is usually linked to the work of Suishinshi Masahide (水心子正秀, 1750–1825), or to be precise, to his attempt of reviving kotō sword making roughly starting in the 1780s.