Lewis B

That makes more sense then.

Hamish sort of has a point. A day to prep an order doesn't instill an awful lot of confidence if as some say its an involved and meticulous process. I decided to order an uchiko ball from an Osafune togishi via one of the vendors at the Japan Art Show. I'll pick it up in June. I saw it being used the last 2 years and seems to be quality stuff. Not cheap but by the time import duties and shipping are factored in the prices won't be too far apart.

Dealer claiming that because sword has early Torokusho registration papers (ca. 1951) it was previously owned by a daimyo family Attribution drag Dealer suggestions of attribution fluidity eg "Because he inherited his master's style so perfectly, it is a consensus among sword scholars that many works attributed to Shizu were likely historically regarded as original Masamune blades"

I would also insist on it getting NBTHK papers before it leaves Japan. Submit as is. Will the dealer accept responsibility for getting it papered, at your expense. If it fails allowing you to walk away?

Many thanks. I reached out the Bob as the listing says they are made to order. Hopefully he can supply to Germany in a reasonable time.

Is there a retailer or togishi in Europe who sells the highest grade uchiko powder? If not where can this be sourced in Japan?

Or Paul Kremers (Tsuba.info) or Pablo Kuntz (Unique Japan)

Would this be considered Yosegane work? These were part of the Samurai Museum in Berlin event last year. The tanto tsuba was especially nice and sold by Paul Kremers. These should be Umetada which was the subject of the tosogu session.

I didn't want to populate @MassiveMoonHehthread with a load of images but thought a more indepth discussion of the potential connection between Senjuin Yoshihiro and Go was warranted. This is a Juyo Senjuin Yoshihiro blade. I see a lot of Yamato Senjuin style with some Soshu influence like chikei. There is also some semblance to Norshige's hada with mokume elements. So how did Senjuin Yoshihiro come to learn these forging styles and tempering. It's certainly conceivable Go was the conduit through which Senjuin Yoshihiro acquired these different Soshuden techniques, having a direct connection with the early Soshu smiths and Norishige. A tanto dated 1353 signed by Senjuin Yoshihiro (resident of Soekami District, Yamato) has stronger Sagami features ie nie laden, kinsuji, hakikake boshi. As Dr Honma stated, when the tanto was revealed to the public many thought this was a work by Go. But the active dates did not fit.

The active dates for Senjuin Yoshihiro, based on signed and dated works, would support that hypothesis. DOB around 1280, and 20 years old when Go was born. Certainly within the realms of possibility.

How would this be described?

With the availability of great translation apps, why not send messages in Japanese? I feel this often gets a better response, unless the dealer has demonstrated a proficiency with English eg AOI, Shoubudou and Choshuya

I did, 4 months ago and I have to agree. The depth of knowledge, insight and access to information on well over 3000 blades is unparalleled. The included oshigata is a great resource when studying the blades contained in the volumes. I particularly like the pdf format as it's possible to trawl the content using key words. Great if you're looking for specific smiths or blade characteristics. The Yoshihiro tanto was a standout for me too. As was the Kai-no-kuni Go with the Yamato and Soshuden features (that I referenced in another thread discussing early Go blades with Yamato influence). It's clearly saiha, with monouchi mune-yaki that was introduced by the unsympathetic rehardening. But the overall kitae and extensive provenance demands our attention and possibly points to Go's early sword making influences and origins, if we subscribe to the notion that Go's origins lie in the Yamatoden. However given the tendency to elevate superior works to higher level smiths, could this also be an exceptional example of Senjuin Yoshihiro's workmanship? Like the highest Taima masterpieces going to Soshuden.

There is a lot more background history surrounding the illustrious Kai-Go (Kai-no-kuni-Go) blade on @Markusexcellent Japanese Sword Legends under the section entitled The swords of Takeda Shingen https://japaneseswordlegends.wordpress.com/category/uncategorized/page/2/ I had no idea blades were shortened for superstitious reasons. In this case to hamonize the numerical values of the blades length with those of the lunar calendar. Here is the same story from a Japanese language source. It lost a mekugi ana in this earlier oshigata. What is also interesting is that the wild muneyaki hamon in the monouchi on the omote is not illustrated in the example below. Could the saiha have introduced a completely different style of hamon? Honma says it was not retempered by Yasutsugu, but likely by a less capable hand. It's also very weak if the drawing is an accurate depiction, so the oshigata might have been drawn when the blade was in its fire damaged state.

Came across this reference in the Honma KantoHibisho today. An unique example of Go's work with his signature ichimai boshi, but a wide, high shinogi-ji with strong Yamato features in the kitae. Densely forged itame with masame, chikei, copious fine nie and yubashiri with a notare hamon. Dr Honma also says it's the most slender Go blade he had seen. This description sounds very familiar. If anyone has a copy of the Kotoku Katana Ezu could they post the relevant page. Found this oshigata on the Sho-shin page. Motohaba 9 BU (2.7cm) Sakihaba 6 BU (1.8cm) Sori 5 BU (1.5cm)

And here is that TJ tanto from the listing a year ago when it was offered on consignment for $295K. The Mei is beautifully struck with a free flowing and confident style.

From Sesko's Swordsmiths reference

If I can add my own thoughts. I don't think Norishige was a complete novice when he apprenticed with Shintogo. In general, I believe an apprenticeship started much earlier than 18 and from what I've read it could be as early as 12 or 13. Thats 5 years to have learned the basics, shown some exceptional talent and aptitude, enough to have been allowed to study with someone of the stature of Shintogo who, at this moment in time, was at the end of his career. Norishige's first signed blade dates to 1309 (from oshigata) so he may only have spent a year or 2 with Shintogo before studying under the other smiths mentioned but long enough to have absorbed the techniques being used in the atelier. I also believe Shintogo died around 1312/13 so may have been in poor health, which accelerated the move of young Norishige towards those other mentors. As you eloquently describe, the interpersonal interactions are certainly atypical based on modern Japanese student-teacher relationships. Had there not been this flexibility I wonder how Soshuden would have evolved.

You guys never cease to amaze me. The academic activity being conducted behind-the-scenes is humbling. What is interesting to note is the mitsu north crown radical on shodei Kunimitsu mei is being copied by Norishige on some of his work, further cementing the connection between student and master. A great example of this is the J67 wakizashi presented in Chandlers figure. Here is a clearer image from the zufu. The quality of this blade is about as good as I've seen from Norishige and also appears early work before his mitsukawa hada became a major feature. Could that be called an ichimai boshi? Could this blade have been forged when Norishige and Go were collaborating as was mentioned in another thread? Fascinating possibility.

As Oliver states, there are dealers present to accommodate every pocket. The last 2 years I saw plenty of swords priced below 1000 Euro and a couple of Juyo blades around 30K. No tax. Some big savings are possible with a little patience.

Norishige's style of Mei carving was not very consistent during his career. The additional radical on the left of Shige 重 on the 1314 dated tanto is atypical compared to examples from his later career. Under what circumstances would such a departure from the standard kanji have occurred? A deliberate stylistic choice? Was it a common occurrence, observed for other smiths during the late Kamakura?

I should qualify the statement re the Sanekage. It was a naginata naoshi which obviously makes a difference from a commercial standpoint. The only detraction I could detect, from a personal perspective, was it had kaeri boshi on one side and Yakitsume on the other.

Tbh I must have missed that declaration re the Yari and tanto. While not 1.6M JPY, I did find a Juyo Kashu Sanekage blade for 1.8M in excellent polish 18 months ago. I was very tempted but I have my eye on something a little more special and closer to home, so kept my powder dry.

Visited that site several times when I was researching Shintogo Kunimitsu. But I'm not seeing any images of the blades being discussed, neither photos or oshigata. Thats my one disappointment.

It's got a significant kirikomi which may or may not detract from the package depending on your perspective. On the plus side the hamon is nicely disordered.