Robert Mormile

Hello Fellow NMB Members: I am trying to locate some oshigata for the line of smiths that worked in Aki that signed Teruhiro. It seems that there are oshigata of the shodai in abundance however the nidai and sandai are few in number. Fujishiro lists two examples of nidai and then states the following on sandai: 播磨三代以下数代続くも作品ほ見当たらない。 Harima sandai ika sudai suzuku mo sakuhin wa miataranai. Which I am reading as: “There were many generations of the Harima smiths however after the third generation works haven’t been seen or recorded.” I am not sure if this means that he personally hasn’t recorded (made oshigata) the sandai or if the situation is that authenticated examples don’t exist. It seems that there were indeed 14 generations from shodai in latest koto times to jyuyondai listed in 1844. If someone has a papered third or later generation example of Teruhiro it would be greatly appreciated. The sword that is under discussion is stylistically a dead-ringer for other tanto and wakizashi that I have seen on the internet in sugata, deki, hamon, etc. If I am lucky enough to acquire the blade, I will post photos. Respectfully Submitted, Robert

Larger Photo: http://mainichi.jp/graph/2014/09/06/201 ... c/001.html Mainichi Online: http://mainichi.jp/feature/news/2014090 ... 0000c.html

Macolm: Ah, right not Ando. When I saw 富士三十六景 I made a quick assumption, in error, as so many of these crepe prints were produced for those on the world tour they often “borrowed” earlier designs. Cheers, Robert

Peter: Ando Hiroshige, woodblock print on crepe paper, (not silk) Series: 36 Views of Mount Fuji Circa: 1880-1890 Enjoy. Robert

Mr. Morita: Is it, Tame Ryu Ichi Ken Ki Shin Suke? Is this a prayer or a name? Piers: Is this shinsakuto? Thank you. Robert

Piers: My guess is some kind of Buddhist chant or prayer to go with the deity horimono below it, perhaps: 文菊一剣起恒照 This one is rather challenging for me. Best of luck. Robert

Craig: The signature is misidentified. The mei reads Kane Naga or 兼永. Better to buy from any number of reputable dealers out there than from the local antique shop. All the best. Robert

All: It seems there was a TV program that aired in the past week on AMC (American Hero Channel) formerly known as the Military Channel. I am not sure when the next full length program will air but her is the 3 minute trailer. If anyone can locate the full length video or the next airing please inform the members via this post. (Sorry about the 30 second commercial at the open.) http://www.ahctv.com/tv-shows/myth-hunt ... panese.htm Robert

PM Sent

祐定 = Sukesada

Ford: Funny but when I view the tsuba you listed above, I see a kanmuri (like tate-eboshi) as the kuge wore... Could it be? I can't get the photo of a kanmuri to load so here is a link: http://www.sengokudaimyo.com/garb/graph ... nmuriS.jpg Robert

Barry on vacation in Florida: (Lucky) Blue characters say HOZON. Signature on Menuki say NARA SAKU. Robert at work in New York: (envious)

"The blade has been referred to as a Juyo Bunkasai, which it is not. " Arnold: My bad. With the onset of my middle-aged cabernet disease, I inadvertently mixed the two, Jyubi and Jyubun. Thanks for pointing it out. Robert

All: Perhaps we could split this Akihiro topic from the Tampa 2014 event? On the Akihiro, there may be more to the story than meets the eye. I had a chance to study the blade at the show. I didn’t like the polish at all. I will say that I have known the polisher personally since 1996 while living in Japan. He underwent a 10 year apprenticeship with a mukansa polisher. I have handled over 20 blades polished by him and his usual standard is high. After talking with the agent representing the blade I learned some further details. The story was that the owner got afraid that the Japanese government was going to confiscate the blade due to its previous Juyo Bunkazai status and he ordered its IMMEDIATE return to the US. My guess is that the polisher was at an intermediate stage in the process when this order came out and didn’t have time to finish it properly. The exchanges were heated and the demand was met. The blade was returned with a mediocre polish but there were extenuating circumstances. The current owner is not a sword person but I am sure that when the sword meets it next owner it will see a proper restoration. Robert

David: Firstly, I am pleased to know that the tsuba went to a good home, namely yours. One of our fellow board-members and a few folks at the Tampa show offered up interesting theories. Although the “san-dai” is a generally accepted principle in YKB tosogu study, some are referring to the “go-dai” or five generations of Yamakichibei. Some believe that “yon-dai” was one person and yet others have stated that yon-dai, is a category for later works. Therefore, ko-dai (as Mr. Sato’s hakogaki states) would represent an even later iteration of the lineage. It seems that that the waters after the san-dai are murky and beg further inquiry. If you would like, please post some examples of the mei (with the long kichi) that you mentioned to open up the discussion to others. I will be traveling on business over the next few and might not be able to respond but it is not due to my lack of interest in the thread. Most Sincerely, Robert

Geraint: It just so happens... http://www.aoijapan.com/kozuka-kogatana ... n-kiyonaga Robert

Matt: Interesting. The patina seems even throughout. Perhaps this was fitted into a spear-handle that was held by a large statue / temple carving… If it were outside in a damp climate for 250 years it might look like this. Robert

Gary: First two look like "Bishu" 備州 Natural sunlight without a flash might yield better results on the photography. Robert

Christian: Thank you for contributing to this discussion. Please be aware that I never believed that this was the work of one of the san-saku. I believe second half of the Edo Period. If the maker’s intention was to fool someone with a gimei I believe they would have chosen a smallish moko-gata with a barely readable山吉兵 signature and then patina-ed the heck out of it. In this case, I see no evidence that the intention was to mislead, thus not gimei. What intrigued me about this tsuba was the shape, the appearance of the ji, (deki and color) and the Kanzan Sato Authentication. It feels quite nice in the hand; iron tsuba is such a tactile thing. I studied a shodai-Yamakichibei at DTI in October for a good length of time and there is no mistaking the early work to that of later generations. Warm Regards, Robert

Mr. Morita: Thanks very much for the time you spent on this translation. This script writing is so difficult to read. I know that it was an education for me as well as other NMB readers. Thanks again. Most sincerely, Robert

Christian: Thanks for your input, I appreciate it. The upper right hand corner of the cover reads: 山吉兵　後代 I understand it might be difficult to envision as it is written in sosho. You raise an interesting question. If the name Yamakichibei was added to denote the tradition it was made under is it gimei or simply an utsushi. The iron looks like, in some respects like my papered Yamakichibei however I have never seen one in maru-gata. That is for sure. Cheers, Robert

Steve: Thanks for providing this additional information. Yes, seem to by many areas in this field that remain unstudied in earnest. Mr. Sato doesn’t state “yondai” but 後代 (kodai, godai) meaning later generation. Also, he actually called it an “utsushi” or faithful copy. I believe second half of the Edo Period. The evidence of manufacture in the iron as well as the patina are quite close to another early Yamakichibei tsuba that I have. I think he was comfortable adding hakogaki to this as the quality was rather good. I am not a tosogu specialist; can you tell me if yondai actually refers to the fourth generation of it if is a generic term referring to all later work? (I realize that yon means four.) *I should have this tsuba in Tampa for examination. Thank you. Robert

Mr. Morita & Mr. Moriyama: Thanks very much I thought “saru” but it didn’t make sense to me. How about the two characters under “mihon”? Perhaps it means a good example or a rare example? Most sincerely appreciated, Robert

Conundrum Highlighted

Hello: I was wondering if one of our Japanese members could help me with a tsuba box attribution translation. The attribution is by Kanzan Sato and the tsuba is a Kodai Yamakichibei. I could read most of it however there is some sosho that is difficult for me to read. I have placed “?” question marks where the unknown kanji are written. Top of Cover: 山吉兵　後代 (Yamakichibei Kodai) 甲冑師写 (Kachushi Utsushi) 茸小透鍔 (Take Kosukashi Tsuba) Inside Cover: 丸形鉄地小透 (Marugata Tetsuji Kosukashi) 銘山吉兵後代也 (Mei Yamakichibei Nari) 甲冑師写見本 (Kachushi Utsushi Mihon) 見本？？ (Mihon ??) [i provided a closeup shot of these two mystery kanji] 昭和乙卯年夏日 (Showa Usagi Doshi Natsu Hi) 寒山 (Kanzan) Under Base: 小山正司 (Oyama Shoji) 括猿小透鍔 (?? Kosukashi Tsuba) Has anyone heard of Mr. Shoji Oyama? (Perhaps this was from his collection.) Thanks very much. Robert