RichardP

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)

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!

https://www.toukenkomachi.com/index_en_antique.html Gorgeousness and gorgeousity! Sure LOOKS like a pre-Meiji daimyo’s kake—to my ignorant eyes—but that seems like a heck of a claim to provenance…

Never knew tachi kake came in such a variety of forms! An attention-getting companion piece to the standard deer-antler katana kake might be a tachi kake made by articulating a deer spinal column, using the pelvis as the base, with its natural “cup” to hold the kashira…

Another one here: https://www.nihonto.com/11-11-21/

Any pics of the boshi? (Dunno if wakizashi from this smith/school were characteristically signed katana-mei, but hopefully we’re not looking at a katana that’s been shortened from the wrong end.)

Hi Matthew! The sori (curvature) on this blade seems pretty dramatic. Extreme sori—coupled with a rough looking tang—is a potential indicator that a blade has been re-hardened (a blade that’s gone through a fire and lost its hamon may be put through the hardening process again without first re-straightening it, resulting in the existing curvature becoming exaggerated). Or the sword could well have been made that way, or your camera is distorting the amount of curvature, or I’m just seeing things… As a rank newbie, my observation is worth very little and if your post was in regards a potential sale I wouldn’t have stuck my nose in at all. But if you’re just conducting research for a friend, the possibility of “saiha” is one you might explore, even if only to rule it out. Lots of posts about it on this forum, here’s one:

Hey all! Here’s a link to an old post showing construction of the display cabinet: Cheers!

Just received this beautiful hanaire, purchased from Axel Roovers’ website (qualitychanoyu.com). His original pictures of this piece are far better than mine, and can be seen here: https://qualitychanoyu.com/2020/08/28/toko-kaneshige-bizen-vase/ Axel was great to deal with and was attentive through the whole sales process, including shipping from the Netherlands to the US—I’d encourage anyone interested to peruse his website!

Is this the koshirae known as the Good Taste-Cutter?

Looks fantastic! What does the door look like? It would be great if it were built of absurdly heavy timbers, with a thick bolt you could drop into place from the inside, like on a fortress door. Then it could double as a safe room—by the time any intruders battered their way in, you’d be kitted up in yoroi and ready for battle... *Edit* I see you’ve got a modern door with locks—well, I suppose you could go the practical route🤣

A possible course of action you could propose to the seller is for the two of you to settle on a mutually agreeable polisher, and then send the blade to him. If the polisher determines it to be a scratch, you agree to assume all of the associated costs of having shipped the blade to the polisher, and of having the scratch addressed if you choose to do so (since it seems like the scratch, if that’s what it is, was factored into your purchase price). If the polisher determines it’s an hagire, seller agrees to pay all the costs of having shipped the blade to the polisher, as well as giving you the option of a partial refund or return, along the lines of what John proposed.