sabiji

Suzuki Ichirin

Chris, my point was this sentence: If you want to ask us to re-wrap the Tsuka-Ito and re-paint the Saya, the additional cost will be JPY15,000　for each. But never mind, let's drop the subject! It must be probably on me and my sensibilities. But I just can not imagine it, for the equivalent of about EUR 100.00 each to destroy the charm and the patina of this old ensemble. Especially since a high-quality result could hardly be expected for the price. As already written, let's leave the subject. Even if it has taught me a few things...

However, there is a difference between trying to save and preserve an original condition and trying to recreate a partial one (in the case of missing parts) - in other words, restoring. I think there would be an outcry among the masses if someone repainted the paint box of your example according to his own taste. How many really old examples of saya before the late 18th or 19th century still exist? How many tsukaito have seen at least pre-1868? The comparison with polishing blades does not fit.

Curran, I am fully aware of everything you write. This is exactly why I refrain from acquiring such married objects. But of course, this is up to each person. Likewise, to have a mount made for his blade in correspondingly well-founded craftsmanship quality. There are many great, newly made mounts. Even more beautiful to me are coherent and detailed mounts made according to the dimensions of a certain era and with kodogu from exactly this period. But it simply makes no sense to rape a possibly good 350 year old saya with new varnish, in which one should no longer store a blade anyway. No, the saya or tsuka are not works of art, but they do have historical relevance. I have been dealing with the matter not only since yesterday, and have seen enough tinkering and bungling. That's why something like this only makes me sad. And people who obviously have no problem with it, I find just creepy. Please excuse my bad English.

The black lacquer of the saya looks transparent and goes into coffee brown and is obviously really old. Likewise the lacquered tsuka. Tsuka and saya are at least early Edo period. But what Tsurata-San offers then, I just don't believe.... https://www.aoijapan.com/wakizashi-bishu-osafune-norimitsu-sakunbthk-tokubetsu-hozon-token/

Thanks Grev, it is as always remote diagnostic, so please do not put my words on the gold scale. But I do not feel that the tanto is Shinshinto. Even with magnification I can't make out any yasurime, the ha machi is not particularly pronounced. Surely in the Shinshinto again tanto were produced with pleasure in all variations and styles, but Mino-Den was hardly in fashion in that time. And even if a Soshu-Mino mix in the style of Shizu could have been attempted here, as it was done in later Shinshinto the Naotane or Kiyomaro school with pleasure, I simply lack the necessary Nie, because one wanted to copy consciously to the old masters. To my mind, this is a utility dagger from the late Koto and early Edo period - from that time when many Mino blacksmiths sought a new sphere of activity in the many newly created fiefdoms throughout Japan. Or simply stayed in Mino...;-)

Hi Grev, do you have a picture of the whole Sugata and the Nakago somewhere? I can not see conclusively that the dagger should be Shinshinto. It shows Mino and Soshu characteristics, but there are hardly any Nie (except in the Boshi), so I tend to think more Mino influence. The Boshi clearly shows a pronounced Kaeri, and even Muneyaki seems to be present. I don't believe Kiyomaro school, because they were Nie fetishists and the steel seems clearer with them.

Thank you very much Jussi! I appreciate it very much! I hope to see you in Berlin next year....

Dear sword lovers, maybe someone can help me? As part of a research I am looking for images of the Oshigata as well as the Setsumei of Mino Kinju from the Juyo Token Nado Zufu, which I do not own. I would be interested in: - Session 18 , Tanto - Session 20, Tanto - Session 22, Wakizashi - Session 23 2 x Katana, 1 x Wakizashi - Session 34, Tanto - Session 35 Tanto - Session 55 Tachi. If anyone owns this Juyo Token Zufu, and would be so kind as to send me a scan of the page with the Kinju information, it would help me immensely and I would be extremely grateful. Best regards, Thomas.

Perfect! This is exactly what I was looking for! Thanks a lot! We had discovered the exhibition rather by chance and that shortly before closing time. But that left us alone in the exhibition.

Maybe someone can help me. I was in a small exhibition at Honno-Ji in Kyoto at the end of October. There were items related to Oda Nobunaga on display. Among other things, there was a nodachi which is said to have belonged to Mori Ranmaru. The blade from the Muromachi period had over 1 meter Nagasa and is said to be from the Kanabo school. Unfortunately, we were not allowed to take photos of exhibits. And fool that I am, I decided against an exhibition catalog because I already have too many books and catalogs lying around. I had hoped to find information and pictures of the Koshirae on the internet afterwards, but without success. Does anyone know maybe links or other sources?

Well, without having actually seen the blade, one cannot allow oneself an opinion, even if the Sugata to be seen does not remind one of the late Kamakura. But what I would actually expect, especially if one suspects a first-class swordsmith based on a signature, would be that even if the polish is no longer in such a good state of preservation, one can still definitely see the tremendous potential of an above-average quality of excellent work. For example: hey guys, look at the tremendous luminosity of the Nie, it sprays into Ha and Ji and lies over the entire blade like morning dew. The Hamon seems to be full of Hataraki. Even in that state I can see enormous chikei. Moreover, the tang carries the signature ...xy, what is your opinion? But there is nothing to read about it here (but also often in similar posts). The cause may be that existing quality is not recognized, or that the necessary quality is simply not present. This is why excellent photos are so important. Also because many experienced people here with appropriate quality of the heart rises and one could certify you without envy a possible good quality, or at least a certain potential. No matter if Gimei or not (or another Masamune). Also, it would be a good way (for starters) not to spend hours on Gimei, but to learn what distinguishes good blades. Then you can often answer some questions for yourself already. That's all.

This is a kamashiki. A coaster for the kama (kettle), which is also shown. It can be made of various materials. I own a kamashiki woven from pine needles. The kamashiki is also very popular as a family crest (mon) in various representations.

I just saw this thread. The seppa-dai is typical of Akasaka, the tagane are typical of Akasaka, the hitsu-ana fit the earlier rather than the later pieces. Cracks or small imperfections are actually quite common due to the construction. Tsuruta-san has just a Ko Akasaka with TH a lot of money, which is also missing a small spot on the inner ring of the decoration. No drama at all with such pieces.

Seems to taste good! What I've also been asked: are these chef's hats? But somehow the tsuba has something humoresque...

Chasen-Tsuba, Ko Shoami

If blades have been polished more frequently, deeper flaws may come to light. The opinion that horimono were used to conceal flaws is widespread. In principle, this cannot be ruled out. But the following considerations actually contradict this opinion: - Horimono were quite expensive. - Wouldn't it be an even higher risk to deliberately conceal such spots with a horimono? The flaw could become even more noticeable and would affect the engraving in any case. At least that would be my thoughts on it.

Well, that everyone must decide for themselves. I knew someone who was so focused on a Hadaware on a blade that he was blind to the actual quality and beauty of the blade. He sold it again pretty quickly. Also, I'm always fascinated how some people spot the smallest speck of dust in seconds, while absolutely ignoring an excellent Deki. (My wife is one of them... ) Therefore: smaller hadaware in the yakiba can hardly be concealed by the togishi, completely different than in the ji or shinogiji. Only, many hardly discover these places, respectively, they are less noticeable. If the pictures were from a Hankei, probably no one would have more problems with this sword.

Some data (dimensions) of the blade would be good. As well as some better photos of the kissaki/boshi, the ha/munemachi area, the complete nagako, and larger photos of the ji and shinogi-ji. It is not a toran, rather a gunome midare. As John writes, you can't see a hada, but a very highly condensed hada is found not only in Shinshinto, but also in the high period of Shinto around Kanbun to Enpo. In the kanji, neither the tagane and tagane-makura are clearly visible, nor the yasurime. Therefore, I do not believe that the blade is Shinshinto. Only one thing is certain, "the Kinju", disciple of Masamune (whether Sho or Nidai) is not. Many later Kinju - if the signature is genuine - are Seki swordsmiths or have their roots in Mino-den.

Hahaha, the puzzling of the members here is already funny. If the value and the time are correct, that leaves essentially Soshu-Den / Masamune student remains. But the pronounced Sori is not really Nanbokucho typical and is more reminiscent of Kamakura II or III. A Yamashiro Rai blade would be quite nice!

According to my information, the import turnover tax on collectibles, art and cultural goods as defined by the Swiss turnover tax law is a tiny 2.5%. Also funny: Customs experts emphasize that it is a cultural good. Here in Germany, lawsuits are underway against the levying of the full VAT rate on the import of such objects. Swords, armor and kodogu are not recognized as collectibles and cultural property in these cases, and the reduced tax rate is denied. But if customs catches someone as in this case. then of course it is a cultural property. However. If the value is really correct, the swordsmith would have to be in the first league...

Basically, Kyle has already written everything with the reference that Ikkansai Yoshihiro was a teacher of this Kunihide. If one sees such a Hamon torn by an aggressive Hada, must go actually immediately the alarm bells that here influence of Ikkansai Yoshihiro is present. He had developed a forging technique whose result is almost reminiscent of modern damascus, in order to come as close as possible to the appearance of Norishige blades. This effect is also sometimes seen in Kawaii Hisayuki, who also learned from Yoshihiro, only that Hisayuki forged the Hada more densely, so that the effect appears much more subtle. With Yoshihiro's work, I sometimes don't know whether to rejoice or cry. Some blades look quite spectacular, others just awful. A good example is the other linked blade by Kunihide: it's pretty special...okay, whoever likes it...

Hi Bryce, I think it is a Gasaku of Sho and Nidai. I gave a lecture on Hisamichi at the NBTHK EB more than 15 years ago, but unfortunately I no longer have the script. Hisamichi is originally from a samurai family and is not a member of the Mishina clan. How he was actually able to assume his position in this family group, I have never really been able to clarify. Officially, you read everywhere that he was a student of Nidai Iga no Kami Kinmichi. But it is noticeable that there was a strong bond between Hisamichi and the Izumi Kami Rai Kinmichi branch of the family. I rather think that Shodai Hisamichi worked a lot with the Nidai and Sandai Rai Kinmichi, and probably learned more from the Nidai Rai Kinmichi, whose 3rd son he adopted as Nidai Hisamichi. His name was Hisatsugu during the Shodai's lifetime. In the late phase of the Shodai, Hisatsugu handed over the Kikumon, while he then engraved Edagiku, and Hisatsugu proudly calls himself Chakushi, heir or successor of Shodai Hisamichi.

These are Hanshan and Shide (Kanzan and Jittoku). Both with their attributes, Hanshan as a scholar the scroll, and Shide as a servant the broom.

Well, I would want to do it like Barry - and blades which I have actually held in my hands and been able to study, and which have really impressed me. This is of course completely subjective, because of course my personal taste and preferences play a role. And as I said, it is about certain blades (signed, or with attribution), which have remained in my memory and which I would also like to name spontaneously, without thinking twice. Shintogo Kunimitsu Rai Kunimitsu Unji Kamakura Sukezane Shizu Kaneuji Nanki Shigekuni Dewa Daijo Kunimichi Yasutsugu Nidai Shume Kami Yasuyo Kiyomaro