Rivkin

Fugh. I'll try to be a troll here, i.e. more direct and arrogant-professorial than usual. So disregard everything said here as a purely personal nonsense. First, the big elephant in the room - green papers. There are no official explanations regarding what's happened, but frankly the most common rumor being spread around is Hiroshima's branch leaking the paper and then it being attached to gendai fakes. However, these Masahide, Naotane, Kotetsu are sold today with green papers 600k yen a piece in Japan. Not too many of those exist, the market knows about them, for a short time the head NBTHK office thought to simply modify the green papers in appearance to devalue the impact of the leak. But this story is a minor issue. The larger issue is that a considerable portion of green papers issued to top names by the head office does not repaper to the same names - by any shinsa. NTHK NPO and not, NBTHK, Tanobe. Very often these blades have kantei points which directly contradict the judgement rendered. Quite a few have late Honami sayagai, some have sayagaki by Dr. Sato. Which brings another question - why such extremely unusual kantei decision was done BOTH by Dr. Sato and the shinsa team. The answer most likely lies in accepting the rumor that these judgements were not independent to begin with. First Dr. Sato (and the practice was/is not limited to him) saw the blade in private (I will skip here the hospital rumors, which are more sinister, but I don't trust them), often accompanied by previous judgements/registrations, then the blade was recognized in shinsa and given identical attribution. The practice continued later as well, but never on the same scale. Again, the "issues" segment does not involve signed Mino Kanenobu with green papers, where any doubt would be most likely misplaced. They are green because no one doubts them. We are talking strictly Juyo+ class names and blades. Frankly, the Juyo segment itself was the most affected in 1970s, about 50% of the 2x shinsa results being quite optimistic. Not in dealers' interests to raise this point. And all this being said, the green papers+ market is quite strong in Japan: https://page.auctions.yahoo.co.jp/jp/auction/470538221 Personally – over the years I went through about a dozen of blades with green papers and Dr. Sato's sayagaki, all mumei koto smiths of high caliber. NONE papered to the same name. However, none so far papered (either with NBTHK or NTHK) to something exceptionally different either. The great discount for the great names, assumed with the green papers has to be taken into account, so getting Shizu Kaneuji papers to Sadamune does not destroy the value altogether. The worst-worst case was Hasebe which went Tsunahiro. A very good Tsunahiro, still with a Daimyo provenance, but a mumei Muromachi blade nevertheless. Overall, I do think that green papers market to top names in Japan are still overvalued, and the market needs about 10-15% further discount from the current level to become “reasonable” and more or less consistent with what these blades are expected to yield when repapered. Once the blade repapered (NBTHK) to higher level smith. So that’s it for the green papers. BTW, the earliest NBTHK papers, while highly praised, are the worst in a sense that they were not devised as papers – but as a parallel alternative to similar police sheets attesting the sword has an artistic-historical value. The reason for provincial branches at the time was that it allowed to work more efficiently with the local police which was in the process of collecting the swords. The notion that occupational forces were going house to house, arresting the shrine swords en masse is false; there were a few instances where such things did happen, but most of the enforcement was done from 1946 by the police, which also provided the earliest registration-like documents. NBTHK was not doing papering but rather attesting to the sword’s status of an antique as well as citing its provenance. More to the point, aside from the abnormal cases – kantei of real world blades is HARD. First and foremost – it actually has limited overlap with the kantei you get in competitions, which involve the Very Typical blades by only about 150 or so of the top makers. To be really good in official competition one has to drill-memorize kantei features and learn reading them from the blade. The goal is to be able to kantei the blade without seeing them altogether by going through the list of points. The obvious problem is that in reality the makers were far more diverse in their individual work, there were 15,000 and not 150 of them, and the items come in a range of conditions and polishes. The greater problem – if you can’t kantei by filling out the table of features, and in the real life you can’t, then everything becomes murky. While living in Japan, short as it was, I handled very many great blades. Today I am ashamed to say – I remember very little of them. Couple of minutes while standing in line, with some random light overhead is not enough. Only doing the oshigata or even better – photography, helps to etch the blade into one’s mind. And unfortunately the access to the very top (kokuho) level blades in Japan is VERY spotty. There are selected very few, including a certain NBTHK official, who are dedicating their every ounce of strength to make it as difficult as possible. The person in question does an extraordinary job ensuring the top blades even in the US museums do not get either displayed or exhibited. Boston MFA is a great example of how effective his efforts are. So if you think the judges judging your blade have a bunch of Shintogo Kunimitsu daito lying next to them for comparison, or even have access to things like this on a regular basis – this is not the case, period. Unless you have a signed Edo period blade, anything classifying as “dozen” may set you back financially if you paid full name premium, but frankly represents a confirmation of the original judgement. Otherwise, the criteria used by different appraisers are different enough to create a lot of honest differences. Soshu sunnobi tanto with thickish kasane will ALWAYS be papered by NBTHK to Shimada or other later Muromachi name. Independent of work. It can be drop dead gorgeous with killer hada and divine hamon. You will not get a Nambokucho name out of it. Both NTHK will entertain however the possibility of Nambokucho name, usually Hasebe or Nobukuni. There are dozens of little quirks like this one. Bungo Takada is famous for the later blades. Kirill R.

Signed Edo period, probability of another opinion from another group - 1% Unsigned Koto: 5-10% on average, very strongly dependent on school and very strongly dependent on what to consider a different opinion. Dozen in general is not a different opinion. Koto Soshu sunnobi tanto with little to no sori: 25%. Yoshioka Ichimonji - about 1% (excluding dozen). Chances of fake fake papers of any issuer and level - 0.01%. Realistically unheard of. There are stories about Jubi, TH, but realistically you see anything like that a few times a lifetime. So many papers in nihonto world boost the value tremendously with relatively little effort required to fake them - and little to no ability of verification. Police registrations from 1946-1948 (arbitrary sheet in poor English). First year NBTHK papers (those of arbitrary form). Daimyo stamps. Daimyo sayagaki from Edo period. Letters of princely ownership from the Household Agency. Yet you seldom see any of those, fake or not. And almost always - they don't look fake. What is common is sayagaki married to another blade, with no papers attached. Letters from Compton to Japanese prime minister saying its a great blade. Wooden box signed Masamune, Tokugawa collection. Compared to those any paper (save Fujishiro and Jubi, but even those) can be verified with a phone call in Japanese, a personal visit to the issuing agency in Japan, an email to shinsa organizer if issued in the US... Too much trouble. Kirill R.

I am seldom the right person to argue about the terminology - because usually I am in the wrong! This being said, the 5cm definition of fumbari works only for really early blades. Kambun fumbari is however a sentence widely used, even though it refers to the tapering which occurs more or less uniformly within the lower half of the blade. The complication here is that I suspect the lens is wide angle, and the picture is taken off-center, which creates significant distortion towards the kissaki. So its very hard for me to say how much of tapering really continues past the mid point. In any case it does have taper, which does exclude quite a number of periods. Kirill R.

Basically my take is that wide bands of nie, separating from the rest of the hamon and kind of sitting on top of gunome peaks and being very obvious in boshi - that's a common Kambun Soshu interpretation. You don't see them so pronounced as stripes per se earlier in Kunihiro's time, and in shinshinto the interpretation is more Masahide based, not so much long stripes, as ara nie, Satsuma jigane etc. In a related style, Kotetsu, Shinkai are the big names, but a lot of followers or even predecessors. Hojoji, others included. But I am not that good in shinto schools. Kirill R.

Very personal guesses: Very pronounced fumbari, with some sori - probably around 1660. The bands of nie is one of the more popular styles of the period, and its hard to be precise without seeing the kaeri in particular, some hada etc would help as well. I would say from what is seen in the boshi, it kind of goes after Inoue Shinkai. But you do find similar things even in Edo Hojoji. Kirill R.

Dmitry posted a detailed and well researched (as expected I guess) lineage of Tsunahiro-Masahiro http://www.nihonto-museum.com/blog/soshu-tsunahiro Unfortunately over the years I let go of a few more Tsunahiro then I should have, as it seems they now do not stay in stores for any prolonged time. Here are couple of images of an example attributed to one of the generations.

In meetings I much rather see swords than people, and zoom unfortunately does not help with that. Kirill R.

Most of the photographs I take with someone else imply not displaying them in other means rather than publications. But there are obviously photographs which I use for other means as well. I have to admit one of those below is from the blade I tried to purchase on this message board. It did not work out in the end, my fault, but I took a picture when unpacking it. So here are six photos of five blades. All are influenced by Norishige. I think kantei-ing them more or less accurately based on such small segments alone would be extremely difficult. In fact one of the gentlemen here is not in a Meikan, which would ruin any fairness would this be a kantei competition. On top of that in roughly half of the cases the work is somewhat atypical (i.e. better than average). I can add however that one of these was favored by Kanzan Sato. But could be a nice opportunity for the willing to look into the interpretation of this school over the years.

I will be a little argumentative here - your other photographs are very good. Here its very hard to say anything without seeing the boshi at least, a little bit more of ha would also help. The shape is dead ringer kambun I guess. Hakikake is common in Horikawa school, which however tends to come with Keicho or Kanei shape, which its not. One of the reasons I don't like and don't do shinto kantei is that it requires one to memorize tons of small things with little to no structure. We are looking for someone who did hakikake and utsuri, a very rare combination. Can be Edo Ishido. Can be Dewa no Daijo Kunimichi. Very different styles, but without seeing a bit more of those togari-or-choji, hard to say at least for me. Kirill R.

Looks like Etchu. Maybe Tametsugu. Kirill R.

Not bad for gunto mounts. Feels late shinshinto. Bizen style. Very hard to throw an exact name, but if required, can be Toshimitsu. Kirill R.

I feel there is a huge difference between mumei swords attributed to Bungo and those signed by Kambun era smiths. Motoyuki was a very decent Soshu smith, Yakinaga did impressive work in suguha, there was even a good done Bizen a-la Ishido Korekazu. The attributed pieces however tend to be... Kirill R.

The gentleman in question is Bungo Yukinaga. Kirill R.

I also would probably guess Hizen, but it was mentioned only 220 times or so. This school is much more popular. Kirill R.

Well, here is another brain teaser, equally malicious to the last one. Except here the work is a very typical style for the smith, though I particularly like the quality of this example. It is signed. The smith belongs to the school which is for some reason one of the most often referred to by its name on the forum! Actually I did a few searches and it came out as the most often referred to, but by a small margin I did not try very hard - so one of the most. Anyone cares to make a guess?

There are indeed nastier collecting areas than nihonto. And far more dangerous ones. Nihonto is special in a sense that 99% of expert-researchers at worst are translators of papers and basic Japanese books, at best are capable of memorizing kantei features without giving much thought to whether these rules actually have a solid support in terms of signatures/provenance/other data. In no other collecting area a dealer with a website filled with translated pages from here and there would be automatically lauded as an Academic Intellectual. In no other collecting area the most important publication of a year, if not a decade would be something like if you take papers of this color, and the length of a sword is such, and the length of a signature is such, you can then get papers of that color. Kirill R.

Nihonto community at its usual. What puzzles me is how addicted it is to words Academic, Scientific, Research, Study. Otherwise it would be interesting to read seminar's publication, if it exists (probably it does not). Kirill R.

Rumor-wise I heard is that non-public guidance for basically all countries is to make sure the packages are held for at least a month at a warehouse. EMS from Japan is now being slowly loaded on container ships. Kirill R.

To me comes as classic Mino, looks like late Muromachi to early Edo. Sorry, did not notice the yakidashi -more likely early shinto then I guess. Kirill R.

They are definitely similar to 17th century European works, but my guess is there are too many small differences. They are flatter, uniformly patinated to black (as Namban Japanese works tend to), with deep cuts which go through the entire object, rather than at least big portion of the lines formed by more shallow engraving. If those were European, one would indeed expect to see more "unquestionably European" guards, but 99% of the type are all "sort of", and are too similar to one another rather than to any random selection of period European works. Were there loads of such items in Indochina or China or anywhere else on the Continent, the continental theory would have been an interesting alternative. Kirill R.

The international air mail is stopped officially to most countries, and for the remaining it defacto stopped functioning sharp about 10 days ago. Everything before went through smoothly, everything after gets stuck. I suspect because this is a severe cut down from a much longer sword, what was there could have been a kinzogan mei or alike to, say, Masamune. So it was removed during the polish even without submitting it, as nonsense to begin with. I like uda for it because of utsuri, nagare close to ha and nie forming long, narrow stripes. P.S. I thought Showa 31 is 1956. Kirill R.

Looks nice for the price. Late Muromachi. Maybe Uda? Hamon looks tired and not very distinctive, which might be the photos. However good luck getting anything in the mail from Japan today. It is non-functional. Kirill R.

I feel these terms are more commonly used in the US compared to Japan, in part as they tend to mean somewhat different things to different people, but here is a personal opinion: Soshu very seldom works out in sashikomi. Bizen with long choji and prominent utsuri can be easily denigraded by careless application of hadori. And very often - it is. Even in the hands of people who are part of the top 10, or even top 5 polishers in the world. Kirill R.

Interesting hosho interpretation: http://nihonto.us/TAKAHASHI%20HIDETSUGU%20JL.htm Feels like it goes back to some Naotane's school works and then Sendai at earlier times. Kirill R.

Suishinshi Masahide I guess... But that's his personal statement. Might be applicable to Sukehiro's style, might be not. Kirill R.