Lewis B

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.

It definitely makes a statement. Oozes Nanbokucho era

First time I've seen a modification to a Zufu 36 years after it was issued. What is the asking price? As an aside I would not recommend a Juyo and above level blade as a 1st purchase. You don't want to make your beginner mistakes on these blades.

If you can, think about attending an NBTHK-EB meeting which are held a couple times a year in Manching, Germany. I think many Austrians attend this event and you'll get to see some top quality blades, sometimes if you're lucky grandmaster pieces.

Given the potential importance and significance of these discussions, I wonder if transcripts are recorded at the time.

Thanks for the pictures. Its fascinating to see how newly discovered examples are changing the zeitgeist. Take the Yukimitsu for instance. Honma Junji stated not so long ago that he felt all zaimei tanto inscriptions he had examined were suspect requiring further research. With Juyo pass the Shinsa must have felt the mei was genuine, being an even more courageous decision, given the uniqueness of the hitatsura tempuring for this smith. From the Kanzan's Nihonto Taikan (Source Touken West - Nihontō Database) "Among Yukimitsu signatures I have examined, those I believe to be authentic are all two-character mei in a gyōsho (semi-cursive) style that is austere yet dignified. As noted above, long signatures requiring further research include "Sagami-no-kuni Kamakura jūnin Yukimitsu" (Kagen 2) and "Kamakura jūnin Yukimitsu" (Genkyō 2). " Whats the full signature here? Kamakura Jūnin Yukimitsu (鎌倉住人行光)

Totally agree. I saw this Kuniyuki last year along with a blade by his son Kunitoshi and grandson Kunimitsu. To see such high quality examples from 3 generations, all Juyo (possibly higher), in hand, was a unique experience. I believe the Kuniyuki is Juyo not Tokuju, but maybe you are referring to its quality possibly meeting Tokuju level.

Always fascinating to see tools used by swordsmiths. I assume a Sen was used, even in ancient times, to shape the blades prior to being passed to the togi-shi. I can certainly see how poor application of this tool could cause such imperfections. From what I can tell from the low Rez images are that some of the 'creases' are convex and others concave. I would say these were the result to reshaping or straightening after sustaining damage.

As a noob to nihonto collecting and study I feel I've entered in what could be described as a golden era. There are so many English language resources (thanks in no small part to Markus Sesko @Markus) and individuals like @Hoshi, @nulldevice and @Jussi Ekholm, just to name four. Special mention to @Brano for his incredible photography of some spectacular grandmaster swords. One might argure that doing the hard yards is part of the initiation into Nihonto, but having access to this reference material at our fingertips will certainly enourage others to dip their toe in the pool. Once that spark ignites a lifelong passion will follow. We can count ourselves as the lucky ones.

Nice video on the Honjo Masamune Ray. Begs the question why the blade was separated from its koshirae. I imagine that was quite common for swords when they were surrendered after the war, with the Japanese wanting to preserve a part of what they were losing, especially if valuable.

Top level work. Are the fittings signed? I can only imagine a grandmaster blade was worthy of such a koshirae. The quirky menuki design is just raises the whole a little bit higher from a viewers perspective.