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Good Looking Lady!


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Gents,

        A friend of mine rescued this fine lady from the fireplace mantle locally as the widower was cleaning house and downsizing.   Does Company clerk Stephen give it a thumbs up?  Now if I can only work out a trade of some sort but he's a hard nut to crack. 

 

Best Regards,

  Bob

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Don't you mean Inoue Shinkai?

I have seen a few of these Maiji/Taisho tachi outfits and they are usually signed by someone famous.

I think they were presentation pieces intended to convey appreciation and respect...while they are not genuinely by the man named in the mei, they convey the "intention/respect" the giver holds for the recipient.

Regards,

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   George,   That is interesting,  as the nakago is very clean and did not show age.   Also, when I looked at Markus's meikan his Sanemasa mei's were not close (Kinda sloppy).   This mei is well chisled.   (Stephen can you post the mei?  I seem to have lost it).

  Those questions I had seem to be possibly answered by your post.

    Anyway,   I have not seen it in hand, blade is out of polish however.   I see the owner from time to time in the business and maybe sometime when I go to his town will stop in at take a peek.

 

Best Regards,

   Bob

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SHINKAI (真改), Enpō (延宝, 1673-1681), Settsu – “Izumi no Kami Kunisada” (和泉守国貞), “Inoue Izumi no Kami Kunisada” (井上和泉守国貞), “Inoue Shinkai” (井上真改). Inoue Shinkai, his civilian name was Inoue Hachirōbei (井上八郎兵衛), was born in the seventh year of Kan´ei (寛永, 1630) the second son of the 1st generation, i.e. of Oya-Kunisada. He succeeded first as 2nd generation Kunisada and, from Keian onwards (慶安, 1648-1652), made daisaku works for his father. In the first year of Jōō (承応, 1652) he received the honorary title Izumi no Kami and around Manji four (万治, 1661) he was granted permission from the Imperial court to engrave a 16-petal chrysanthemum onto his tangs. Until the fourth year of Kanbun (寛文, 1664) he executed the pistil of the chrysanthemum hatched crosswise. From Kanbun five (1665) onwards he interpreted this area as a circle with a thick dot in its centre but towards the end of Kanbun eleven (1671) returned to the initial form. After the death of his father in Keian five (1652), his salary of 150 koku from the Itō family was transferred to Shinkai. His flamboyant style earned him the nickname Ōsaka-Masamune (小坂正宗) and, besides Sukehiro (助広), he is regarded as the most representative of all Ōsaka-shintō smiths. The name change to Shinkai took place in the eighth month of Kanbun twelve (1672) and it is said that he received his pseudonym from the Neo-Confucian Kumazawa Banzan (熊沢蕃山, 1619-1691). From the eighth month of Kanbun seven (1667) he executed the mei of the ura side of the tang in grass script. Shinkai died

unexpectedly on the ninth day of the eleventh month of Tenna two (天和, 1682), at the age of 53. There are various theories and transmissions about his death. Most sources say he died of food poisoning, another says he fell completely drunken into a well. His grave is at Ōsaka´s Jūgan-ji (重願寺) Inoue Shinkai made mostly katana and wakizashi in shinogi-zukuri, tantō are rare and date mostly from his early artistic period when he still signed Kunisada. His katana and wakizashi have a shallow sori and a rather wide mihaba. The jihada is a dense and beautifully forged ko-itame with ji-nie all over the blade. Some works also show chikei. The hamon is mostly based on suguha and shows a compact nioiguchi or is a suguha mixed with chōji or a suguha mixed with shallow notare. But he also applied a gunome-midare, ō-midare or ō-notare in thick nioi-deki in combination with an Ōsaka-yakidashi. The hamon becomes continually wider in its course from the base to the top. Shinkai was a master of nie and one of the best shintō smiths focussing on a nie-based deki. The bōshi shows mostly a ko-maru-kaeri. The tang has a ha-agari-kurijiri or an iriyamagata-jiri, and the yasurime are sujikai or sujikai with keshō. saijō-saku ◎
SHINKAI (真改), Bunkyū (文久, 1861-1864), Kii – “Nanki-jū Shinkai kore o saku” (南紀住真改作之), he lived in Kii´s Wakayama (和歌山) and came from the Kishū-Ishidō lineage, wide katana or wakizashi with an ō-kissaki or with a normal mihaba and a chū-kissaki, dense itame mixed with mokume and ji-nie, gunome-midare in nioi-deki
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   Stephen, I should have known that mei as I have a Oya Kunisada, and spent enough time looking at father and son checking out my blade.   It is remarkable how as you age you cannot remember anything even though you look at it day after day.  Mei kanji,  nihonto terms and the like.   When I hang out with Death-Ace (young guy) here on base; the dude has sopped nihonto up and can tell you the copyright date and publisher on Nagayama....Nakayama....  whatever!

 

  Best regards,

Bob

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retention  retention retention, years back there was a smart young fellow who was taking his first steps in Nihonto, i was his guid for a mere fraction of time and then poof light years ahead of me, you know him as Darcy....always wanted to say he was a student of mine but could not bring myself to sling that much BS...LMAO !!

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The first sword in hand I ever had the chance to research/translate was a gimei Inoue Shinkai; a guy in Hawaii was trying to sell some swords, all of which did not give me warm fuzzies in the realm of authenticity. Studying helps.

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