dark secrets

[paulb]

Having written and supported the concept of fewer better pieces and always buying the best you can afford and striving to improve a collection, I was wondering how many people have something sitting in their hoard of treasures that falls outside these guidlines but none the less would be something they would hang on to for grim death.

If I can give an example: One of my favourite swords is wakazashi made out of the top end of a kamakura period Enju blade. In pure commercial terms it runs close to the least desireable of configurations in that it is O-suriage, mumei and a wakazashi. In its favour it has been beautifully polished and is in healthy condition.

The real plus to it is that it is absolutely beautiful (total subjectivity on my part) The quality of the jigane is breath taking and the suguha hamon subtle but intricate. The hada compares favourably to examples of Rai and Awataguchi pieces I have seen, in fact were it not papered to Enju and with an O-maru boshi I thik it would pass as a Kunitoshi piece.

I bought this sword about 3 years ago from Japan. It was not hugely expensive and I think were I to attempt to sell it I would struggle but it is probably amongst the 3 or 4 best examples of forging I have ever seen (Yes I know I havent spent a lot of time in Japan looking at top quality blades but I have spent time looking at top rated swords at International auction houses in London). So it is staying with me. It moves me in a way that I would fail to explain but it is something I put geat personal value on.

I am hoping that this isnt just me being weird, do others have equally treasured things?

[raven2]

Geez Paul, it seems to me you are following the idea of always buying the best you can afford and improving your collection. Just because a piece isn't expensive or "important" doesn't meen it isn't good. That wak looks great. It's kamakura and in great condition and as you said "beautifully polished and is in healthy condition" and "probably amongst the 3 or 4 best examples of forging I have ever seen". I have always been of the opinion that you buy what you like and appeals to you. If you do, you are going to keep it. If you buy it just because it is important or expensive or the best piece you can afford, you may keep it but you won't necessarily be happy with it.

[sanjuro]

Paul.

 

It would seem to me that you have upheld the requirements you have stated concerning quality in this piece. The price is of no moment, and desirablity by other collectors is a fickle and transitory thing. You arent selling it so value, monetary or otherwise, lies in the eye of its owner.

A Kamakura blade is still very desirable among those collectors who prefer koto pieces, and Kamakura Period blades are not common. The Osuriage is acceptable in so old a blade and whilst to some it is regrettable, this blade has lost none of its quality. It would seem to be well worth your esteem. A very elegant blade.

[paulb]

Gentlemen,

thank you for the kind words although that wasnt the purpose of the post. I hope that it demonstrates that one can't stick too rigidly to the stated league table although it makes perfect sense to use it as a guide. There are some beautiful pieces out there which illustrate many of the features we talk about regularly. They dont need cost the earth, this cost less than a Yasukuni Shrine sword, but comes from the Golden Age of manufacture and carries the better part of 700 years history.

The main reason for posting was to see if others had something similar that hit the right buttons for them even though it might not be considered in the main league of commercially desirable work. It would be interesting to see what enthuses others.

Thanks again

Paul

[drbvac]

Paul:

 

I picked up this little wakizashi in shirasaya and the inscription is bitchu matsuyama (toshimasa.)

 

It is only 14.5" nagasa. 1' wide but the shape is really appealing unobi zukuri and the hamon bright and clear. The blade was given to A ... Kunihiro and it is so small compared to some of my katana that it just sort of makes you want to hold it.

 

Kind of thing I would like to keep hidden "in case needed? -

 

 

 

[paulb]

Hi Brian,

That is an interesting looking piece. Incredibly deep nioi guchi and its interesting the way the hamon simplifies into almost suguha as it approaches the kissaki. Is that a normal characterisitc for this smiths work? I am not at all familiar with him.

good looking thing which will keep you occupied for hours just looking at the hamon.

[Jamie]

I don't own one, but I am fascinated by Nagamaki and Naginata.

[raven2]

My favorite is also my first blade. It is a blade papered to Yokoyama Kosuke Daijo Fujiwara Sukesada. I followed the advice of the board and got a wakazashi in excellent condition and new polish. I have never regretted it even though it is Shinto and a wakazashi. Certainly not the most expensive blade but still a keeper in my eyes.

[Veli]

Well, here's my favourite low-cost blade with very little value to other collectors: a shinto, O-suriage wakizashi : yet I love that poor little blade: it was once forged by a skilled smith, who produced konuka hada and bright suguha hamon in nie. Quite flawless apart from being suriage. Not difficult to see which Shinto school it seems to belong...

 

 

 

 

 

 

BR, Veli

[paulb]

Hi Veli,

I think I might have that swords big brother A suriage Mumei Katana with a sayagaki attributing it to Tadayoshi and NTHK papers to the 4th generation. It was papered before it was polished and the new polish has brought out a lot of detail which makes me think it may be earlier than the 4th. But regardless it is a good thing.

I can understand why you like this one so much. I would too!

[nagamaki - Franco]

[Veli]

Sometimes the real value of a blade is in the learning experience it provides... especially if the blade displays good workmanship and strong, characteristic features.

 

Paul, how does the hada of your yondai Tadayoshi compare to the pictures I posted? My blade has very, very tight, but also a bit featureless as well as very uniform hada. It is not too different from the hada of the nice yondai Tadayoshi katana on the Nihontocraft web pages.

 

BR, Veli

[paulb]

Hi Veli,

Mine is not so tight, there are areas of fine running itame combining with ko-itame. It is not what I would describe as the pure konuka hada which really starts to be a consistent Hizen trait from the second generation and in to the later members of the school. When this blade was repolished the characteristics became a lot clearer. The hada, the amount of nie and the brushed appearance of the boshi all suggest an earlier work, possibly the shodai, but equally it could be something else altogether such as Enju or ko-mihara.

[Marius]

Not difficult to see which Shinto school it seems to belong...

 

Bungo Takada?

[paulb]

Hi Mariusz,

Funny enough it was one of the names that cropped up when I was relooking at my Mumei Tadayoshi. Needless to say I dismissed it to the far corner of my mind with haste

In reality Bugo Takada smiths were making very good copies of most schools including Enju and Hizen so in my case it could be a valid attribution, not least with the hakkakae boshi.

[Marius]

Paul,

 

I used to own an absolutely splendid Bungo Takada wakizashi, which could be taken for a Hizen-to, were it not signed. I wish I would have kept it.

 

Veli,

 

whatever your sword is, it is gorgeous Definitely something to keep and to study.

[Jean]

Enju did make hakikake boshi :

[paulb]

Hi Jean

I agree that Enju also made hakikake boshi although the most common distinguishing featured quoted about them when compared to Rai work for example, is that they mainly produced o-maru boshi.

Its a good problem to have. is it-

a) Yondai tadayoshi

b)Shodai Tadayoshi

c) Enju

I am not altogether sure which I would prefer, but probably the Enju option.

thanks

Paul

[Jean]

I love Enju too ...This sword was mine

[paulb]

yes I remember it. It is a beautiful thing. I assume it went as you rationalised your collection. Someone gained a very good blade.

[sanjuro]

Since we are dealing with dark secrets then here is mine. Not perhaps the quality thus far displayed but none the less a blade I would not part with.

I purchased this blade in 2002. I have not researched it and I know little about it. ( a terrible thing to admit). It simply spoke to me and I paid what was asked. The steel is dark and the hada is active. In truth I have never made an estimation of this blade's origins with which I feel entirely comfortable. There is a faded sayagaki, the characters of which are indistinct. The first says bishu the last is mitsu. It is I think a collectors sayagaki rather than an attributive one done by an expert.

 

All I know is contained in the description that came with it.

 

Nagasa: 30,6 cm

Sori: 7 mm

Motohaba: 2,7 cm

Sakihaba: 2,0 cm

Motokasane: 5,5 mm

Sakikasane: 4,0 mm

Hamon: Gunome Midare Hamon, Nioi-deki

Boshi: O-maru

Hada: Itame Hada, some Mokume

Nakago: ubu , 1 Mekugi-ana, Mumei

Blade Form: Hira-zukuri

Period: Koto, ca. 1400 - 1500?

Condition: old Blade in very good Condition! Clean Surface. No Hagire. No forging Flaws, no Openings, no Defects, no Rust!!!. Old original Japanese Sashikomi Polish in good Condition!!! A fine old Blade with nice Hamon! Maybe a Bizen or Mino Blade?

The blade is fitted with an old very good Habaki made of Copper covered with Silver Foil.

[cabowen]

From the hada, hamon, and nakago shape I would not think Bizen....I would also not think it is that early...

[sanjuro]

Hi Chris

 

I think you are correct. I cant see this blade as early as a 15th century piece. I have at times thought it was a Sagami blade and no earlier than late 1500. The truth is, I cant actually place it accurately at all. I still love to look at it though. There is just something about it... perhaps the mystery itself. The steel is quite dark and has a koto-ish look about it, although the hamon says perhaps later than koto. Speculation only.......

[Jean]

I would go for sue seki Muromachi

[sanjuro]

Jean.

Can I ask what makes you think it is as early as Muromachi ? and why Seki? The sori perhaps?

[paulb]

My problem really starts with this period (actually I think I have problems with most truth be told) But when we get in to Sue-Seki, Soden Bizen, Sue-Tegai etc many of the features which differentiate the Gokaden seem to blur and merge. It is an interesting point whether this is really Soshu influence or more directly Mino as the Mino smiths started exporting their technology around the land.

Keith you refer to darkness in the steel which would immediately throw up northern province work. Again this could be the case where the Mino influence has been picked up in Echizen, Chikuzen etc. If I had to date this I would go 1450-1550 and struggle to bring it tighter.

On a more personal note you mentioned that it spoke to you, can you remember why and what about it triggered your enthusiasm?

[Jean]

You are right Keith, there is the sori and this gunome hamon which makes me think to Kanefusa, Ujifusa or even my Kanetomo

[sanjuro]

Paul.

 

Oh yes, I can remember and I am reminded each time I look at this blade. Firstly the steel.... A lot of what appeals to me in many swords is the steel. For me it is usually about the steel, the hada and the softer look of the koto type. The way it has been worked and the traces of the forging in the surface of the metal. Secondly, the sugata and the sheer presence of this blade. It is not a small tanto by any means, and yet it has an elegance to it.

To top it all off, it is ubu and mumei and therefore not capable of any deception, nor is it attempting to live up to an expectation of the perception of any smith's typical work.

This blade in fact is the first ubu mumei blade I bought just because it was ubu and mumei, (along with the above characteristics). It is also the blade which first made me aware of my preference for such blades.

I realise of course that perhaps others may not view it in quite the same light. :D

[paulb]

Actually Keith my Koto blades are mumei although all but one are suriage. So I have no problem with that. I am less clear and have never really found a satisfactory answer as to why Ubu blades remain unsigned, especially those which exhibit real quality. There are many theories around but I am guessing it is something that can never be proven.

[Jean]

My swords are suriage except for my Yasumitsu and my Kanetomo, the others are from Nambokucho (Naoe shizu and Tametsugu)