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Paz

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Everything posted by Paz

  1. So the problem was on the Japan end shipping to Cyprus. I prefer UPS in honesty
  2. Thanks Michael for the information. I understand its Gimei and possibly not shinshinto. However as a blade alone it is very tempting. But mysterious as who it may be. I might pull the trigger and bid on the sword for the price it is. Because the sword has most of the specs that I like.
  3. So it's possibly a gendaito not a shinshinto.
  4. Then my next question would be what exactly is it ? Or close to. From the blade characteristics alone and its shape. I very much like the blade indeed. To me it looks shinshinto rather than showa to. This is due to its size and length. I could be wrong. But Tsuruta again is guessing that it's shigemasa. But again it could be showato where someone signed it off as kiyondo to raise its value. Thanks
  5. What does he do exactly Jon ? Curiously
  6. Thanks all. I'm not that well acquainted with shinshinto smiths still learning. Yes the blade looks good, but the reason I posted was because I don't have much knowledge on the mei or the smith. I did think weather it had failed shinsa, but I just don't know. What made me post is that he implies that it could be later work. So I don't know if he's doing that on purpose. But it's hard for me personally to tell if this was truly gimei. Il take a look at some kiyondos work. Thanks.
  7. Hi all I need help with basically an opinion on this tang, on a sword I am looking to get. I do apologise if this thread belongs in the general section, but I thought I post it here because I would like an opinion on a signiture. The sword is supposedly by Fujiwara Kiyondo (1827) student of Kiomora who commit suicide around 1860 and was a famed swordsmith of the shinshinto period. The first photo is from Nihonto.com and is a genuine signature of Kiyondo. The second photo is the oshigata from Aoi art, which is not guaranteed by them. I just need an extra opinion on the mei and sword. As Aoi art beleive this may be a younger showa era shigemasa. In which case I won't buy. To me they look genuine, but im not as keen eyed as many people here. I'm hoping @Ray Singercan also lend his helping hand. The link to the sword https://www.aoijapan.com/katanafujiwara-kiyono-sakunot-guaranteed/ Thanks Kind regards Paz
  8. Thanks Geraint. That last part is indeed interesting
  9. Hi all just a few questions. I've been reading through some old threads and just want to clarify something. I haven't studied much in regards to the shinshinto era swords. Nor have i owend one. But am looking. During the shinshinto period there were blades (many) which resembled nanbokucho and early period works. Such as being rather large in size and imitating the Koto era. Is this one of the reasons why some shinshinto blades have suriage ? Historically the end of the edo period saw conflict prior to the meiji restoration and you have the bakumatsu conflict. Could this be another reason why you have suriage. Also is it true that shinshinto swords don't get given papers if they have been shortend. ? Or is this subjective ie school and quality. Papers don't bother me too much if the sword looks great. Thanks Kind regards Paz
  10. Hi Steve please take a look. @Ljoconnor Not long. Because Zenjo school swords were made short from the get go. This has been only shortend once it seems. This shows the change in warfare in the late muromachi period. Regards
  11. I was lucky to get the nagayama book for 50 bucks from Germany. But otherwise yes. These books are very expensive and you will have to fork out over a 100 for them if there not in print or available. I know for a fact that I've been struggling to get hold of facts and fundamentals of the Japanese sword and art of the samurai. Both good books that need to be on my shelf. Nagayama book has increased in price and only in a month.
  12. Absolutely. Here's some pics of me handling it, feels great to hold. Please mind the building work. And yes I'm not too bothered about polish either. Regards
  13. In regards to books yes. The two mentioned are top on the list. However, as I enjoyed reading in general so much I went all out. I've owend 5 blades since entering this hobby and have sold 3. The one I kept was my TH ko uda blade. What l learnt was that knowledge is very important. So I purchased books by Leon kapp "art of the samurai sword" books by Clive sinclair, and another which sort of had the same opinion. Two books by Marcus sesko. And I'm waiting for Paul Martins facts and fundamentals of the Japanese sword. Already including the books by nagayama. I do enjoy reading different opinions and it sort of rejuvenates my interest aswell, but you'd be surprised how many dealers of general militaria don't know much about nihont, unless they specialise. Few things to keep in mind are as follows. Suriage processes ( which shorten old blades into katana and wakazashi lengths). This is due to change in warfare and laws, and you'd be surprised how many people don't know this. This is also a reason why signatures are missing on a lot old (koto) blades. This usually makes kantei more interesting, but your relying on papers aswell. The two signed swords I owned were from the edo period, in which there was no warfare. Nbthk papers. Again alot of people outside of nihonto don't know what these are, and their purpose. Koshiare. Just like you I wanted Koshiare for my first blade. But changed after my 3rd blade to blade before anything else. Because fact is yes. The sword may look nice in its Koshiare for a while, but I believe its not recommended to keep swords long term in their Koshiare. And this is what shirasaya are made for. Shirasaya also allow you to view the blade better. Regards
  14. I've had to take the plunge on two books at over a 100 bucks. But I need to read them as there out of print.
  15. If you want to know it cost me 450 bucks on books. Yep. They are absolutely required in this hobby par none.
  16. Hi all, thought I'd post this new pick up. Ujisada late muromachi blade. Mino soshu and apparently one of the favourite smiths of Hideyoshi Toyotomi. The blade is 60 cm shortend, and does need a polish which was reflected in the price. NBTHK hozon last year, and does have a neutralized rust spot. I purchased it because I liked the look of it and the hamon aswell. Doubt il ever have it polished as I don't really know anyone who is still active and can do a top job in the UK (as far as I am aware). Regards
  17. Shinto blades which have no significance ie look great but never used or made for art. I'd take a damaged battlefield sword over a decorative showpiece. Signed blades with signatures. Which dumb militaria dealers have a hard on for even though the blade could be a piece of s**t ( mind my language). Lack of signature builds the air of mystery to the sword, and is funny when "experts" get it wrong. I'd rather have a mumei koto blade which was built for purpose and has beauty aswell. I don't care too much for polish. As original polish sometimes means the sword how it was, when it was being used. Ww2 guntos and gendaito. Just don't care for them and they don't attract me. So strictly speaking im hardcore koto, only 3 words catch my attention kamakura, nanbokucho, muromachi. Regards
  18. This. OK I'm going to ask a stupid/question statement. And I don't care for looking stupid because I'm young and want to learn and that's why I joined. Smiths who were worked in the Nanbokucho era were trained by Kamakura smiths. Aswell Kamakura smiths who worked into the Nanbokucho era. How much of a difference could this actually be ?? These guys watched their "Kamakura " teachers and probably continued to forge In the same way, trying their best to replicate their works. The only difference I know is the size/length of blades changed later in Nanbokucho. So in fact why not stick Nanbokucho blades in with late Kamakura. I know the emperors changed. But were talking about smiths who lived and learnt with each other passed down in intensive environments. For example blades and smiths quality change in the muromachi era due to increase demand, that we can tell is a substantial changed in quality. Regards
  19. @FZ1 Wow. How's the project going Jon ? Have you managed to get a tsuka and saya made for your tachi ? Please do send photos once completed Regards
  20. It also comes down to smiths and schools and who were around. You have the osafune and bizen schools ect. But by late kamakura early nanbokucho you have legends such as Masamune, shintogo kunimitsu, Norishige ect who work into the nanbokucho period. And their influence is heavy on their students. Blades are much more darker and have the highest quality jigane and hada. You have what is the combination of beauty art and a deadly weapon. The mass production of the sengoku jidai did have an effect on quality and artistic style of blades. But not necessarily functionality. The shinto period is considered on average the period where you have art swords as there was no need for top functionality. But this doesant mean all swords as formentioned were like this. Regards
  21. Regarding this Ian, I purchased a sword from USA and it arrived at Heathrow and then went onto Coventry parcel force Hub. What confused me is that it would it go through customs to get into the country first, before it got to the depot? But I only got sent the Arrival form c160 to complete this week. So would this mean that Heathrow cleared it into the country then Coventry parcelforce ask for the VAT customs completion. Was confused by this. As i thought Heathrow would clear it Regards
  22. Thanks Chris and Matt. The one at greys website is the best one I can find for the price. Kind regards Paz
  23. If anyone wishes to sell me this book or has a link to where it is sold at a humane price I'd be grateful. Amazon are selling it for over 1k 😆 and other sites are not letting this one go cheap. It is out of print so. But I also found Victor harris and Obusawara sword of the samurai book for 15 quid. What a bargain 👌 Regards
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