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nagamaki - Franco

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Everything posted by nagamaki - Franco

  1. Season Greetings, First, please, strongly suggest no wd 40, petroleum distillates is not what you want soaking into the metal or saya, imho. For pits take a soft tip Q-tip dipped in sword/choji oil and apply directly to the pitting. The worry is not so much what you see on the surface as what could be below the surface which you cannot see, so make sure the oil soaks into the pit. It was the practice of Ono Kokei NLT sword polisher and his students to seal pits with lacquer. I would imagine he/they use some sort of technique/process to thoroughly dry the pit out first before applying the lacquer. Any thoughts or experience from NMB members on this?
  2. Hello Peter, Never mind. The discussion linked above is much better than my memory.
  3. Twice I've had polishers tell me that they recognized the individual's polisher marks, this on 2 different swords polished in more recent times. Which means it is possible. However, in general, they're an indication of which polishing school (discipline) the polisher is trained. I used to know, but this memory has faded, 9 or 11 bars is Honami (???). Also, I seem to recall reading an article about these marks.
  4. Hello Ed, It simply refers to the practice of a student in a fittings school making a piece who then signs using the teacher's name, but without actually signing using the teacher's mei. A shinsa should be able to determine if that is the case and whether or not the signature is acceptable.
  5. Hello, Might indicate school work.
  6. Consider as well that unless a Japanese person is well schooled in nihonto, it is highly unlikely that they would know if they are looking at a genuine piece or not. And, then, if they were, they would probably be too polite to say anything.
  7. Hello, Thank you for all of your enjoyable responses. Please continue. Comments in light of things mentioned; One feature that stands out for me when reading Yamanaka's Newsletters revised are those notes which refer to which traditions the smith worked in and the differences seen. While recognizing that there will be significant differences in works by the same smith, as we read Yamanaka, Nihonto Koza, Fujishiro, etc., it becomes apparent that there will be certain identifiable characteristics which make it possible to pinpoint with marked reliability who done it. When writing up kantei discussions for our study group rarely did these references all describe a smith's work in the same exact way. Yet, it seemed at least one reference would nail the description of the sword in question. And if it can be done in words, it makes me believe it might be possible to be done digitally as well. Yes, it would take a herculean effort by an organization with access to the best examples available to create a data base with enough depth to cover at least most of the possibilities. Which might be an even greater obstacle in the end to overcome than the tech portion itself. I'm also thinking at this point that this is not to replace the human element, but rather to augment. Computers after all have a knack for picking up and showing small detail that humans might have overlooked or not considered. And, on top of pattern recognition programs where's the current ability to date the age/metal without intrusion at? Thinking about this does make one appreciate even more just what an amazing thing the human mind really is, can be. Late night ramblings ....
  8. Having recently purchased Markus Sesko's 'Kantei Reference Book, Hamon & Boshi,' it has crossed my thoughts that someone must be at least thinking about this, no? Thank you.
  9. https://www.nihonto.com/harutsura-menuki/ Quite an interesting set. Now I know what I'm wishing for for xmas. I think a certain NMB member might be pulling a few extra teeth out over these, ha!
  10. Keep in mind that for a sword to be considered traditionally made there are 3 important elements 1. hand forged 2. tamahagane and 3. water quenched. Which means that a sword could be water quenched, displaying nioi, nie, and still not be considered fully traditionally made. Yes, exceptions, like nambantetsu, duly noted.
  11. Hello Sebastien, We recently made a fuchi kashira box and used balsa wood (recommended by a professional) which can be found in block and sheet sizes/thicknesses, easy to work with. Also, recently, I took a peek inside a Japanese custom made menuki box and it appeared that they used a luan sheet wood.
  12. Hello Sebastien, I believe somewhere in the thread linked below you may find an answer, useful information. http://www.militaria.co.za/nmb/topic/18459-anyone-in-the-us-making-custom-made-fittings-boxes/ Generally speaking a stretch Japanese silk material is what I would be looking for.
  13. Hello Sebastian, Is it possible to view the workmanship? Thanks.
  14. Hello Ian, Typically you'll find there are two kinds of collectors, those who are tolerant of flaws and then those that are not regardless of how minor. Which says it has more to do with the individual than the sword.
  15. So, if this is the case of mumei blades, then, suriage and good enough could certainly pass. p.s. if you think about it almost assures the fact that such a sword is an excellent example. Where that might not necessarily be the case with an ubu sword. Presents the possibility of buying what otherwise might be an expensive unaffordable sword for some at doable price.
  16. Hello, First step is to research/validate the mei and at the same time ensure there are no serious flaws. Then, once you know more precisely what this sword is the next steps can be considered. Based on these images, currently, I'm not seeing anything obvious that says stop. Take your time, don't rush, mistakes are costly.
  17. 1. doubtful 2. I have seen fuchi matched with a horn kashira pass before. I would ask the person submitting for you first.
  18. Hello, Old, new, doesn't matter, this piece is lifeless, there is nothing here of intrinsic value. Chalk this up to lesson learned, tuition paid, not to be repeated.
  19. http://nihontocraft.com/Mihara_Masaiye_Wakizashi.htm
  20. Sorry, my response was not in reference to yours. What I would please like to ask, clarify, is that whenever a kantei for nihonto is posted, the very first image of the sword should be the shape of the sword. Kantei is a very orderly stepped process for good reason. Thank you. As for early muromachi, I would agree with that call, Uda as well. Skeptical of this sword showing utsuri. Thank you.
  21. Reminds me more of yarn than rope? Combined with the edging perhaps a piece of fabric? Thanks for sharing, Guido.
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