Surfson

Hi All. Just requested some help with the signature on this piece and got a request to show photos, so I am doing so here, in case the tosogu section followers don't go to the translation page. This is an interesting wakizashi koshirae that I was moved to buy for several reasons. It has very nice mounts that appear to all be by the same hand. The fuchi and the kojiri are both signed Yasuhara Yoshinori and Yoshinori respectively (also Bijo - thanks to Steve for help with the translation), who is listed in Haynes as H12005.0. Haynes mentions his lineage, but I haven't had a chance to look into it more, so if any of you know about him or the line, please speak up. The fuchi-kashira are made in iron and some neglect has led to considerable surface rusting. I believe that this made it more affordable and gives me the chance to have some restoration done. I am open to suggestions as to who might be right for it. Since it is in Japan right now, somebody in Japan would be worth considering. I have the options to send it to Mishina San to use his collaborators or to Pablo Kunze, who I believe does this sort of thing. I have sent many items to Brian Tschernega, but he is very busy now. The seppa are also missing a few pieces of gold that I would like to have redone. The habaki appears likely to be solid gold to me, based on the depth of the carvings, though it may just have a very thick plate. The saya is quite interesting and I would love to hear what any of you may know about this style of work and how it is done. I assume that layering is involved and the layers are cut through, sort of like with guribori. The kozuka looks very good to my eye. I can't tell if it is likely to be Goto or not, but the nanako is perfectly geometrically placed, which is usually an indicator of top work in my experience. The kokatana is not shown, but has a very nice looking signature of Tamba no Kami Yoshimichi. It also has some surface rust. Any comments are appreciated. Cheers, Bob

You can also use a piece of antler horn if you don't have ivory available. Antler's are plentiful in Japan, I would guess, and have few uses.

I thought you would never ask Geraint! Should I post them here or in the Tosogu section?

Tom, I wanted to "like" your post, but I really don't like the way that you were treated. That does sound like a good reason to lawyer up. Did you sell your whole collection and have you reconstituted it? Cheers, Bob

You are amazing and so helpful Steve! It took me a while, but I did find him listed under Yoshinori, which is the way that Haynes lists him. He became a retainer of the Ikeda Daimyo of Matsuyama apparently during the late Edo period. Much appreciated! Cheers, Bob

Hi All. I am posting these since I suspect that one of you wizards will be able to translate it off the top of your head. I just bought a set of koshirae that seem to have been made by a single maker. The photos are from signatures on the kojiri and the fuchi. I am not great at this type of cursive, but suspect the last kanji may be hide. Any help would be greatly appreciated, as I think that based on the work this should be a maker with a good reputation. Cheers, Bob

I know that in the day when they said "attributed to" or "signed" at Sotheby's or Christies, they didn't back it up, whereas when they said "made by" they did, or so I recall.

So there is no element of case hardening also going on during Yakiire then? It does sound like you are saying that there is some transfer of carbon from the flux to the steel, even if there is no net addition. Sorry, but I haven't tried to study the inorganic chemistry of the process.

I love these mokume mud pies as well. Here is one in my collection - not sure if I have shared it in the past. I have never submitted it, or studied it for that matter, and am wide open to opinions about it. I have always assumed that it is a genuine Myochin, but you know what they say about assumptions.

Francois, it is not uncommon for sellers to do this. By putting a huge price and then "or best offer", their listing ends up on the top of the page if the buyer searches from most to least expensive. I have seen this done with many different items, like collectible guitars.

I agree with that sentiment Mark, though I have also been very pleasantly surprised as well when tsuba are much nicer in hand than they appear in photos. I am trying to develop my understanding of Higo and Akasaka, which has been challenging and fun. I do hope that the shows start up again soon, as I have had a table at the Chicago show every year that I know that I will be in town. At least my registration fee from this year will carry over!

Jean, are you saying that the clay slurry that swordmakers put on the sword doesn't have a carbon source in it?

This video was very interesting to me and I think it is relevant to sword making. Forgive me if the same video or something like it has already been discussed.

Thanks Curran, Mark and Yas. Mark, your analysis is what I am lacking and I will strive to gain a modicum of that by reading the classroom section you mention. The tsuba you show is also very elegant, and has some signs of age that I can recognize, but it is the finer points of shape and features that I need to absorb. How does Ko Akasaka relate to the generations? Does that precede the early generations or is it defined as the early generations? I suppose I should read it and then come back with any questions! Yas, that last auction site that you link - is that from Yahoo or is it different? That search appears to be specifically for Akasaka and found a lot of tsuba that I assume the sellers listed as Akasaka. My reactions to the initial tsuba on the thread were not based on any specific knowledge about Akasaka. I was reacting to the very finely cut plate, the gracefulness of the design, the outstanding condition etc. I know that these are all important, but without having my own knowledge of the different generations of Akasaka, which can make a huge difference in market value, and without papers that are unassailable, I would be hard put to bid on this tsuba much more than most of the listings in the search that Yas sent - in the range of 50,000-75,000. Is the perceived change of NBTHK not to specify maker or generation (which Curran has discussed) making those papers less valuable? Mark's mention of it touches on this trend too (I guess). If it just comes back "Akasaka" or "Higo" or some other school, that isn't very useful to more advanced collectors if it is an obvious call. Do you submit for papers infrequently as a consequence of this, or only submit signed works? Is the team at NBTHK as good as ever but less willing to go out on a limb? Are they lacking stars or leaders these days? I submitted my first tsuba recently with great hope and it just came back "Higo", which wasn't that helpful, and apparently doesn't add much value. Any comments that any of you have would be appreciated. I have submitted many swords, but not tsuba or other kodogu.

Thanks Curran, I do have the classroom book and will have a look. I guess they are more useful if one reads them?!

Yea, I saw that one Dale, but the condition is really bad and the carving isn't even close to that of this one. I did consider it though. Also, like others, I don't pay too much attention to green papers, though I suspect that these are fine and they do nothing more than assign it to Akasaka. I saw the other one too, but wasn't wild about the surface of the iron (some say steel) on the seppa dai.

First, I think it's ok to smell your blades (though I am not in the habit of it), but I recommend only breathing in from your nose when you do it since when you breath out you will put condensed nasal secretions on the blade. Second, I strongly recommend not to taste your blades! Seriously Niall, as long as you paid less than $1000 or so for the pair, you did fine. You can study these for a while and then pass them along. If you got into them right, you will recover your funds, and after studying them, and reading a couple of the overview books, you will be ready to buy something a little more enjoyable and interesting. Welcome to the hobby! Cheers, Bob

Thanks Ken and Steve. I imagine a significant proportion of samurai descendent families still have the family swords. My guess is that they were well hidden during and after WWII, other than the swords that went to war remounted as gunto.

Hi All. I would love to hear the opinions of you iron men about this tsuba that just sold on Yahoo.jp. It has green papers to Akasaka. I am prepared to believe that the papers are correct. If so, my question to you is what can you tell us about kantei for Akasaka tsuba, features that this one has or doesn't etc. Also, can you place it to a certain age, man or generation? It went for a little under $1200. Is that fair market value? Would you have it papered at NBTHK if it were yours? Full disclosure, I bid on it but did not win it. All insight is appreciated. Cheers, Bob

I have a Sadakazu utsushi of a Masamune that is papered. I think that it is no problem as long as it was not done to deceive, but rather as a tribute.

i visited a student of mine in Japan many years ago and we went up to his attic, and he showed me a collection of at least 6 swords. Most of them were slowly rusting. I think that it is not uncommon. Does anybody know what percentage of the population were samurai at the end of Edo? Was it close to 25%?

Niall, it looks like an authentic samurai sword that has a polish that at least allows study. Kanemoto was a famous line of smiths in the Mino branch of the gokaden, or five schools. Congratulations on getting the real thing on your first try!

That seems a fair retail price, considering it has TH papers on the sword and koshirae. His swords are highly sought after.

I didn't see those pictures Darius. I wouldn't spend a nickel on that, if that helps. b

Don't know the size and quality of your collection, but if you like it and it's cheap (meaning you can resell it and get at least all of your money back) and you think you will enjoy it, then buy it. I agree with the others that I would not invest in a new polish.