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sabiji

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About sabiji

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    Berlin, Germany.

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    Thomas S.

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  1. The small sign on the Kabutogane of the big sword could be read as "Ishima" (Katakana).
  2. The blade has the greatest strength in shinogi. The principle continues at the kissaki in the ko-shinogi. Therefore the mune at this point expands to the strength of the Ko-Shinogi. Therefore, the indications of the Kasane can be misleading in some schools and styles. My Nidai Shigekuni in Yamato-Den style has 5 mm Moto-Kasane on the Mune and 7 mm on the Shinogi and shows exactly this effect on the Kissaki.
  3. It is what I mean (maybe a bit exaggerated on the picture): high Shinogi
  4. Why only at Gendai? In all designs where the shinogi is higher than the mune, this effect is seen where the ko-shinogi meets the mune.
  5. Is it just me? When looking at the entire Sugata, I always have a slight feeling of disturbance. At the top an almost straight monouchi and typical for Aoe a very low set koshizori. But the form does not continue in the Nakago. The Nakago area looks to me as if it was straightened at some point.
  6. sabiji

    Saya size

    Possibly the other way around. Tanto lost importance with the decree of the Bushi to wear a pair of swords (katana and wakizashi) in the Edo period. Only in Bakumatsu did this rule soften and Tanto became popular again. Nevertheless, the tanto was reserved for the nobility and the samurai. Certain commoners were allowed to wear a wakizashi, but not a tanto. But it's only one possible explanation ...
  7. Brian and Jean-Pierre are right about the Sugata. I also find the shape remarkable. A very classic shape. Note that the blade in the Monouchi area is almost straight and the Sori's center of gravity is concentrated in the lowest area of the blade. @Babu, a really good shape is usually also an indicator of a (very) good basic quality of the blade, so in this case I would be less worried about hidden defects. The question is rather, how will the loss of material from a restoration affect the already old blade? As some have already written, a Madoake and a knowledgeable eye would be highly recommended. Any loss of material through improper "conservation attempts" would be fatal in any case.
  8. Honesty and collecting, is that even possible? The first step towards honesty would be to say: no! As a collector, I have to know that emotions and passion are valuable, but unfortunately also dangerous companions. They can blind you and trick you into lying to yourself. Then there is money, a lot of money. An explosive mix! Then there is greed, status, recognition. Some things affect you more, some things affect you less. But it affects you. Knowledge is important, but relative. Even after 30 years I sometimes have a blade in front of me and a big question mark over me. But even 30 years are relative. About 20 years ago I called a collector near me whom I didn't know personally before. I was interested in meeting. The first thing he told me on the phone was that he has been collecting for 25 years. On site I quickly realized that he had actually been collecting for a long time. He also had a high opinion of his swords. In fact, he knew next to nothing, unfortunately, only what others had said about some of his swords. For example, as soon as I took a closer look at a particular blade, I noticed his suspicion. Well that was 20 years ago and this collector has been collecting for 45 years. As I hear from him now and then, I know that he hasn't really developed since then. But do I really have the right to judge it? Everyone pursues this hobby for a variety of reasons. And may everyone be happy with it in his own way. My goal was less to collect, but to study the Nihonto. I hated getting three different opinions from three different "professionals". So I had to study and, above all, train my eye. Yes, books are good, but they are of limited help in the beginning. That's why I don't like the often read phrase "buy yourself books first". It is more important to see blades. Lots of blades, and especially good blades. I did that at meetings of the NBTHK EB. I'd seen a lot of blades before, but they weren't the same. It was like a revelation! I started all over again and really began to learn. But in addition to "seeing" it is damn important to "let your pants down" and fill out and hand in your Kantei slip of paper. I learned a lot here, especially when I was wrong. But Mr. Hagenbusch always tried to deduce why you wrote down xy although it was yz. But unfortunately this Kantei game was not always popular with other members. Yes, I have collected. I was a hunter. I had good pieces and wanted better ones. I was never really satisfied. That´s the dark side... But more than 10 years ago I made a cut and sold almost everything. That gives me a freedom that I don't want to miss anymore! I enjoy seeing good blades and continuing to learn. I don't have to "own" it anymore. It gives me a certain unpredictability in judging blades. But in the end I want to be honest here too. You can't get rid of the virus. And when I see good blades, the little devils on my shoulder give everything. So much for passion and emotions. That was a couple of thoughts from me. Please excuse my bad english!
  9. To be honest, I can't understand the discussion. Does the sword suddenly become more beautiful when it gets Juyo overnight? And what sense does it make to advertise this sword for a Juyo-Shinsa if you have failed with it yourself? Sure, to mention the possibility (emphasis on possibility) for Juyo is sales-promoting. But I assume (or hope so) that everyone who wants to buy something from this price range knows exactly what they are doing. The TH is damn new. For Tokuho the condition was obviously sufficient. A very good polish would be necessary for a Juyo Shinsa. How long would the wait even for Aoi be until a very good polisher accepts the job? How long would it take to polish? Then registering for an annual juyo shinsa? 3 years? 4 years? What would the additional costs be? Will the sword really get the Juyo? What does the situation on the collector's market look like given the current uncertain global economic situation? These would all be questions if I were a dealer. I could understand it with a sword made by an important and famous swordsmith, whose blade also promises visible potential. Which is also funny, for a few more cake crumbs, Aoi offers a Kinju with Juyo. An important swordsmith, an absolutely rare swordsmith. One of the Juttetsu Masamunes, a founder of Mino-den alongside Kaneuji. The forefather of the Seki swordsmith. An important sword for any serious collector (no, I'm not Tsuruta). But sorry, I'm just seeing it's just a waki. No katana. Uninteresting...
  10. I recently bought an Nihonto in Japan for a friend. After paying, the seller suddenly said that there had been new regulations for airfreight shipping. It could happen that EMS rejects the shipment. Then only shipping by ship would remain. Finally, the dealer could send the sword via EMS. The package was marked with a sticker "dangerous tool inside". That was about 5 weeks ago. At that time, I could not find a clue anywhere (in forums, at traders), and thought it was a bad joke. But there must seem to have been changes to the rules governing shipments of goods by plane in Japan ... or the changes are coming soon ...
  11. sabiji

    Joseishi Hisayuki

    Thank you, BIG I also found the page. It is also the most recent dating from 1845 with the phrase "Joseishi". I found another Jumonji Yari, auctioned in 2009, dated 1824, and a Waki of Midori City, Gunma Prefecture, dated 1819. His earliest known work is dated 1818, when he was 33 years old. His two teachers, Ikkansai Yoshihiro and Shimizu Hidayoshi, were in their early 20s. I suspect he already had a teacher at the Hosokawa school before the two of them. In any case, the Joseishi signature does not appear from the middle of the 1840s. From here you can find "Fujiwara", "Bakufushi" and "Bakufushin". Here he was already over 60 years old. In his "pensioner phase", however, find most of his work. At least that's my impression. His main occupation was Samurai. As he got older, he probably had more time for his hobby swordsmithing ...
  12. Well, rather "Katzbalger". For a "Gassenhauer" it would be 3 times longer.
  13. sabiji

    Joseishi Hisayuki

    @ K Morita, thank you, yes, these are exactly the kanji of the signature. @ BIG, Thanks for the "Fujiwara" signature. For a comparison, I'm looking for the "Joseishi" variant.
  14. sabiji

    Joseishi Hisayuki

    I'm looking for a reference signature that Kawai Hisayuki probably used in the period 1820-1830. It's about the phrase "Joseishi", meaning "Joseishi Hisayuki". If someone could help me with this, I would be very grateful.
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