Thoughts on restored Mei

[obiwanknabbe]

One of the main areas of focus in the collection of Nihonto is attribution. Years of study and reflection go into being able to look at a swords details to determine who made it. Once this is done by a professional organization, papers are issued which are intended to accompany the sword. 

 

But papers are delicate, can be easily forged, or lost.

 

The question I pose: Why don't any organizations apply the attribution right on the nakago?  I get that there is the thought that to alter one is to destroy provenance, but if there is none to preserve (say where Gimei was removed already, where it was sanded "clean", or is so rusted away that it cant be read anymore), why not? It would be more permanent and become part of the provenance moving forward. EX: Historic organization X says this Mumei blade was made by smith Y, day month and year.

 

I suggest this because as time goes on, knowledge will be lost. It's inevitable. Papers will certainly be misplaced or destroyed for any number of reasons as time passes. Would not a more fixed and permanent "certificate of authenticity" be desirable?

 

And yes I'm aware of sayagaki, but the same rules of damage and decay apply. 

 

Ok. Hornets nest squarely kicked...

 

Kurt

Edited March 22 by obiwanknabbe

[Rivkin]

I personally think putting kinzogan was always being a bit nonchalant with a historic item, but people actually do it today.

The thinking is that if you want to box in NBTHK into giving you exactly what you want or failing the item completely, do nijimei kinzogan.

On the border Yukimitsu/Taima - put in "Yukimitsu". It has been far less uncommon in the past 100 years than most think.

[eternal_newbie]

57 minutes ago, obiwanknabbe said:

Papers will certainly be misplaced or destroyed for any number of reasons as time passes. Would not a more fixed and permanent "certificate of authenticity" be desirable?

 

As @Rivkin pointed out, it was done through kinzoganmei, shumei, and sometimes even inscribed as mei when the shortening was done by a smith - and this was hardly a guarantee of authenticity as handwriting, kao etc. can be faked just as easily (perhaps more easily) than NBTHK papers.

 

Some things to consider:

• Even kinzogan, shumei and actual mei are subject to decay, especially as it's still mostly considered taboo to oil or otherwise preserve the nakago. There are many swords papered by the NBTHK with a signature or attribution that is no longer legible.
• Attributions can, and do, change frequently as scholarship in the field advances - and that's excluding all the known cases where nefarious intent was involved. Appraisers' trustworthiness can fall into disrepute, and even the NBTHK itself had to invalidate an entire series of papers (Kicho and Tokubetsu Kicho) due to corruption in the branch offices. If those had been inscribed directly on the nakago, that's now permanent damage to a historical artifact that cannot be undone; at best, covered up or crushed.
• These are not just historical artifacts but in many cases, works of art with national significance. Imagine suggesting that museums place an official stamp on a Van Gogh or chiseled into a Rodin as proof of its authenticity, should the item be stolen. Can you anticipate what objections to this might arise?

In the end, as time, knowledge and researching techniques advance, the same holds true for nihonto as with any other form of art and historical artifact: the work has to speak for itself.

 

EDIT: there are, however, some technological solutions that may become available. For example, something similar to an anti-theft ID dot with microscopic details or miniature RFID chip with identifying information affixed to the end of a nakago in a non-destructive manner is something that may become feasible in the future.

[Rivkin]

1 minute ago, eternal_newbie said:

 

• These are not just historical artifacts but in many cases, works of art with national significance. Imagine suggesting that museums place an official stamp on a Michaelangelo or a Van Gogh as proof of its authenticity.

70% of swords in museums have either chiseled or permanent ink written catalogue number on them. Yes, Goto Teijo tsuba with white number across the plate.

[eternal_newbie]

3 minutes ago, Rivkin said:

70% of swords in museums have either chiseled or permanent ink written catalogue number on them. Yes, Goto Teijo tsuba with white number across the plate.

 

Well then, just disregard everything I said. Was this whole thing just a trick question?

[Rivkin]

23 minutes ago, eternal_newbie said:

 

Well then, just disregard everything I said. Was this whole thing just a trick question?

I don't know, its kind of two different worlds - people who place kinzogan and museums which drill numbers to make sure they don't get lost.

The latter happens when a curator dies (its a lifelong appointment by default), they hire new one, next day he comes to department head and asks politely - where is the actual collection? Because the storage box is empty but there is a bunch of stuff without tags on dead curator's table.

 

The next day, everything qualifying as portable-walkable Michelangelo gets a little number drilled on its ass. Or feet.

Edited March 22 by Rivkin

[eternal_newbie]

That makes a bit more sense, I guess. And as mentioned before - the ability to encode things at a microscopic level maybe makes that all a bit more feasible as a proof of authenticity (I guess similar to the serial numbers on diamonds) without affecting the overall appearance and integrity of the work.

[ROKUJURO]

11 hours ago, obiwanknabbe said:

.....because as time goes on, knowledge will be lost. It's inevitable.....

Kurt,

I don't think so. We are living in times when information is spread and stored in many places and different ways, and this to a significantly greater extent than in former times. Literature that was only accessible to a few specialists was translated and made available for many. Items stacked away in collections and museums are more 'approachable' by images, and places like our own NMB have become important sources of information and inspriration. 

What we usually don't have is enough time for intense study and opportunities to handle the items.