Jacques D.

Are there any kesho yasurime ?

Another one with the same date

Sébastien

That's because you're not looking at the right things - the devil is in the details.

You can't compare two signatures when they're engraved in different styles. That said, it's gimei. Same year

it must have at least one element notare. For example,  if you find a sword signed Inoue Shinkai with a perfect suguha, it's 100% gimei.

No, only the design of the nioiguchi

No one with a little idea ?

Can anyone tell me which component is mandatory on Inoue Shinkai's hamon?

Bad gimei specially the kanji shin 真

From the Inoue Shinkai taikan

According  to the Nihonto meikan : 神田住兼常 Kanda ju Kanetsune. Musashi  貞享 Jokyo 1684/1688 he signed also .Masateru 正照

Rated chu saku by Fujishiro  wazamono.

I own a french translation of the Heihö Kadensho written by Yagyû Munenori son of Yagyü Muneyoshi founder of the Yagyü-Shinkage Ryü. In this book there is nothing about Sword workmanship.

I don't know if this helps, but there were several Kiyomitsu working during the same period, which makes identification more difficult.

Bishu osafune Kiyomitsu saku 備州長船清光作, i let another one translate the date

12 hours ago, Rivkin said:

Suspect its end of Muromachi piece which might have been even straightened at some point to get into cane. It is possible to do such things.

I'd love to know the process

About macro, this is all I can do

8 hours ago, PNSSHOGUN said:

The NBTHK is listed as a public interest organisation that is certified by the government.

Ok for that but no business in their purpose

Purpose of the NBTHK

Set in the past, the goals of the NBTHK are still valid today:

• Preservation and study of Japanese art swords
• To awaken understanding and spread knowledge concerning the Japanese art sword
• To identify, recognize and register the art swords according to their origin and qualification as important Japanese cultural assets and art objects
• Preparation of specialised studies on Japanese swordsmanship and its masters
• Works of art worthy of preservation also include the diverse objects of sword ornaments and sword mounts, such as koshirae, tsuba and the various associated parts of the kodogu

https://www.nbthk.net/main_english

Quote

While I do believe the system that Japanese shinsa provide, however I believe for all of the organizations it is business.

NBTHK is a government agency. I doubt it has a commercial purpose until proven otherwise.

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me being almost the solo voice who has some idea what the items presented are

The question is whether what you're saying is relevant; given your divinations, the answer is clearly negative.

7 hours ago, Toryu2020 said:

I would be very surprised to find that the NBTHK had a database of all the swords they have seen - Perhaps all the swords they have papered, and even so I would not think they have them compiled by smith so that you can reference them (oshigata?). I have been to the research room at the old sword museum and it was full of books - the usual books we all have access to, there were not however file cabinets full of oshigata or ledgers from past shinsa - just the usual books.

 

Thats not to say they don't compile oshigata and make them available to the general public, however that is only at the Juyo level - Juyo To-ken Nado Zufu - an excellent reference if you are collecting at that level...

 

-t

I don't think you have any idea how much documentation the NBTHK has. I bought this book at the NBTHK museum 1200 pages, nothing but oshigatas and it's only an exemple

Bear in mind that there are 7 Soshu Masahiro (6 in Muromachi) and the hozon doesn't specify which one.

There are two reasons to see that sword is gimei : The first is that the way it's engraved (as shown by the osnigata I've provided) doesn't correspond to the Bunka period. The second is essentially to be found in the Masa kanji, whose base is always engraved in an angular manner, whatever the period.

ps some are best ignored

8 hours ago, Toryu2020 said:

The first thing to note is the Yasuri-me - they are not clear cut kesho yasuri - Masahide always has a very clean clear finish to his nakago.

The SUI kanji is just wrong. The horizontal strokes all have a slight curvature - the shoshin shows strokes that are straight.

The spacing of the kanji is off - the KAO should almost be touching the HIDE kanji.

There is NO kokuin.

The closest thing to correct here are the characters for TSUKI and HI - maybe the faker had some relationship to Masahide? Kajihei perhaps?

The horimono is just wrong.

Hum

Brian,

In Masahide's mei, as in that of other smiths, there are characteristics that are permanent throughout the career, and knowing them helps to determine whether or not the mei in question is authentic, which is where a good library is important.

Christian

You can't see the hamon, at most you can see the hadori. A hamon can only be seen in good lighting. the one below is fortunately in sashikomi polish

Perhaps you should explain why this sword is gimei (yes, it is); after all, the horimono may have been made by an amateur who didn't know who Masahide was (this is highly unlikely, of course, but, in absolute, it cannot be ruled out).