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Valric last won the day on April 9 2019

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    Christopher H.

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  1. Relic of the past. Digital libraries are far more efficient and instantly searchable, not to mention much cheaper. Ipad with an instant library of a thousand volume searchable, the cognitive gains are simply immense. The current practice of reading entire volumes containing lists of smiths and work is an incredibly inefficient search methods, and impedes learning. Motivated beginners nowadays can learn at a rate unimaginable in the past and reduce the knowledge asymmetry immensely (and as a side-effect, horse trading income). Paper is tied to demographics. Collectors are a venerable population, in the US I would think it is mostly boomers who could enjoy the bounty hunting period of history. So paper will slowly die out with the cohort. The question is whether or not new blood will enter the overseas market of if it will concentrate back into Japan, which faces a similar albeit extremely skewed population of very wealthy whales competing for the top. Same story with NBTHK papers really. Should be at this stage digital certificates, but the tastes are driven by the demographics. Everything with swords moves slowly due to the preferences of the cohort. In fifty years we might see blockchain-issued NBTHK papers. The new reality will take time to manifest, and Nihonto will probably be one of the last collectibles to shift into the new digital epoch. Which is unfortunate because it reduces the immediate value and appeal of the hobby with newcomers.
  2. It's just badly organised tech-wise. We should have videos at this point of swords, the sort that Ohira-san makes. The problem is that all of this costs money, running a website, doing the videos, documenting, collecting votes in an interesting way, keeping a leaderboard, giving clues, etc. What's the business model here to sustain it? I don't know.
  3. Valric


    Give hints when it's veering off-track by providing some broad clues. It's hard to operate kantei on the internet due to the varying degrees of photographic quality and styles. Another way to give hints is to describe the visual elements on the photography, such as the utsuri, or the boshi. These are traits which are hard to infer upon from photos.
  4. Blades in these shapes were not mass produced as far as I am aware. Another probable case is that this is an early momoyama period work, made mumei later to pass off as Nanbokucho. Seki at this point would lead us to someone associated with Daido, who made blades with O-kissaki in Seki during the early momoyama days.
  5. Jussi, great answer. When a school spans multiple period, they'll often market the place within the most valued period. We saw this with Tsuruta's latest Ko-Bizen, which was bucketed in Heian in the description while belonging to Kamakura. We all have a clear association with Nanbokucho and its characteristic shape, but it's important to remember that schools such as Yamato operated during the Nambokucho period and maintained the earlier shapes. Context is everything and each blade much be analysed without shortcuts.
  6. Valric


    I'd have never guessed. I associate Ayanokoji with Sadatoshi, which generally displays a finer hada, ko-nie, and profuse nijuba. These are also traits of Sanjo/Gojo. I think you style of photo really brings out the traits, but on the downside it makes work seem much rougher than they really are. I was also unsure about the hazy white upper portion, whether it was utsuri, or something else. Those tobiyaki all over the place, the irregular nie and relatively coarse nie and hada, the bright contract with the ha, these attributes bring me elsewhere. Utsuri (if this is utsuri) rules it out though. I went through the records and found some Ayanokoji work (although, in the minority) with tobiyaki drawn in the Oshigata. So much to learn. An enriching experience all in all.
  7. Valric


    Thanks for posting this. Interesting blade. Tobiyaki, irregular nie clusters and incrustations, nioiguchi with violent fluctuations, I would put it squarely into muromachi, Sue-Soshu. Clearly harkens back to Hiromitsu/Akihiro, offshoot later branch. My guess is Shimada.
  8. Weight and balance were not really a factor since the end of the Muromachi period. Occasionally you'll find massive iron tsuba for Nanbokucho slashers. Sturdy and relatively thin was the goal back in the days, for added protection. You'll also find rawhide tsubas that have been lacquered for waterproofing. These were made and used with functionality in mind. In Higo you'll find remnant of this function-first philosophy.
  9. Pretty much slam-dunk Kanemoto school. The Sanbonsugi pattern is highly regular with sharp peaks, at the same time is looks well made and high-quality. I would put it a generation or two after Magoroku. Likely 1570-1600.
  10. I am not certain this qualifies as Nijuba, it seems you have here two structures: a finer nioi-based ha, with a coarser ara-nie based structure above it. In my experience Nijuba has a similar structure to the habuchi (i.e if it is nie-based, the nijuba is nie-based) - but these are technicalities beyond my expertise.
  11. Hi Giulio, There is indeed Nijuba drawn in the Oshigata. See section below. Hope this helps!
  12. Hi Gulio and welcome. This is a patch of clustered ara-nie with a tendency towards nie kuzure. These form large crystals of standing-out nie that are discernible easily to the naked eye. What's occurring here is that the hardening process fluctuates between nie and nioi, with unevenness in the expression, density, and size of the nie crystals. This can be due to either materials being unevenly mixed, or to the quenching temperature differential between slightly different between sections of the blade. The ara-nie of smiths such as Shizu Kaneuji is a valuable kantei point, and considered a positive trait and deliberate (i.e. reflecting the smith's intention). Ara-nie has a strong presence in the mino tradition, and later in Shinto (which was inherited from Mino, broadly speaking). As you move away from Kaneuji, Ara-nie is considered more accidental than deliberate. Hotsure appears as fraying threads of fine nie crystals, typically a trait of Yamato-den. Nijuba you'll fine as a parallel repetitions of the nioiguchi, typically on early Bizen tachi and Yamashiro work more generally. Hope this helps, good luck in your study. Don't hesitate should have any questions.
  13. Very typically Mino. You have distinctive and sharp gunome elements, which evokes the Kanemoto School although without the three-peak pattern. The masame in the ha with sunagashi and intertwined nie comes from Yamato and harkens back to Kaneuji settling in Mino. I would situate it between Koto Naoe Shizu and Muromachi Kanemoto, as it fits well in between as a transitional piece. Early-to-mid Muromachi Mino.
  14. Dear Valentina, 


    Some related question - is the item in Russia presently? Is it part of a broader collection you are looking to sell? Since I have business operations in your country, I can organise the export.




    Christopher Hill

  15. Hi Valentina, 


    I'm a collector in switzerland, and I'm interested in your koshirae. What's your asking price?




    Christopher Hill

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