RichardP

Fascinating discussion.  Does mei removal also occur with non-sword objects that receive papers, like tosogu?

Having a signature / kao back-filled or chiseled off a seppa-dai in pursuit of papers seems unthinkable, but does it occur in these fields as well?

My internet search for “broken nihonto” just revealed an overlooked meibutsu.  

Named “Broken Wind” (presumably for its deadly ability to clear everyone out of the room), this venerable sword is currently in possession of the Chinatown Antiquer.  

Ware?  
(just kidding)

Shimada Yoshisuke (nidai):

Mr. Tirado just made me a gold-foil habaki, and I couldn’t be happier:

On 6/20/2023 at 5:53 AM, Nobody said:

 

幅廣・寸延ビテ反稍強キ形態而肌立心ノ板目ニ鍛ヘテ起伏アル角互乃目乱ヲ焼キ

沸ヅキ砂流・金筋カゝリ宛ラ村正氣質ヲ加味シタル感ノ活氣漲ル優品也年代天正頃

 

1) Sugata

幅廣・寸延ビテ反稍強キ形態

 

2) Kitae

肌立心ノ板目ニ鍛ヘテ

 

3) Hamon

起伏アル角互乃目乱ヲ焼キ

 

4) Hataraki

沸ヅキ砂流・金筋カゝリ

 

5) Impression

宛ラ村正氣質ヲ加味シタル感ノ活氣漲ル優品也

 

6) Jidai

年代天正頃 – Around Tensho (1573-1592)

1) Sugata

Wide and Long

2) Kitae

Hada ____ Itame ____ Forged?  Jigane?

3) Hamon

________ Gunome Midare ____ Yaki(ire?)

4) Hataraki

Nie? Sunagashi ___ Kinsuji___
 

5) Impression

___ Muramasa ______________________
(“A lively and excellent product with a sense of Muramasa’s temperament” — Google Tanslate)

Thank you so much, Jan and Moriyama-san!

Hello All—

I recently purchased a Shimada Yoshisuke tanto in shirasaya from Aoi.  They were kind enough to agree to approach Tanobe-sensei on my behalf to request a sayagaki, and I was delighted to hear that he was agreeable.  
 

A few weeks later, and the pictures I received back left me a bit startled—Tanobe-san had filled both sides of the saya with beautiful calligraphy (see below).  Without wanting to put Aoi on the spot (I’m grateful they agreed to approach Tanobe-san at all), I asked them if sayagaki translation is a service they offer.  Their response omitted any reference to my translation enquiry altogether, so I feel uncomfortable pursuing the issue with them any further.

While I enjoy the idea of attempting a translation myself, Aoi is waiting for my approval to begin the export process.  My concern is that it’s not inconceivable that it’s worthwhile pushing this blade for higher papers, and since it’s already in Japan, I should make that decision now.  To be clear, I don’t pretend to have the knowledge base to form an opinion as to whether particular blades are of juyo quality—but given how much ink Tanobe-san invested on the back side of the saya, I’m assuming that either a) he has reservations about the current attribution and is elucidating his reasoning, or b) he really likes the blade.  (I couldn’t find any “chin”s or “cho”s, but I hope it’s the latter!!)

I hate to approach you folks without having done any of my own translation homework, but I feel I should let Aoi know as soon as possible where to send the blade.  And the last thing I want is to be the gaijin making everyone uncomfortable with awkward questions about pursuing juyo papers, for a blade that Tanobe-san just downgraded…  

Thank you all so much for any translation services, as well as any advice on whether to pursue higher papers.

Thank you,

Rick

As a Luddite grouch it really pains me to admit just how awesome modern LED lighting technology has become.  You can get 2700-3000K LED bulbs now that are just as rich, warm, and “natural-seeming” as any incandescent Edison-style bulb.  

I really struggled to adapt at first—“From my cold, dead han… oh these are really nice.”

Hello Marc—
The lower hairline maybe looks consistent with an attempt to conceal a patch, but the one on top is so pronounced that it casts a shadow.  I dunno what is going on, but since it doesn’t seem like any attempt was made to conceal the upper line, I’d guess that this isn’t umegane, or any malicious attempt at concealing anything.
I’m assuming that this is a blade you’re considering purchasing and the seller’s description doesn’t mention umegane?  If so, have you asked the seller directly?  I would think the seller should be willing to provide clear photos of the portions that are in shadow, if you request them.  Is it a reputable seller offering an inspection/return policy?

It seems like we’re discussing:

1)  the fiduciary obligation to one’s family to ensure that an art investment is recouped post-mortem, and

2)  the duty owed to the art object itself, having voluntarily undertaken the responsibility of being its temporary guardian.

#1 might be optional, but #2 seems ethically unavoidable. 
 

It looks like the horimono tracks the shinogi pretty well, but the mune—not so much…?

I really enjoyed Roger Robertshaw’s e-book on Hizen-to (http://hizento.com/book-tadayoshi-history.php - $40).

Lots of information logically presented, as well as photos of the mainline smiths’ signatures and clues for spotting gimei.  The author’s enthusiasm is infectious!

Basswood is easy to work with, and can be sourced in pretty large blocks for relatively little cash:

Very handsome!

Can I ask what modifications you made to the drawers?  Did the drawers come with sword racks?

Ian looks at the Type 95:

Chogi?

Hello all, 

I found this Rai-school blade with a kinpun-mei over at e-sword.jp, and am puzzling over the curious windows cut into the handle.  Why was this done?  All I can think of is that this was intended to keep the kinpun-mei from rubbing off when the tsuka is removed/replaced—but It seems like there would be simpler solutions, like recessing the interior portions that might make contact with the mei.  Is this a common modification?

Regards,

Richard

(https://www.e-sword.jp/katana/2210-1040.htm)

On 4/6/2022 at 4:54 AM, Tengu1957 said:

If you submit a sword for shinsa there is a term they will use to call out if it's a false test. 

Interesting.  (I’ve wondered how shinsa panels dealt with questionable tameshi-mei on otherwise sho-shin blades.)

Regards, 

Richard

Thanks for the distinction Piers (I read the attribution as being to Hisamatsu-Matsudaira nobility, but you’re quite right it just mentions “family”).

Cheers!