raiden

By the way, how is the sword mounted, and has this thread determined if it is genuine or not? I believe that this was the original topic. i wonder about the yasurimei, they look weak or not even there from the pics.

did I write "A?" Brian can you change copy? what ever, just a thought. Anyway like I said I'm not a gunto expert, and of course I understand the meaning of "Sho" Gatsu, but I rarely see that particular kanji of masa used for the "Sho" gatsu in many older blades. Cris do you have an example of this makers oshigata since you were collecting wartime stuff a while back for a book or something I remember? I still have my suspicions, and this would be educational for those that shop on ebay.

Im no expert on gunto, but the kanji for "sho" before the kanji for month is not the correct one? Also the tang shape is a bit too long and finished a bit strange for even gunto that I have seen except those from the Takayama forge, but like I said, I'm not a gunto "pro". But I have to say very suspicious and from the pics not good. Is there any shoshin oshigata of this maker?

yes, Brian has done many jobs for me and his tsukamaki is top notch! Even I cannot tell the difference from my best tsukamakishi in Japan, so I have no problem at all using Brian for proper restoration. Highly recommended! I also believe he studied tsukamaki under Okabe san who is a Mukansa Tsukamakishi. Mike

This tsuba has a maching Fuchi Kashira by Yukihisa as well, an issaku koshirae by any Choshu artist is very rare.

Shakudo works by the Choshu are very rare and of high class. This tsuba is a very good example of a special ordered tsuba by Choshu Yukihisa. In fact fittings other than tsuba are very rarely seen by the Choshu artist.

I'm glad I could help make your trip a memorable one! Don't forget to return the Shintogo! Mike

I am looking for the kogai!

如風於空中 一切無障礙　にょふうおくうちゅう　いっさいむしょうげ 如風於空中(にょふうおくうちゅう)風(かぜ)の空中(くうちゅう)に於(お)いて　　 （にょふうおくうちゅう　いっさいむしょうげ）　いう御文があるのですが、本来人 間というものは一切無障礙なんです。 風の空中をさえぎるものがない如く大空を風が横切る時に一切の差障り、つまり、風 にとって行く道を阻む雲とか木とか壁とかが全くなく、大空を自由に駆け抜ける。

This is one of those crossover topics. I just wanted to share a rare and excellent kozuka that I just got in. It is by Honjo Yoshitane, the master carver for the Suishinshi School and often he did Naotanes horimono when an important carving was needed. He is known to make tsuba as well as other fitings, this kozuka shows his skill as a carver , even though he was a swordsmith.

Unless one has seen and studied multiple examples of the same artist, it is very hard to understand their complete circle of works and talents. The artist we have now is Tsuchiya Sorin - an artist from the Tsuchiya Yasuchika mon. In the west hje might be frowned upon as he is not well known, but in Japan he is well regarded and appreciated.

As Guido said, there were 2 Natsuo kogatana made of solid silver. I have sen a few of these made by Mito kino artist as well. However the solid gold ones were used for Daimyo, such as the ones that Fukushi sensei has from the Ogasawara Daimyo with all Goto mainline kozuka handles. When you think about it the solid silver ones do make sense.

I posted the list of blades on our facebook site - search tetsugendo. The Taikai was well attended, around 400 people from what I heard. It was nice to see some old friends and my teachers there. I was also happy to see many foreigners there, to show that they have a great appreciation for these fabulous swords. The DTI was actually pretty busy on all 3 days even with the Taikai. My favorite piece was a Tokuju Shintogo Tanto, it was fantastic!The prices were not much different from last year, but the weaker yen seemed to help with some US buyers. I will put some news of the Bizen study group meet to be held tomorrow on our FB site. Mike

Just in case anyone needs, here is some info for the DTI show this month. I hope to see some of you there - have a good time!

IN trith, tetsugendo works that are signed are rare. For some reason Seiryuken Eiju seems to leave us quite a bit of examples of different quality. After much study and discussion in Japan, it is possible that Eiju had students, and had them make or finish tsuba, and having him signe dthem afterwards. The different Kakihans could belong to the various students. But the one on my usagi tsuba resembles the main tetsugendo style kakihan the closest. Also this is the only piece with this design, therefore enforcing the possibility that Eiju made this tsuba himself, not like the may dragons, stipled pattern type that are most commonly seen. Just my 2 ccents worth.

all have the gold inlayed in han stamp.

more tsuba we have . 1 is naoshige, 2 are eiju.

Seiryuken eiju usagi sukashi that I gave my daughter last year.

http://koubai.auctions.yahoo.co.jp/auct ... =i11341068 http://koubai.auctions.yahoo.co.jp/auct ... =i11341352 http://koubai.auctions.yahoo.co.jp/auct ... =i11341356

Tsuba by the same maker. The feeling is like that of the Shodai.

2 nice examples for study of one of the better regarded Yasuchika that came after the Shodai. The interesting point of artistic freedom is shown nicely in the kozuka.

you may not want him there.......

Not sure if the "green" chinese guy will be there....

3rd generation Narihisa. A funny story made short... I once offered this tsuba with a guarantee to pass NBTHK shinsa at a very reasonable price to be nice to a new client. At first he said ok, then after talking with another dealer, he changed his mind afraid that the mei wasn't right. So I said fine, and went through the shinsa , box process. A few months later I just e-mailed a pic of the Tokubetsu Hozon to him....you should have seen the reply! study study study!