Lewis B

Did you see this one? Looks like a typical Komonji special (using a different account) with a highly suspicious Mei https://www.ebay.com/itm/357446403657?_skw=kiyomaru+minamoto&itmmeta=01K393CW34D29P7P31RQYYGKYZ&hash=item5339774649:g:2uoAAeSw~NlomqBA&itmprp=enc%3AAQAKAAAA8FkggFvd1GGDu0w3yXCmi1fYEPWEn2w05cfWeR0uvrjYxfaer6hr51Fg%2BVuz%2BbsWU4MSmTSro%2Bzvbvm6bsa3%2BEcsbJvf1uBaHh8750nWmUC7v%2FZpZPt8Fnrh026bbjwoVDNF4JeaDqBA1uzWisIj0iUID%2FO8T6r%2BKt%2B%2BFQGll9iORES2zShHAge9sMgq1EKyKMbdTnRbHKab%2B6%2BDB7hktfear6lAU5tkl2WuKvry2PQvTIN3s4e2O9SvIl0bDJ%2BpKjw7O6sL0aDuch5WNWzVcFO%2F23yKejKxyvSCckIUMJh6roqgjL1Ze9op8hh2oTdIUA%3D%3D|tkp%3ABk9SR9zBs6OaZg

Second sword was kodachi purchased a year ago from Ginza Choshuya. This was chosen more with the heart this time. TH, ex-Tsukamoto Museum blade, Yamato and Soshu features. Only shirasaya this time and I asked the dealer to see if Tanobe would add the sayagaki, which he agreed to do. The hataraki on the blade is more than I hoped. With a macro lens and the correct lighting all the fine Nie formations can be seen. Third and most recent purchase was purely acquired with the heart and a modicum of hope that others see what I saw. Horyu papers, out of polish, dated 1308 but Mei for a grand master. Tanobe has seen the tanto and agrees with the 2018 Shinsa panel that more research is needed to ascertain the veracity of the Mei.... at least he didn't give it the kiss of death and proclaim it gimei... so winning. Yes, it's not in the best condition but I bought it as a survivor that is worthy of saving. Not everything in the collection has to tick all the boxes. Would I buy another, probably not, but in this case I can justify it as part of the collection of Koto era swords. The price was OK at a fraction of what an ubu Kamakura era tanto by a big name goes for these days and came with a decent saya. Next purchase will be a statement piece which will check most of the boxes. It's currently being examined by a top level togishi who I hope will accept the commission. I'm certain he will do what is best for the blade to preserve it and bring out the finer detail in the hada which I'm sure is hiding behind the light surface oxidation. Whatever the outcome Tanobe says it has a sugata consistent with the date inscribed on the nakago and the Mei/date will not be removed even if, at the next submission for Shinsa, it fails to yield a positive result.

First blade purchased 14 months ago at the Japan Art Expo. A TH Yamato Shikkake in good polish. I played it safe and got a blade in shirasaya with Tanobe sayagaki and custom made Tensho koshirae created by the Osafune Museum workshop. Knew exactly what I was buying, thought about it for 3 days and then made an offer which the dealer accepted. Tanobe said it had Juyo potential and I found out later it had been submitted in 2023 but failed to progress. He suggested to resubmit and since 2023 was a tough year, I may do this in the future. Papers, at least trying myself to get higher level papers, are becoming less of a preoccupation as I progress in the hobby.

And not just seeing swords. You have to hold them and observe them under the appropriate lighting. I saw a TJ Den Yukimitsu recently with a fineness in the workmanship that could only be fully appreciated with eyeballs a few inches away from the blade. If this had been displayed behind a glass panel with less than ideal lighting at the wrong angle, the beauty of it would have been missed. When you hear people say they were almost moved to tears by a sword that Yukimitsu was a prime example. Thats when you really get it.

Tanobe sensei Yamatoden book, translated by Markus S should be another essential read. Good bonus section on Saiha. There is also a Bizenden book, but the English version has yet to be published. First read Nagayama.

I think he's saying the chiselling technique is so precise after you've chiseled the same kanji on nakago countless times, over many years, that it does appear like its machine-made. I have several kitchen knives by a swordsmith with hand chiseled Mei and they would be hard to differentiate without the aid of a magnifying lens, such is the muscle memory acquired over many years. Differences would only be discernable if a different style of chisel was used. Or if its daimei......

Whats the nagasa measurement?

How do you feel about gakumei and orkaeishimei? It often surprises me that this isn't encountered more frequently. The big name early Koto smiths eg the Soshu and Rai grand masters, were already highly prized when the blades were being shortened be it for practicality or changes in battlefield tactics. But little effort was made to preserve the mei with the blade after suriage. This is one of my favourite gakumei swords. The jiba is quintessential Norishige

Is that a reflection of a bird or Kitaeware halfway along the blade on the omote side? Can we get a closeup?

Would love to hear (see) what you got.

Please form an orderly line. https://www.ebay.com/itm/306451831251?_skw=kamakura&itmmeta=01K2TDMV3G8SERHG8BADAWDYC6&hash=item4759f3d9d3:g:YA8AAeSwqiZon9h7&itmprp=enc%3AAQAKAAAA8FkggFvd1GGDu0w3yXCmi1f3XVxhaQUFng5L6hkj0PKcDx1KLSPpinrlDoOj5r7QigSmL9YZRq410A5dssZwHH1dSURPRnSXHQ1g3q1R3aKQPW0OeNFoV8s8fT5j%2B%2BsKycxo1nOuF4VeS7SVTDs%2BNcFhhPWKkP8BvKfa0v%2BKfeU9yeHBx5Dhz2%2F09LINnjYZ73gCOEPvLrlkX2zx6blRJ8XHFraeNNYKSjXAUOc6K3aUgkWLy1zZCTmmoH2r15cuWJ876UELnMwa7W9lJFLs%2FG3PZnuHX5HopVP3fP8AcGthz%2BVlZOY58bN%2F3ivcoU9WKw%3D%3D|tkp%3ABk9SR4Cy082WZg

Would love to see that. I've been on the hunt for a Miyamoto Kanenori so it would be nice to see a good one.

Does anyone else think the shaping of the mune looks odd? The togishi polishing stripes along the mune disappear towards the tip (at the red arrow) and it appears as if the ridge has been filed flat. Or is this an unusual stylistic design feature that I just haven't encountered before?

Yes, Naoe Shizu can be exceptional. I had in mind Mino period Tametsugu. Any of the works I've seen attributed to Tametsugu who, at this time around 1365, was part of the Nato Shizu group, have been unimpressive. I'm with Michael I think it's Naoe Shizu work. Sugata is very close to this Juyo blade

Sounds like a rough neighborhood back then with all those demons, goblins and ogres

It's certainly not Mino Shizu. None of the blades I've seen from that period looked anywhere near that good. Maybe Andrew Ickeringill knows as it appears the blade was part of the competition he entered and won a prize. Polisher is quoted as Saito Koshu?

I find Pechalov's Soshu Masterpieces a great door stop and stacked on Comptons 100 Masterpieces a perfect height for accessing the top shelf in the kitchen...... But I echo others here that everyone new to the field should acquire at least one reference book. For me that would be the Nagayama Connoisseur's publication. It's cheap so no excuses and even cheaper used. Start reading and absorb what is written. There's much to learn and it takes time and effort. There are no shortcuts. Progress from there, building on the foundations that have been established. Then start to think about era, style, type, school, papers and obviously budget. My first purchase was a year ago and that was after several years study and understanding what I wanted. Getting the blade, koshirae, Tanobe sayagaki and TH papers just made a nice complete package. I'm still on the hunt for that statement piece. Hopefully a Kamakura era Bizen Ichimonji tachi for which I think I have a saved a good enough budget. I would only feel confident making such a big purchase after doing the groundwork, establishing friendly contacts with far more 'mature' collectors who would be willing to offer an educated opinion if asked, to know as much about the potential purchase as possible. With so much money involved I don't want to take chances or find out I'd been taken for a ride. Just waiting now for the right opportunity to present itself.

That was fun. Any comment regarding the carvings on the nakago?

Sadamune?

How about Hiromitsu, Hiromasa's sensei and supposedly a son of Masamune. Or alternatively Hasebe Kunishige for the nie hint.

Appears to have a later Soshu influence. Hitatsura with partial hardening along the mune. Could it be Hiromasa? Is it Mitsumune?

Nakago and full sugata would be nice. Nagaso just over 30cm?

Kuniyasu aka Daishinbo is also in the mix although the texts put his active years in a later period. He is also said to have used Kunimitsu, but is thought to have primarily been a carver of horimono which might account for the lack of extant work, as well as his decision to follow a different path away from the family business. KUNIYASU (国泰), Gen´ō (元応, 1319-1321), Sagami – “Kuniyasu” (国泰), according to tradition the third son of Shintōgo Kunimitsu (新藤五国光), it is said that he signed with Kunimitsu (国光) too, first name Tōsaburō (藤三郎), a theory says that he was the same smith as Daishinbō (大進坊) – see also “DAISHINBŌ (大進坊), Shōwa (正和, 1312-1317), Sagami” DAISHINBŌ (大進坊), Shōwa (正和, 1312-1317), Sagami – “Daishinbō” (大進坊), “Daishinbō-hōshi Yūkei” (大進坊法師祐慶). This smith and masterly horimono carver is listed in old sword documents as son of Shintōgo Kunimitsu (新藤五国光) and it is also said that Yūkei (祐慶) was the Buddhist priest name of Kunimitsu´s third son Kuniyasu (国泰). Anyway, Daishinbō Yūkei followed a religious path and went from Kamakura over the Sōtō-jinja (走湯神社) and some years as yamabushi mountain ascet at Mt. Haguro (羽黒) in Dewa province finally to Nikkō (日光) where he worked as a priest of the Futarasan-jinja (二荒山神社). The Sōtō-jinja belongs to a temple complex of the Izusan-jinja (伊豆山神社) which is located in the present-day city of Atami (熱海) in Shizuoka Prefecture. Geographical studies on Sagami province titled Shinpen Sagami no Kuni Fudoki Kō (新編相模国風土記稿) from the twelfth year of Tenpō (天保, 1841) mention a signature of Daishinbō that bears the supplement “Sōtō-Daigongen” (走湯大権現), an area at the foot of the mountain where the Sōtō-jinja and Izusan-jinja are located. However, most known signatures of this smith are dubious and it is said that he primarily focused on cutting horimono onto blades of Yukimitsu and Masamune.

Regarding Norishige's stylistic variations, it's clear there were many changes over his long career. The tilt of the 'shige' character is quite consistent especially on tanto, often following the curvature of the nakago (most noticeable on the far right image). The rather simplistic, hesitant carving would make sense if the chisel was held by young, illiterate individual. Masamune and Yukimitsu's calligraphic style is noticeably different, and from what I've read Masamune didn't actually work directly with Shintogo Kunimitsu, instead working along side in a separate space. Quite a reasonable thought if Masamune was Yukimitsu's actual or adoptive son. Stylistically he is quite far removed to assume a direct connection as Master/Student, unlike Kunihiro and the younger Norishige.

Thanks @Hoshi. Very interesting data point. I'm curious about the 1308 tanto though as its mentioned in several places as being the earliest dated piece with Norishige Mei. Could they have been perpetuating a common piece of misinformation. The date on the above example is not 1308, and I accept your translation to 1310. The dates certainly align with Norishige striking out after an apprenticeship with Shintogo Kunimitsu and starting his own workshop back in Etchu and Kunihiro remaining to inherit the forge. Is it possible there is another dated tanto in the Kozan Oshigata for 1308? For the 1310 example is the full or partial oshigata of the blade available? Its really nice to see the date script is not in a cursive style, unlike the 1306 Shintogo blade, as this possibly confirms other hands were working in the atelier in the latter part of the first decade of the 14th century. It has already been suggested the 1306 tanto is daimei Yukimitsu due to the stylistic differences for 'mitsu'. He was a lot older than either Norishige or Kunihiro and I wonder if that experience might make the application of cursive script more likely due to an elevated level of confidence that comes with age. Bit like a youngster graduating from block to joined up lettering.