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I have one to add. It is for sale but still worth a share I think. Lots of blades by Gassan Sadakatsu have already been presented and I'll add one more, this one in Soshu-den style. The workmanship is reminiscent of a Go Yoshihiro I had the opportunity to study in hand.

Hi Bruce, Thanks for the interest. The hot stamp is from the Sadatsugu sword instead of sadamitsu. I was posting 4 swords with back to back pictures. Sorry for the confusion. Btw, here’s the close up pictures for the sadamitsu piece for your reference Ronnie

Takahashi brothers. Takahashi Sadatsugu and Takahashi Yoshimune

Continuing with Gassan tradition . Father and son. Sadakatsu and Sadamitsu.

In my eyes a spectacular blade - MUMEI or not. Have one made at that price!

What is Sayagaki ? with JPN/ENG subtitles 【鞘書とは（日英字幕あり）】刀剣鑑賞が100倍楽しくなる動画！ I have tried to explain the basic structure of the sheath book, analyze what was written, and much more. You may not have the opportunity to see the sheath book very often, but we hope you will find it useful. We have also included Japanese and English subtitles for information that we were unable to convey during the filming, so please take a look at them as well! Channel Introduction Sword Appreciation Video "Touken-an" makes sword appreciation 100 times more fun! The channel explains the language in a way that is easy to understand for beginners. If you are interested in swords, please subscribe to our channel. 鞘書の基本構成や書かれた内容を分析してみたりと、色々と解説してみました。 鞘書をあまり見る機会はないかもしれませんが、ぜひご参考にしてください。 また、撮影中にお伝えしきれなかった情報などを日本語字幕と英語字幕でお伝えしておりますので、併せてご覧くださいね！ 【チャンネル紹介】 刀剣鑑賞が100倍楽しくなる刀剣鑑賞動画「刀剣庵」 初心者にも分かりやすく言葉の説明をしています。 刀剣に興味のある方はチャンネル登録お願いします。 https://youtu.be/_CpGDnzzFdI

Vitaly, TSUBA 1 (one piece construction) and 2 (photo 1) seem to be made in TSUCHI-ME technique (= hammered surface). Both TSUBA are not at all bad as far as I can see, but new/recent in my opinion. TSUBA no. 3 with KATABAMI flower in the triangle looks also well made, but probably not old. The KO-SUKASHI is perhaps showing a 5 planet/star constellation similar to HOSOKAWA MON (9 stars). TSUBA no. 4 (INOME and AMIDA YASURI ME) has a decoration of thin gold and a grey metal NUNOME which is not SAHARI (KAMEYAMA/HAZAMA school) but something else. These decorations could have been applied later on an otherwise authentic older SAOTOME or MYOCHIN TSUBA. My observations are what I can offer after looking at (good) photos, but a safer assessment can only be made with the item in hand.

I actually was playing with the idea to have a Meoto Iwa tsuba commissioned some years back, but in the end decided on focussing more on Sarutahiko. Rope changing pics:

If I were to own this koshirae holding a beautiful Ayasugi Gassan Sadakaktsu sword with a General's tassel...I wouldn't want "no more." Dave M.

I think that your assessment is correct Steve . I would give it a miss . Ian Brooks

I think the Jittoku is fairly late Edo, it doesn't appear to have been mounted [I could be wrong] Have you noticed the 'Fuji-san" likeness to Jittoku's head? I wonder if this is deliberate or just a coincidence? I have blurred his features to show the shape better.

This is what I sold it as. Valuable members thought the nakago could have been through treatment to look older but I can't say yay or nay to that. I've seen numerous blades from the shinshinto period displaying oddly looking rust but that is up to you. There's zero doubt in my mind it is traditionally made, authentic Japanese blade. I got it from Japan! It's a nice, healthy - in recent polish blade IMHO Hope that helps J

皇國優等別製御請合剃刀　壹 皇國 – the Empire 優等 - excellent 別製 – specially made 御請合 - guaranteed 剃刀 - razor 壹 - one

Re-configure the interior, and choose a suitable Sanada-himo.

Thought I’d show a stand I designed sculpted and cast for a Tsuba I acquired from a member of this group I can’t find much out there in the way of display stands to show these beautiful pieces of art so decided to do my own as I’m a sculptor by trade… This is purely my own design.

Today I would like to invite you to my next lecture, registered at the International Congress of Japanese Studies of Kyōto Ritsumeikan University and Bucharest University, this Friday 31th March at 12:20 Romania time. It is completely free but you have to register in this link previously. https://docs.google.com/forms/d/1By-vdY5kNtF7Ydcz7hl5Vt7QQEutrffkeSAuIY3KewM/edit Here's the Zoom link to access, no password required. https://ritsumei-ac-jp.zoom.us/j/92724137035 Although they insist that to be sure, it is better to also register at the previous link. This is the abstract of my intervention. 1 / 1 International Symposium on Japanese Studies (Re)-imagining and (re)-translating Japanese culture Abstract. Title: The value of misconception the other: The case of the Japanese swords and its fittings in the late XIX and early XX centuries. From 1641 to 1854, the Japan Tokugawa government limited the contact with the West to the Dutch East India Company (VOC), through the artificial island of Dejima (Nagasaki). This would end with the signing of the 1854 Peace & Amity treaty with the United States, opening the ports of Shimoda and Hakodate. In the following years, other nations such as the United Kingdom, France or Spain, would sign similar treaties, causing the opening of new ports. Despite the fact that the main intention of foreign powers was to obtain supply ports in the commercial whaling career, the truth is that soon the cities that opened their doors became a place of cultural exchange between Japan and the West. After the fall of the feudal government of the Tokugawa, and the arrival of the Meiji era (1868-1912), the trips of Westerners to Japan and vice versa multiplied exponentially. It is at this time when Japanese merchandise will come to transform the history of Western art, such as the case of Japanese ukiyo-e prints and their influence on the Impressionist and Post-Impressionist painters. However, another phenomenon was taking place: the purchase of Japanese objects by Westerners, to bring back memories of their trips to this exotic and distant country. In this context, Japanese swords were some of the objects that these travelers most searched. However, the misconception of "the other" led them to denature these objects, transforming the use of several of its parts. The Japanese, made use of this ignorance, and began to manufacture souvenirs for tourists lacking artistic or monetary value. We will focus in two mayor areas of production of this goods, Nagoya and Yokohama. The massive purchase of these objects by Westerners, who believed they were taking a piece of Japanese culture, as well as their subsequent revaluation (even today), leave us still not knowing "the other".

My eulogy was supposed to have been posted to the website for the Kokusai Nihon Katchu Bugu Shinko Kyokai. Unfortunately, the person in charge of the administration was not doing his job, and our previous site has come under hostile control. The dangers of trusting people with such responsibilities. What most people don't know is that it is frowned upon to make such announcements without permission from the family for at least 45 days of the passing. I will be visiting his grave in the next week as it is the proper time to do so. No replies are necessary. If you choose to read thank you. The eulogy: My name is Andrew Mancabelli I work under the name Miura Anjin . This name was given to me by my teacher, Miura Hiromichi (sometimes referred to as Miura Kouhou), a Japanese armor maker, with ancestry of the Miura peninsula. I am his successor. His teacher was Morita Asajiro, a craftsman who was born of and studied under samurai artisans who could trace their art back to the Edo period. He is survived by two sons with their spouses and two grand sons and a grand daughter. Miura sensei was born in June 1938 and passed away shortly after his 84th birthday July 2022. He was a designated intangible cultural property of the greater Tokyo area, Itabashi Ward. The only armor maker to hold such a Title. I spent half of my adult life in close proximity to Miura Hiromichi as his understudy and during that time I probably knew him better than anybody. There was not a more loyal person to him than myself. Japanese relationships are a very complex thing and difficult to understand especially for a foreigner. Most foreigners who spend time in Japan never really understand how they are viewed by Japanese people, or even by those who they assume to have developed an intimate relationship with. I had enough fights, sit downs and cry-throughs with my teacher to be able to say that I did have a deep/intimate connection akin to family. The way he treated me on many occasions reminded me of how my own father treated me growing up. I say this because I knew Miura Hiromichi intimately, his ins and outs and his difficult points. Rather than write a bunch of generic facts that are commonly known about him, or the circumstances surrounding his death for an obituary, I think it would be better to share some stories that most people DONT know about him as a “eulogy” to paint a fuller picture of who he was in the greater context of the world and leave a more personalized version of his character while he was alive. This is what I would want done for me upon my death, and I think that he would appreciate it. Some are stories he told me and some are stories that I witnessed first hand. Miura sensei was a very handsome man in his youth. He loved movies and Hollywood and actually tried out for a movie in Japan. In those days they chose actors based on appearance. He showed up with 300 other young guys. They divided them into groups based on how handsome they were and slowly made the cuts narrowing it down to the cream. he made it to the last three. They took his phone number but in those days his family only had one phone and if you missed the call, you lost the role. He always said that he must have missed the call or somebody was on the phone when they called. Incidentally the guy who got the role became very famous. I remember when we did a TV show with Kayama Yuzo (famous for Sanjuro, Akahige, etc.) Miura sensei told him the story. (At that point i heard it a million times) Yuzo said jokingly that Kurosawa told him to be a singer because his acting was no good. Anyway it turned out to be very good advice. He was born the year of the tiger 1938 and died the year of the tiger 2022 shortly after his birthday making a perfect full circle. People say that a tiger leads a generally solitary life and has a ferocious temper. Though he occasionally liked to party, Id say it is relatively accurate. I’m pretty much the same and it’s probably why we understood each other. He had two police medals. Miura sensei once stopped a robbery and on another occasion stopped an assault. In each case, he helped the police to apprehend the criminals and was awarded a special medal for his service both times. Mainoumi the famous sumo wrestler broke his stool. When Mainoumi visited for a TV interview, he spied the Edo period campaign stool in his house and asked if he could sit on it. Miura sensei said yes its strong go ahead. The leather broke and he fell flat on his butt. It was the one time he didn’t get angry for somebody breaking his things. He was friends with emperor Akihito. There was a little seen photograph in his living room of he and his wife with the emperor. It is very rare because the royal family as a rule does not sign signatures or allow photography. However, miura sensei’s son Nagato attended Gakushuin University and became best friends with Akihito’s second son. They played on the same softball team together and during the matches they would converse. Miura sensei always said the emperor came over to make conversation because his wife was so beautiful and he wanted to talk to her. He knew Yukio Mishima. In the 1960s Mishima would attend the annual re-enactment festival. He was often making the rounds between Traditional cultural activities and craftsmen. At the re-enactments, Miura sensei carried his helmet and dressed him in his armor. He once told me; “I always knew there was something wrong with that guy. Japanese people’s eyes curve down like this, but Mishima’s eyes went up like this!” He had a fiery temper. There are few who know that better than myself but the funniest episode was when Takada Nobuhiko (the pro wrestler) did a show with us. Miura sensei blew up over something and Takada san immediately stood at attention. Then afterward Takada san turned to me and said “That old guy is scary isn’t he?” I answered “You get used to it.” He also yelled at several Television stations crews and kicked one out of his house. They still came back. Usually with beer and sake. Though there were a few people who visited from time to time, he only had one deshi (understudy). He said the longest anybody lasted (aside from myself) was a couple weeks. (He was very critical and harsh in his standards) Before becoming an elementary school teacher, his second son helped with some projects, but he only had one deshi that he gave dokuritsu (“freedom”- an artisans right of passage) his named successor, Andrew Mancabelli, or as he called me “Anjin”(he couldnt pronounce my name properly) he said that I should use the name Miura Anjin and gave me permission to use his family name. Miura Anjin koubo is the living legacy and the name of my company. Though he worked and became famous for Japanese armor, he was very interested in western armor as well. He thought about being a western armor maker but his older brother Shigetoshi beat him to the punch and so he became a Japanese armor maker. He never stopped his adoration for western armor and kept a small collection. He hated crowded trains and attributed his inspiration to work from home to the crowded commutes into inner Tokyo which he despised. He was in the Japan self defense forces. Once when we participated in shooting matchlocks, he boasted about his training with the M-Garand in the self defense forces when he was younger. However, when he shot his first matchlock, he was so surprised by the smoke/explosion , that he dropped the gun and ran away with the match still attached to his wrist. He never shot a matchlock again. Incidentally, the same day one of the other participants nearly shot himself in the head. Luckily the bullet only went into the roof of the range. He could be in the guiness book of records for completed armor life works. In his lifetime he completed between 30-40 solid works. Most people dont understand that a yoroi can take years to finish and smaller projects can take many months. The parts and materials are difficult to find and extremely costly without a sponsor. He he likely produced the most o-yoroi of any armorer since the Muromachi period. He was uncompromising. He was known for walking out of a restaurant after one bite of food if he thought it was not up to snuff. His sons told me that once when they were very hungry, right before they got the food in their mouths, he said “Its no good! Dont eat it! Lets go!” And they left(he actually paid the bill but left the food). This same level of scrutiny was held to his own work and like me, he was a perfectionist. He paid extra for the best materials. His words to me were that there were “No Shortcuts”. I live by those words. He loved western culture. Especially American movies. In his latter years when he couldn’t leave his home, we would watch some classics such as quo vadis, ben hur, shane, etc. and he could even sing a broken version of several western movie themes that he tried to teach me. He had a Cowboy hat that hung on his wall, and when we were on a trip in Dallas, Ann Barbier-Mueller took him to a western store. He wanted the southern grey infantry hat which he wore from then all the way home. You should have seen the looks he got. People couldn’t figure it out the Japanese guy in the rebel hat. Ann also bought him an extra large size holster which he adjusted to his size once back in Japan. I always wondered if he put it on when nobody was looking and practiced drawing. He loved the knights of the round table, and the era of chivalry. I can’t help but think that if he could choose a time and place to be reborn it would be medieval Europe as a knight. He never had a mobile phone. He didn’t really need one as he spent most of his time at home working, and his customers contacted or visited him. I can’t really imagine him having used a cell phone actually. He loved his wife very much. He often told me about her. When I first met him, he was in a very bad place. He had all but stopped making armor and I can’t help but feel his depression was due to the tragic loss of his wife. He credited his success to her as she was the bread winner for the family as a piano teacher until he got himself established. She was very patient. After he started teaching me he came out of his slump and produced the last series of work in his life which was a group of helmets based on various insects that he liked. One thing that most people can’t imagine is that my teacher took a lot of criticism for teaching a foreigner. Certain people constantly attacked me and my character without even knowing me simply because I wasn’t born Japanese. Some so called friends stole his materials or manipulated him to sell them to prevent me from getting them, and some even claimed that they made it themselves. It hurt me that he was not able to stand up for me due to the racist politics in the community, but the fact that he taught me and named me his successor speaks more than words. And regards to the taken items: he told me that I didn’t really need them because I was capable of making and doing them myself and the people who took them were NOT capable. And that I was entrusted with what was important: his knowledge and legacy. I have enshrined what I could of his material culture in my library and have made it available to researchers or aspiring craftsmen. These stories are just a few stories of my life with my teacher. If anyone would like to hear more, I’ll be would happy to tell more in person. I just hope that I have helped the people who were interested in his life to know more sides of him. I know that when somebody passes, people may try to use their death for political purpose. I know that he would have liked to greet his friends who he knew and respected once more. And the rest…. he would have said that he didn’t care to hear their opinions at all; be they good or bad. Japanese Version: 三浦先生へのユーロジー 現在、三浦按針の襲名で活躍しております、アンドリュー・マンカベリーです。この襲名は、恩師であり、甲冑師であり、三浦半島に祖先を持つと言われる、三浦公法氏から受け継ぎました。私は彼の後継者であります。 彼の師匠、森田朝次郎氏は、江戸時代まで遡る侍職人から学んだ甲冑師であります。 三浦先生の遺族は二人の息子さんとその妻、二人の孫息子と孫娘一人です。 1938年六月生まれ、2022年七月、84歳の誕生日後まもなく亡くなりました。 甲冑師としては大変稀である、東京都板橋区無形文化財に指定されています。 私は、人生の半分を三浦先生の弟子として過ごし、彼の一番の理解者であり、とても忠実な弟子でありました。日本においての人間関係は、外国人にとって大変理解しがたいものであります。日本での滞在経験が豊富であり、日本人と親しい関係にある外国人であっても大変難しいものです。私は、三浦先生と度々口論し、時には涙を流すときもありましたが、私にとっては家族のような存在でした。三浦先生の私に対する態度は、私自身の父親を思い出させるようなものでした。私は、三浦先生の良い日も悪い日も知っています。彼の弔辞に書かれている様な一般的に知られている三浦先生ではなく、ここでは、私自身の経験と、他にはあまり知られていない三浦先生について語りたいと思います。私があの世に逝った後は、こうありたい様に、三浦先生もきっと喜ぶはずです。一部のストーリーは三浦先生が語ったものであり、また一部は私自身が経験したものです。 1. 若き頃、三浦先生は非常にハンサムな方でした。映画、特にハリウッド映画が大好きで、かつて、日本の映画のオーディションを受けたそうです。彼の若き時代は、俳優は才能や経験よりも容姿の良さで選ばれていたそうです。そのオーディションには３００人ほどの若い男性が集まったそうです。彼らは容姿の良さで分類され、最終段階まで絞れらていきました。三浦先生はなんとファイナル３まで残ったそうです。最終選考にて選ばれた男性は電話があるということでしたが、昔は携帯電話など無く、家庭に電話一つという時代であり、取り損ねると役を失うといった時代でした。三浦先生は、映画会社からの電話を取り損ねたか、家族の誰かが電話を取ったために役を逃したと、常に信じていました。偶然にも、そのオーディションで最終選考にて選ばれた男性は、後に有名な俳優になったそうです。俳優の加山雄三さんとTV 出演した際に、三浦先生が、自身のオーディション経験を彼に語っていたこと今でも覚えています（この時点では私は何百回も聞いていました）。雄三さんは、黒澤明監督から、役者としてあまり良くないから歌手になれと言われたエピソードをジョーク交じりに話していました。結果的に彼に取ってとても良いアドバイスとなったそうです。 2. 三浦先生は1938年虎年に生まれ、2022年寅年、誕生日のすぐ後に亡くなりました。寅年生まれは孤独を好み、かんしゃく持ちであると聞きました。割合に的確だと思いますが、時折、宴会好きでした。私も良く似た性格の持ち主なので、彼と気があったのだと思います。 3. 三浦先生は二つのメダルを警察から授与されています。一度目は、強盗を阻止し、二度目は暴行を阻止したそうです。事件の後も警察に協力し、犯人の逮捕につながったので、特別なメダルを警察から授与されました。 4. かの有名な相撲力士、舞の海関が三浦先生の腰掛を壊しました。舞の海関が三浦先生へのインタビューの際に自宅を訪れた際に、彼は、江戸時代の陣床几を目にし、座っていいかと尋ねたところ、三浦先生がいいですよと言って、舞の海関が座った途端に革が切れて、お尻からばったりと倒れたそうです。この時だけが、美術品を壊されても激怒しなかった唯一の出来事でした。 5. 三浦先生は天皇陛下明仁と親しい仲でした。三浦先生の居間には、彼と、彼の奥さんと、明仁天皇が一緒に写っている写真が飾られてありました。一般の人と写真を撮ったり、サインしたりということは皇室のルールでは認められていないので、その写真は非常に貴重なものであります。三浦先生の息子さんが、明仁天皇の次男である秋篠宮と学習院大学での友人であったそうで、彼らのソフトボールの試合では三浦先生は天皇陛下明仁とお話しすることがあったそうです。三浦先生の奥さんは大変美人な方だったので、天皇陛下自らがお話にきたと、三浦先生はいつも誇らしげに当時の出来事を振り返っていました。 6. 三浦先生は三島由紀夫と面識がありました。1960年代、三島由紀夫は、例年行われていた、日本の伝統芸能や職人に関わる時代祭に度々参加していたとは、よく知られていました。三浦先生はそれらの時代祭にて、三島由紀夫の兜を運び、彼の甲冑着用の手助けを行っていました。三浦先生は、当時の三島由紀夫に対し、 “やっぱりアイツは何か違う、おかしかった。普通の日本人の目はこっちによるでしょう（指で目尻を下げて）、でも、アイツの目は（目尻を上げて）こうなってた!” と、振り返っていました。 7. 三浦先生は、時に激しい気性の持ち主でもありました。それを知っているのは私を含めてわずかしかいませんでしたが、そんな中での面白いエピソードとして、プロレスラーの高田延彦さんとテレビ撮影を行った時でした。三浦先生が何らかの理由で激怒した際に、高田さんは困惑した様子で私に、“あの爺さん、怖いね”とこぼしていました。私は何気無しに“慣れてきますよ”と答えました。 さらに三浦先生はテレビ局のスタッフを怒鳴りつけ、その上スタッフの一人を家から追い出しました。 そんな仕打ちにもかかわらず、彼らはその後も多数のテレビ番組のために戻って来ています。ご機嫌とりとして、ビールとお酒を持って来るのが通例となりました。 8．三浦先生に学ぶため数々の生徒が訪れたものの、最終的に彼の弟子となった者は一人しかいませんでした。（私を除く）一番長くもった生徒は二週間だったそうです。三浦先生は職に関しては、弟子であろうが自身であろうが、大変批判的で厳しい方でした。三浦先生の次男が小学校の先生になる前に、三浦先生の仕事を手伝っていた時期もあったそうですが。しかしながら、三浦先生から最後に独立（職人の通過儀礼）を与えられ、後継者として認められた弟子は私、アンドリュー・マンカベリーだけであります。現在私の職人名である三浦按針の名は、三浦先生自らが、自身の三浦姓と私の名を組み合わせ、私の弟子として最後の日に与えられたものです。三浦先生は私の名前、アンディーを正しく発音できなかったため、私は彼からいつも“アンジ”と呼ばれていました。三浦按針工房は現在私の職場であり、彼のレガシーでもあります。 9. 三浦先生は日本甲冑師として名を馳せることになりましたが、実は西洋甲冑にも大変関心がありました。西洋甲冑師を志してみたものの、兄である三浦權利(しげとし)氏に先を取られ、日本甲冑の道に進むことになりました。その後も西洋甲冑への愛着は生涯続き、小さいながらも西洋甲冑コレクションを楽しんでいました。 10. 三浦先生は、満員電車が大の苦手で、東京首都圏への通勤をひどく嫌っていたことが、将来自宅で働きたいという決断に至ったそうです。 11. 三浦先生は自衛隊に所属していました。数年前、火縄銃射撃に参加した際に、若き頃自衛隊で行ったM１ガーランドの訓練を皆に自慢していました。しかし、彼が、最初 に火縄銃を撃った際に、あまりの力強さと煙に驚愕し、火縄銃を落とし、火縄が彼の手首に巻かれた状態にあったにも関わらず走り去ってしまいした。その以後、三浦先生が火縄銃に触ることはありませんでした。同じ日に、他の参加者が自身の頭に向かって発射してしまったそうで、幸いにも弾丸は 屋根の高さ程までしか飛ばなかったそうです。 12. 三浦先生が生涯に制作した甲冑の数は、ギネスブックにのるべきほどの数でありました。私の知っている限り、彼が生涯の制作した甲冑の数は、30〜40領でした。 鎧製作には数年、小さな部品には数ヶ月かかるということを大抵の人達は、知りません。様々な部品および材料を調達することは、スポンサー無しでは非常に困難で費用がかかるという事実を皆さんに知って頂きたいです。そのようななかで、複数の甲冑を完成させた甲冑師は、室町時代以来、三浦先生だけであると思います。 13. 三浦先生は、全く妥協しない、頑固な人でした。レストランで、彼の注文した料理が彼の口に一口でも合わなかった場合は、出ていくという頑なさ知られていました。三浦先生の息子さんの思い出では、レストランにて大変空腹だったにも関わらず、彼らが注文した料理を口にする前に、三浦先生が “まずい、ダメダメダメ、食べるな! 行こう!” と言って店を後にすることが度々あったそうです。(料理に手をつけないにも関わらず、勘定はいつも払っていたそうです) 。これらの出来事からも理解できるように、三浦先生の完璧主義は自身の職人業にも、弟子へも要求されました。私自身も妥協知らずの完璧主義者なので、彼は素晴らしい師匠でした。三浦先生は、最上級の原料や素材には惜しみなく代金を払っていました。彼のいつもの口癖は“近道はないよ！”でした。この口癖は、私の人生の指針でもあります。 14. 三浦先生は、西洋文化、ウエスタン、特にアメリカ映画が大好きでした。晩年、三浦先生が外に出ることが億劫になっていた頃、クォ・ヴァディス(Quo Vadis)、シェーン(Shane)、ベン・ハーなどのクラッシック映画をよく一緒に見ていました。数々のウエスタン映画のテーマソングを途切れ途切れにも歌うことができ、私も教わりました。 15. 三浦先生の壁には、アメリカ、ダラス滞在中、アン・バービエ・ミューラーさんに案内して頂いたウエスタンストアにて購入したカウボーイハットが飾られてありました。三浦先生は、南北戦争中、南軍兵士が被っていた灰色の帽子がとても気に入り、ダラスの空港から日本に到着するまでの間、ずっと被っていました。その姿はとても滑稽で、米南部兵の帽子をかぶった日本の老人を周りの人々が不思議に眺めていました。さらに アンさんからプレゼントされたXL サイズのホルスターを、日本に帰国後、自身のサイズに仕立て直していました。誰も見ていないところでピストルを抜く練習をしていたのかもしれません。 16. 三浦先生は、アーサー王物語、円卓の騎士、騎士道をこよなく尊敬していました。もし生まれ変わったら、彼はきっと中世ヨーロッパの騎士として生まれ変わることを望むでしょう。 17. 三浦先生は生涯、携帯電話を持っていませんでした。自宅で働き、外に出ることがほとんどなく、顧客は彼に直接連絡し、訪問していたので、ほぼ全く必要なかったようです。とは言っても、彼が携帯電話を使っている姿は私には想像できません。 18. 三浦先生は、今は亡き奥さんをこの上なく愛していました。いつも彼女のことを話してくれました。私が三浦先生と最初に出会った頃、彼は心身ともに良い状態ではありませんでした。彼はその頃、既に甲冑作りから離れていました。最愛の奥さんが亡くなって生きる気力を無くしてしまったのでしょう。三浦先生は、自身の甲冑師としての成功は彼女の手柄であるといつも私に語っていました。彼女はピアノの先生として、三浦先生が独立するまで家計を支えていたそうです。大変辛抱強い方のようでした。私が彼の弟子となり、修行が始まると、彼の甲冑作りへの情熱が舞い戻ったようです。その後は、 彼の最後の集大成となる、彼の好みの昆虫をモチーフとした数々の兜を精力的に製作していました。 あまり知られていない事実として、三浦先生は、外人を弟子にとったことにかなり周りから酷評を受けていたことです。私が日本で生まれ育った日本人ではない外人という理由で、他人だけではなく、知人からも、私と三浦先生への非難は絶えることがなかったです。三浦先生の友人を名乗る人々が、彼の作品が私の手に渡らないよう、彼をごまかして低価格で彼の作品を購入したり 、彼の作品を盗用盗作し自らの作品だと言い張ったりと、やりたい放題している様を見てきました。排他的で人種差別的である甲冑職人の環境に立ち向かうことが出来ず、私へ対する批判に表向きに立ち向かうことが出来なかった時が度々あり、思い出す度に心が痛みます。しかし、三浦先生が私を弟子として受け入れ、一人前の甲冑師になる為に時間と知識を費やし、最後には彼の後継者と認めてくれたという事実は、どんな言葉や約束よりも意味深いものであります。 先にふれました、三浦先生の盗用、盗作された作品につきましては、三浦先生曰く、彼らのような職人には自ら立派な作品を製作する能力がないのでこういう悪事を働くのだということです。私には自分で立派な作品を生み出す技術があるのだから、あまり気にするなと言ってくれました。三浦先生の知識とレガシーを受け継ぎ、甲冑師をして良い仕事をしてゆくことが、私が後継者として委ねられた任務です。甲冑研究者、および将来の職人希望の方々の研究目的ために、私のライブラリーには、三浦先生が残した数々の遺品を祀ってあります。 これらのストーリーは、私が恩師と過ごした人生での、ほんの一部の逸話であります。もしよければ、その他のエピソードを別の機会に喜んでお話しさせて頂きます。このユーロジーが、多く人々に、あまり知られていない三浦先生の一面を紹介し、彼の功績を知っていただく機会になればと願っています。三浦先生は、きっともう一度、敬愛する同志に最後の挨拶をしたかったはずです。その他の三浦先生があまりよく思ってなかった人々に対して、良し悪しに関わらず、彼らの意見などどうでもいいというでしょう。

How to tie a Katana bag 【刀袋の結び方】刀剣鑑賞が100倍楽しくなる動画！ Bags for storing and protecting swords are collectively called "sword bags. In this video, we explain how to tie the strings at the entrance of the "white scabbard bag" for the white scabbard and the "fake bag" for the fake sword. Some parts of the process are rather complicated, so please watch the video repeatedly to learn how to tie the strings! 刀を保管・保護しておく袋を総称して「刀袋」と呼びます。 本動画では、白鞘用の「白鞘袋」、拵用の「拵袋」の入口にある紐の結び方を解説しております。 工程がやや複雑となる部分もありますので、繰り返し動画を見て「紐の結び方」を習得してくださいね！ https://youtu.be/lgikKYoN3S0

I know you were asking for kani sukashi, but since some other people have put up others... here's a ko kinko one:\ best, rkg (Richard George)

They are from the Wakase shop, they made the special extended Ishikuze seen on the Saya. So that indicates at least the Saya and Tsuba are original.

Thank you Dale! Actually now it makes sense! I was wandering about that weird hairstyle of his, especially on the left side. Looks like an artist has placed the mountain silhouette on the background.

Nothing wrong with it. I like it. The ito lacquer fits to the color of the saya. Its a very eyecandy koshirae.

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Wow, love this stand! I've always loved innovative ideas to present antiques in general.

The Symposium will start at 8:30h and my lecture about Nihontō and tōsōgu at 12:20. I will try to record it and upload to YouTube. Thanks for the interest!

I use Zotero, but mainly on my PC. The mobile versions are still unknown to me. https://www.zotero.org/support/mobile

https://www.ebay.com/itm/314487278583?hash=item4938e70bf7:g:1t8AAOSwG5hkIpS6&amdata=enc%3AAQAHAAAAwJ58vVmg6vTeGxNX5a6luyzcuCRVscm%2FC5E4WCRw0EDG%2FnUKJvbC6VjhlQmcAYzyN3f1wB%2Frs5oK90%2F5aAx%2BfJf0iajRgeqqzROdlGPF5ghfX1179IwMn5ZxD2gCnUaA8yKvYFGgIZAV3mtmoWv50IFG0K5AmpjlimrxT9cYnIDbgGoU3XE%2FXot4bwshjAMY8N0zqVCg5MakGqvVpdWxRxoA4nauAdtk6Q1L6wGyDkAiSqcF4cQ0JE20NV3iBPNGOQ%3D%3D|tkp%3ABk9SR9iDsrzmYQ

The box is from July, 1931. It indicates the sword was presented as a gift to a graduating student of the Military Cavalry Academy. I wouldn't freak out about any residual DDT from that box. Don't lick it. Don't put it in the baby's crib. But also don't overthink it.

That's good info to have Steve. Thanks for letting us know Here's the main image of a menuki that came up, described as a "bird".... Strange looking bird, with no beak and some oddly placed gold "tendrils"... but sure enough, by the time you get to the 6th image, then you can see this for what it really is

Most dealers can do that for you. As well as probably people like Bob Hughes “Keichodo” etc. Actually, Tanobe sensei is very personable and friendly. Have not had the chance to meet Tokugawa san yet, but from friends who have met him, have heard he is down to earth and friendly too.

Gendai from left to right: Meiji 29 (1896) Yamana Tokiyoshi ordered by Sagawa Akira Meiji 37 (1904) Bungo Hidenaga Taisho 4 (1915) Hayama Enshin Showa 3 (1928) Minamoto Yoshichika Coronation Tachi

No general's tassel but this Yasunori/Yasukunito is on Aoi now and a more affordable price than stateside prices typically: https://www.aoijapan.com/katanashowa-11-nen-10-gatsu-kichijitsu-yasunori/

I find your arguments compelling and now agree that these "police shin guntō" should be placed in the World War 2 category. It is interesting that this particular scabbard maker was a wartime supplier and continued making scabbards after the war for Tenshozan (or possibly Tenshozan made them all along?). As an aside, Nagoya Arsenal switched to wooden scabbards for officer swords in 1944 and I have a little missive about the matter over at WRF. The Tōkyō 1st on the other hand was reluctant to downgrade the quality of the fittings. However, in March 1945 all such production ceased in this location courtesy of the B-29. The Atsuta Factory & Military Swords Tenshozan seems to have used a 1 or 2 digit black painted subassembly number on these souvenir swords and I have used this little tidbit to help identify some of them. In contrast, the late war naval swords will frequently have a 4 digit black painted subassembly number. The second F&G book has a rather good summary of the naval sword supply chain, think Minatogawa & Tenshozan, that is repeatedly overlooked by many researchers.

Hello everyone, may i have your opinion on this fuchi? Though that quality of the wave sculpture is quite nice to me. But i'm not sure how it compares to top quality Omori wave sculpture? There are lots of dust stuck inside the holes between waves, so it looks like grainy background there. Thank you!

This one just ended recently, and sold for some big numbers, but I'm not surprised. Looks even better than the Owari one from the Tokyo museum that Steve posted.

" Takase Yoshitoshi was a talented tsuba maker from the Hitachi Province working as part of the Mito School circa 1800. His pieces can be found in museum collections around the world. See the Rijksmuseum, Amsterdam, access. no. AK-MAK-1140 for another tsuba signed Takase Yoshitoshi of similar design on loan from the Royal Asian Art Society of the Netherlands. Also, see the Boston Museum of Fine Arts, access. no. 13.2696 for another tsuba by Takase Yoshitoshi featuring crashing waves purchased from Chikami Kiyoomi (1856-1916), former governor of Kagoshima. Cf. R E Haynes, The Index of Japanese Sword Fittings and Associated Artists, no.H12191; also see B W Robinson, The Art of the Japanese Sword, p.81, pl.88." He seems to have had a predilection for doing waves as these examples and the fuchi would show. https://collections.mfa.org/objects/13779/tsuba-with-design-of-waves;jsessionid=6BA31578AAD07C41893E94B21D9CADDE Rijksmuseum, Amsterdam, access. no. AK-MAK-1140 Also a previous auction with almost the same design as that in the Rijksmuseum. https://www.lotsearch.net/lot/an-impressive-Japanese-shakudo-takase-yoshitoshi-tsuba-54045298

The 10% off everything on site sale will end tomorrow, Saturday March 18. After that you'll still be able to talk to me about prices but I won't guarantee a discount. Some items yes; others no. And, should you be interested, I just listed 2 great references: Nihonto Bizen Den Taikan and Token Oshigata Taikan. Thanks all, Grey

Surprised at the interest in this topic and I have always said you never buy Nihonto - you rent them for your lifetime or as long as your interest lasts and then move them on. Any collector really doesnt expect to make a profit on collectables with the 50% change in price buying or selling - especially with dealers. We hold these pieces of history and do our best to not have them in worse shape when you pass them on than when you got them. My concern was having them donated to a museum to go into storage and actually degrade, or have someone chopping sugar cane with a 500 year old katana. I am glad to hear that you are convinced that the next generations will pick up the flag as it were and carry on where we stopped but its something I do thing about. I have one son and 5 grandsons so I am certain they will love to get them but I will have to do - get them interested in them as history and art objects and the appreciation of that. Then I know they will be rented again for another generation. That said - you should all have some sort of forward thinking plan in case your heirs don't want to keep them and I am sure the market will let them sell them but probably closer to what I told my wife I paid than what they are worth. I did toy with the idea of putting in my will they are to be sold to the dealer I bought most from at what he considers a fair market price at the time and let someone who loves them continue to pay the rent.

Ian, I guess you are referring to the huge ££compensations they agreed to pay out after banning our handguns? Well they sure learnt from that…..when they recently blanket banned the sale of ivory including wonderful antique items (with a few piffling exceptions) they did so with no compensation……tough luck for collectors who were facing losing a lifetimes investment. I personally know of collectors who have “lost” hundreds of thousands as a result. Not just Japanese (netsuke, okimono, shibayama etc) but stunning French and Low Countries carvings, medieval and religious items etc etc. If they decide to ban our swords (or any other weapons) they will do so without any compensation and without any conscience and, as with ivory, will ignore any amount of objection or advice no matter how justified. I hope you are right!

Picture of Gassan Sadakatsu:

https://www.jauce.com/auction/m1083576420

Yes, but does your bridge have a tsuba?

For Brian. Comparing it just now to the Tazuke-Ryū long guns in Sawada’s book 日本の古銃, I think this one may be a better (more typical) example, once it’s cleaned up and mechanically sorted. I’ve already booked it in…

Since yesterday I became the caretaker of this sword, enjoy.

G'day Guys, Another Gassan Sadakatsu. This one made in 1943. Cheers, Bryce

Barry the blades nagasa is 68,5 cm and it is signed "Tame Maeda shi kore" made for a Mr. Maeda the feel of this blade, (with its high shinogi) is fantastic, like a koto blade...........

Hi John, Most of them are in shirasaya. Ronnie

Another gendaito in ayasugi hada: Gassan Sadakatsu . Made in Taisho 10, June

Not a Tsuba, and not exactly sukashi either, but some silver Menuki just to add flavour to the pot…

Another nice Jingo tsuba, 17th C. -S-