Bugyotsuji

Yes, and from the flying carp streamers and 'shobu' flowers on the reverse, probably also to commemorate his first Boy's Day. (To be handed out over two days, later in the month of May?)

It’s the latter, not for Togo Heihachiro, an interesting medallion!

What a wonderful coincidence Tom! I will pass your information along, if I may?

And the long 〆or メ at the top may be to mark where the lid closes tightest.

Hard to tell, but the colour alone might suggest a young peach rather than a persimmon…(?)

Yes, there is a series of reasons (security, preservation etc.) why the curators limit it to short displays during special exhibitions, etc. AI just gave me a whole ream of them! *Someone mentioned to me six weeks a year, but I am not sure if that includes the periods when it is out on loan.

With the falling population, and villages and shrines suffering, many formerly dedicated swords are rusting away for lack of attention. So far the local chapter has negotiated with many shrine authorities and been able to restore nine swords to their former glory, most of them now housed in Okayama Prefectural Museum. Some of these have even achieved official cultural designations. Each time though,we have had to come up with novel ways to fund these restorations, and it is not a cheap venture. Two swords were housed in the Imamura Hachiman Gu, but the previous priests were unwilling to get involved in any project. The new priest however has been more cooperative, and in our third grand project, two swords are now set for polishing, preservation and display. Osafune Sword Museum has agreed to house them and care for them. There will be an official opening ceremony for the project at the shrine on the 4th of April, 2026. The swords will be funded by various means, lectures, etc., and the target is JPY 3 million. The first is a long Odachi by a relatively unknown smith named Inoue Kyubei Masatoshi, dated 1665. 2 m 63 cm overall, the blade length is 1 m 77.3 cm, and it weighs 4.5 kg. The Inoue Kyubei line of smiths lived under the walls of Okayama Castle, Masashige, Masatoshi, Masakiyo, but very few of their works survive, making this a rare artefact. The total estimate for restoration, including a magnolia wood box for example, is 2.5 million. The second is a 1574 katana by Genbei no Jo Sukesada, with a blade length of 68.2 cm, dedicated by a retainer of the Ikeda Daimyo family to the shrine in 1738. This will add a further 500,000 to the bill making a total of 3 million yen. With this latest project they are not planning to ask for donations from overseas. Both blades will be on and off display over the coming year, and from the April 2027 shrine presentation ceremony onwards, they will be housed at Osafune Sword Museum.

安田全宏　やすだまさひろ　(京焼) - 陶印ずかん Yasuda Masahiro, Kyo-yaki (Kyoto ceramics)?

Notice the Touken Ranbu figure has a horizontal 'one' on his lapel badge and belt buckle.

Ah, thanks for this, Brett. I missed this, your original post. Was there at Osafune Sword Museum yesterday but busy with other things so did not go inside to see the Sanchomo this time around. Maybe later this week.

Our local NBTHK meeting was held in the meeting hall there yesterday. I arrived to find the newly-expanded parking lots overflowing, and snaking lines of expectant visitors at the entrance. I think Touken Ranbu will do a second exhibition from 4/25 to May 6. Avoiding the crowds I headed to our meeting half an hour early intending to help with the set-up, but imagine my surprise to see that our lot had decided to do instead a related morning event with a quickly-assembled show of koshirae from Mr Koike and Mr Katayama's personal collections, so visitors got to see these too as they wandered around the sword museum's facilities. I was thinking of starting another thread on that and related events, but here I am hijacking your thread, Brett.

That certainly looks tempting, Brett! Thanks for the heads-up. (The Sanchomo/Yamatorige has been on display at the Osafune Sword Museum since last Friday, March 20th, and is drawing unusually large crowds.)

Looking forward to your ‘finished’ pics, John. Next month I hope to show the dealer the refreshed oil pot with its new lid, thanking him for his help and advice. Conscious of this scenario, I did make an extra effort to get it ‘right’. Might even buy something from his stand!

That would be true today John, but not so much back in the Edo period when things were a little more clear-cut.

That was too easy, Jean! Yes, I was quite surprised that they could find such a baby, and then season it like an adult gourd. As to karakuri, I have two or three examples, lotus seeds in a pod, a worm in a chestnut, etc. You also see moving tongues, popping eyes and so on. Secret fun!

Meantime a netsuke quiz. 6 cm long and 2.5 cm at the widest bulge. I have had hyōtan netsuke made of Edo glass, shinchū brass, wood, horn, ivory, etc., but this little baby is the most realistic so far. What material is it? (The mouth surround looks to be silver.)

Stephen, when you say 'yari' in Japan with Hozon above, are you referring to the whole thing with pole (a nightmare to ship), or just the blade and nakago?

Beyond the netsuke angle, this makes me sad to hear. In my experience individuals tend to get along together well, but when politics become involved ... I will say no more.

Hi Clark, great to hear back from you! Thank you for these additions. The first two are difficult to appraise, but I think your comments cover the area pretty well. They are either genuinely old, or they have been cleverly made to appear old. Since masks do not generally fetch high prices, though, the question could be why fake one, even more so a plain wood netsuke? As to the signature, however, I agree. There is no recorded 水山 Mizuyama or Suizan that I can find. The Mei is suspiciously close to Suisen 水仙, a name that is already rather rare, and he was not a mask carver anyway, so my instinct would tell me that it has been added later, as you suggest. The tagua (ivory) nut netsuke though is more interesting for me. The face is probably not Daruma but Hyottoko. It is quite clever how the die/dice functions, and somehow typically Japanese in concept. These karakuri netsuke tickle the mind as you try to work out how the artisan made such a thing. They were however making netsuke from vegetable ivory towards the end of Edo and into Meiji, so it could easily have some age to it. Can you get a clearer shot of the signature cartouche? It's just on the edge of being readable... but no guarantees! Personally speaking, I like it a lot!

Note that your papers record different lengths for a Yasumitsu signed katana, and an Inoue Shinkai wakizashi.

Loving those old iron reinforcing fitments.

平安城住下坂 Heian Jo Jū Shimosaka “Made by a Shimosaka smith living in the Kyoto area” The Shimosaka were well-known makers of Yari.

Hmmm… a ‘full workshop’ sounds nice. Kind words from both of you much appreciated. Anyone else have some cultural refreshment they’re tempted to share?

About a year ago I bought a bronze oil pot for an Edo period Japanese andon lamp. A fine-looking thing, but as is often the case, it had lost its lid. Rather slim in silhouette, it needed a small lid. Round and round the antiques fairs I went, rejecting most but buying occasionally, only to be disappointed once more by the lack of a proper material or age match. Months passed. One dealer who has several weathered antique lids on a string handed me a nice one yesterday that he had been saving for me. “Cut this down to the correct size, using an angle grinder.” “Tin snips?” I ventured. “Definitely not. Grind it down to size!” Gulp. Never really been happy working metals. A delicate thing with definite age. What if I ruin the old lid? Still, lonely hearts club, etc., so a potential new life for the pot I reckoned, and got to work shrinking the thing. Hand files and sanding papers though. Getting close to the right size? About 6.7 cm across… Hmmm… .