Jacques
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Everything posted by Jacques
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I recognized my mistake, and just because I made a mistake once doesn't mean I make mistakes every time. Sadakazu (shodai) and Sadakatsu. That said, I wonder why I'm still here. I'm getting tired of reading all this nonsense, so I'm going to make myself scarce. Some people will be happy about that. For the answer, those who are interested can just ask me via PM.
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These two smiths have a particular way of engraving certain tagane (they are vertical). I ask which ones and why.
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Bryce, You still haven't answered my question, and I'll tell you why: You don't know the answer. For someone who claims to be an expert on these two swordsmiths, that's a bit silly. An oshigata is not a photograph; there are things that cannot be seen.
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And you are unable to describe the characteristics that these two smiths have in common. You still haven't told me how you knew it was a daimei.
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Right (you own Fujjishiro's shinto hen) but how can you see it's a daimei ? I've a big doubt the third (from left) on the above line is a Sadakazu from Meiji... https://eirakudo.shop/token/tachikatana/detail/838671 I'm waiting for an answer to my asking
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Not even, that's why daimei have deliberate differences (Kunisada for example). You still haven't answered the question. What do you think about this one ?
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@Bryce Nice strawman... Angle is still wrong. What about tagane makura ? Totally wrong! You've never seen engraving a mei. They can be identical with exactly the same number of hammer blows.
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Wrong, there is nothing in this mei to suggest that it is by Sadakazu. This mei is engraved clumsily, whereas Sadakazu's is very regular, and there are obvious errors (red circle). As for the rust and wear of the mei and yasurime, they are highly suspicious for a tanto from that period.
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Ok. There are some peculiarities in the way the mei is engraved. I ask you what they are. It is visible to the naked eye.
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I don't think Markus has seen all the existing blades; many are not documented.
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You are not answering my question, even though it is quite specific.
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Can you tell me what is special about Sakakazu's mei?
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More than 70 Osafune Sukesasa, good luck to find this one.
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Nice observation and thanks for the kind words (they are so rare ) When Tsuruta san says not guaranted, you can understand gimei.
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You'll never learn and that makes me sad
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David, I'd like to know what interests you about Nihontö
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Again, without having attended a shinsa this is just speculation. What I want is proven fact.
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Maybe (English is not my native language), but where is the "competition" ? What you say is pure speculation, nothing else. Anyway, I'm not interested in that , what I am interested in is recognizing a swordsmith's work at the first glance (that's not the case for many).
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Usually the given nengo indicates the period where the smith was the most active
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Yoshi@ I would love to know what is a bright and soft nioiguchi...
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A clear misunderstanding of the process. Some swords from the same smith will never get juyo because they don't reach the required level. A quality criterion is in no way “competitive”, this isn't a forging contest.
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Tanobe sensei gets paid for his sayagaki, so he tends to embellish things.
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Not necessarily if it's due to wear from polishing it can get a hozon
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Another source, AFU's translation of Nihonto Koza
