Michel D

Dear Morita San, Thank you very much for your prompt answer and for all the translations you provide to NMB.

Hello everyone, Here is a kozuka with, may be, a poem. Could anyone translate what is written? Thak you very much in advance for those who will tackle with this.

Hello Guido, Serge is a close friend and maybe I'm biaised...Having said that, he is known for his honesty and humility, he always strived to share his knowledge. While I am not sure for his first book, I am as regards his Shinto, Shinshinto and Koto books: He requested and got permission fromTsuruta san but also NBTHK to include various pictures and oshigatas. By no means I want here to trigger a personnal war, just clarify :) It's always a pleasure to read yours comments and your humour.

Hello dear NMB members, I just gave a ring to Serge: There is a copyright, so that PDF file is not legal, to say the least. For your information, this is the very first edition, the later ones have been amended and improved. Serge also publied very valuable works on Koto, Shinto and Shinshinto blades. Though written in French (nobody is perfect), they are worth reading. Jean, hope you won't hate me since I replied before you (the modarators are no longer whet they used to be! ).

Hello Morita San, Finally, it came to an end! Thank you very much for your kind help which, with Stepen's, has erased my frustation and allowed me to increase my little knowledge and understanding of making out mei. No doubt I'll again knock the good door when in need! Thank you again :)

"A long travel always start with a first step forwards" Thank you Steve, for your help . Kamogawa upper part is consistent with the north location of the working shop location of this kinko. What about the kanji 遥 above 住(Ju)?. I was there last week in Kyoto area, I should have asked Following up the mei of the fuchi kashira given above in a link, I have searched 洛北 with Kyoto 京都 added on google maps: unsurprisingly, the results is the northern part of Kyoto and, if you enlarge the Kamogawa river( 鴨川) to the north, you will find 賀茂川! Again, Steve, congratulations! Typically, I love deciphering tsuba mei but I clearly met my limits here. Well, looking forward the expertise of NMB members for the remaining part of the mei. Thank you very much again

Hi all, Moderator, please delete the previous post, I had not completed! Thanks to Stephen, I was able to find two names matching the search in Haynes reference book.Though the prononciation is slightly different, Rôgetsutei, the kanjis are the same. The inlay work and the mei writing match this exemple: http://www.tokka.biz/fittings/FK143.html My feeling is that it's Haynes 11242.0, Yasusada, name Rogetsutei, ca 1750 who was working in Kyoto...not really Mito Your comments are welcome, not to say the translation of the full mei. Thank you very much in advance.

No Jean, Just an auction in France at a very attractive price but received it recently. I was at the DTI and saw many wonderful pieces. Also in Mishima at the Sano Museum for the Bizen Swords exhibition: no words for that; for those being in Tokyo, it's about a 45 mn trip by Shinkansen and really worth visiting. Being the first one when I came early in the morning and was luckily lent the exhibition book which was very convenient and informative (I purchased it afterwards).The exhibition will be over January 24th. Do not miss this wonderful opportunity. Actually, my trip was devoted to Japanese gardens during the Momiji and I was not disapointed. Now, Jean, what about the tsuba mei? Cheers

Hi Stephen, Thank you very much for this first step. I wish you got your books soon! I'm to track with track. Actually, I had deciphered the last three kanjis but was quite unable to come up with something consistent. The other inscription on the same face likely is the maker's location( Ka-(Yoshi?)kawa-(?)-Ju. Nengo date on the right omote face? Well I rely on the experts of this forum, looking forward some news. Thank you again

Hello everyone I recently picked a tsuba but, my efforts to decipher the mei are to no avail, but some kanji...(far away to undersand the whole!). The tsuba is much better in hand than on the picture, nice chocolate colour ji and high relief inlaid. Given the rather flat mokko shape, the simple and reduced design, I would tend for a late edo tsuba. As for the scool, the translation of the may will give the key but the high relief and flat ji may suggest of Mito. Let's see! Thank you in advance for your help. Michel BTW the nice "the dog ate my homework" for a Mito attribution (seen on a previous post in this section) is in France often used for a Shoami one.

Hello everyone, My two cents-comment. First of all, this forum is a gold pit but... where to dig in? Just spend one or two months without reading it and you will discover the amount of interesting information you have missed. This is all the more true for beginners. May be, as already suggested by Greg, a newbies' section could be opened with some basic advice (chineses fakes, fatal flaws,amateurish polishing, basic glossary and some references books: well, anything that could have made you avoid the mistakes you did or anything that could have helped you when you began). Actually, all that stuff is well documented in the NMB but not necessary of easy access for a beginner. I was for a while a moderator/administrator on another nihonto forum. There were of course many questions from beginners (let's say I was a little less beginner than them ). When I tried to answer, I often had to carry out further researches, including in NMB, to provide a good or acceptable answer. Doing this made me improve my own knowledge. Doing so, a win-win situation is possible I recently met a very newby who had bought two swords on ebay. I did not see the swords but following our discussion, I advised him to suscribe to the NMB. Hope he listened to... I seldom post but have learned a lot on this forum and wish I went on

Hello every one, Currently in the Sanenzaka museum, an exhibition "Kinko tsuba". Actually, one may see most of the tsuba shown in the best known book from the museum. Bonus, there are also "new" ones. Beauty is far comments, so, up to you to go there if you hang around Kyoto. My favourites: Goto Ichijo (moon, rain and mapple leaves) illustrated Tanaka Kiyotoshi (tea things) illustrated Kano Natsuo (geese flying over waves) Otsuki Mitsuoki (coquerel) I do not remember the dates but it should not last long. Last year, an exhibition featering Kano Natsuo's works, including 13 tsuba and Shomin's works lasted one month or so. Cheers

Hello everyone, The firing squad knocked my door, early this morning . It was nice to have met you!

Hello everyone, I have not posted for a (very long) long time... Well, whatever the school is, my feeling is that its not a textbook school example . Now, my assessment: IMHO, the very first general feeling of the design is Shoami. But the kozuka hitsu ana is Higo or Akasaka. If you look at the nakago ana tagane and the sekigane, one can (may?) say that the (origina) kuchbeni was similar to the one found on Suruga,Akasaka and Tanaka tsuba. In despite the non vertical sukashi walls found on Akasaka tsuba, I would say uncommon Akasaka or Tosa Myochin. Now, I must chose between the two schools: Akasaka (in spite of the two vertical tagane on the nakago ana, often found on Tosa Myochin). I do not know if I gave the rod for my back§

Hello again, Sorry, a misuse has prevented me from writing "Ron, beautiful tsuba", and John "thank you for your intersting comments"

Hello every one, You might be interested in these two tsuba by Bushsu Fujiwara Kunishige. (Haynes 03649.0, Kinko Meikan 108 c and 108d) While the later says this artist belonged to the Shoami School, the former writes "some say he was of the Shoami school but his style is closer to that of the Kaga or Umetada shool". The first one has a wonderful greenish patina on the sentoku ji. I have lighted the color to get a better view. I must confess that I was surprised by a Bushu work when I got it, judjing a strong Kaga or Umetada influence in a classic Shoami rather massive mokko shape. The second one (I regret to have not purchased it some years ago) is also rather massive but the inlay reminds inlay of the Umetada school with a feeling of sumiie (one can discuss Murakami influence style but I feel light to substantiate such a view I just wonder if there is a link between this artist and Kunimichi. Just food for thought and looking forwards your comments

Hello Ludolf Thank you very much for your prompt reply. Unfortunately, my problem still remains The Kinko Meikan only lists the mei of the shodai and I am unable to make the difference, in the mei you provided me, between the shodai and the nidai ( provided there is a nidai's ). Actually, I would like to compare a mei which obviously is unrelated to the shodai's, neither the work itself; if I refer to the tsuba # 22 of the Compton collection vol 1 (christies auction) and signed Yoshitane, the description is " this tsuba appears to be the work of Honjo Yoshitane II"; So I would like to make the difference beween the two generations' mei before moving ahead. I am sure that the Nidai did some inlays in his works ( at the least, the Compton example) but I have no idea with the shodai (my feeling is no). As a conclusion, I am still interested in any information related to the nidai. Hope that I haven't bothered anyone.

Hello everyone I haven't posted for a long time and it's time I participated again to this forum. Well, I am looking for a (or several) mei example(s) of Honjo Yoshitane II, son of Yoshitane I. Honjo Yoshitane II is listed in the Haynes but no signature is referenced in the Kinko meikan, unlike his father. I have seen a tsuba from him in the first volume of the Compton collection but unfortunately, only the omote face is shown. According to the caption, his work was overshadowed by father's. Your help will be greatly appreciated.Thank you very much in advance.

Hello! For your perusal! A friend of mine owns this tsuba and I am unable to attribute a likely school. I have contemplated: -Higo for the hitsu ana and the thick mimi that can be found in this school -Umetada for the thick mimi and the hammering (actually my first choice) -Aizu Shoami (please, don’t smile because I pronounced the word Shoami :D ) I feel it’s a well done tsuba and like the balance between its strengh and the elegance given by the openings. Unfortunately, I only have the omote side. Your comments and suggestions are welcome. Regards

Brian, Thank you very much for your help; I had been looking through Google, but to no avail. I now understand and like the yin-yang concept. Regards

Hello everybody! I keep my word! Following a previous discussion on a tsuba from the Boston Museum of Fine Arts and showing a crow and an egret (at the least for me!), I was wondering what could be the tale related to this subject. I have found four tsuba bearing the same subject: -a tsuba by Toshinori, MFA Boston, referenced as # 11.11204 page 254 in the book by Morihiro Ogawa -a tsuba by Hashimoto Isshin in the Kiyomizu sannenzaka museum, referenced page 16 on a museum catalogue on kinko tsuba, recently published. -a tsuba in the Baur Museum referenced # D 1491 page 219 on the museum catalogue devoted to swords fittings. -a tsuba assessed as being Nara as given through the following link (hope it works! ); Sorry my museum isn't at the same level :D Any information on a Japanese (chenese?) tale or legend about this subject would be greatly appreciated. Regards

Hello Dr Finally back home..; and better to discuss with the pictures under the eyes! To me, the Boston museum tsuba you refer to (# 11.11204 page 254 of the book) clearly shows an egret (or a heron) and a crow perched on a willow trunk. Anyway, this tsuba and yours are quite gorgeous and I wish.. This is an opportunity to write a new post on egret and crow subject: I am looking for the stuff! Sincerely

Hi all I am fond of Toryusai style and this Tanaka is gorgeous..Congratulations! I do not know the name of the suface treatment (I am not sure of "ishime") which emulates the old leather, typical on many Tanaka tsubas; does somebody know? BTW, I am not at home at present time and far away from the heavy MFA Boston /Ogawa's reference but as far I remenber, the tsuba your refer to shows an egret and a crow and displays a haiku. I own a Nara tsuba with the same theme (no haiku). Does anyone know the legend/tale associated with an agret and crow? I wished more Tanaka were proposed on the market, but so far, to no avail! Regards

Hi all While steering clear from Ebay, I am sometimes asked "advise" or "opinion" by members of another forum about items listed on Ebay. I am not and expert (far away from) and try to do my best when I answer, and unfortunately most often, negatively, given what is offered. At the least, this forces me to "study" , think over what is proposed and possibly pin point what is wrong: in other words I also learn... If the person who asked advice has learned something and maybe avoided to be swindled, I am satisfied. As a buyer, I also take advise from experienced people and do not forget that I have been a very beginner... hopefully, I have improved and am now a beginner :D Regards

Hi John I'll be heading for Paris this week-end and I feel cool; nothing more than -unfortunately-usual riots in some depressed suburbs when teens are alledgedly killed in a road traffic accident implying the police... Enjoy your auction!