Peter Bleed

Jussi, That sword was on Fred Coluzzi's table. I remember nothing about it, but Fred has an eBay presence. The Red sword has not appeared there - yet. His handle is fredericksswords. You could easily ask him for details. Peter

Mark's account is right on. The show was larger than last year's and full of stuff. I drove (thru a tornado on the way home!) so that I could bring a wad o' stuff. I left some stuff there, but my goal was to find something to buy. I brought a group of Ainu belt knives to prime the pump. But there was no Ainu stuff there. As always, I was also looking for Sendai Shinto, especially Kunikane school blades. Unfortunately I did not see one Sendai blade on the floor. Not one! I enjoyed seeing many friends. And there were a couple of terrific swords, but I brought nothing new home - darn! There were buyers (including Okayama no Daijo Ando-san), but they demanded very low prices and there was not great competition. In general, I think most of the stuff that was offered was - well - ordinary. Solid, collectible swords in nice condition stayed home or were "protected" by higher prices than the traffic would bear. Could it be that collectors are holding on to "nice stuff" and trying to shed the "utility grade" stuff? Ron Hartmann's Naokatsu display and some really high-end fittings from Nick Nakamura were real horizon broadeners. The important point is that there were lots of people, lots of swords, and considerable action. Mark and his family were terrific. Peter

Signature just looks hinky.Sword might be okay, but, well, it just looks hinky. Peter

might be a "Tsugu"

I note the anatomical location of the artist's signature. Might it reflect bad self image. Or maybe it is a subtle hint that the mei may be - ahhh - suspect. Peter PS I'm glad to find the Board up and running.

Mariusz, You asked a darn good question and generated an interesting discussion. Thanks. I had the same reaction you did to this sword. Whoever made this decision, did not improve this blade at a macro level at least IMHO. Peter

Marcello, Indeed, we're still looking -because we like to look at and think about Nippon-to. I still want to see the nakago, but I also want to adjust my earlier "kantei." You know, after looking once again, I think this is shin-shinto. Peter

It's Japanese, probably koto. Dahhh Hey, show us something we can work with. Peter

Me too! Many thanks, Rich. You really and truly changed sword collecting. I assumed you would seel it to Google and retire to Bimini. I am glad it is still out there for us. Peter

This is an interesting assemblage that seems to include a couple of pieces that were to the tastes of first generation collectors. My favorite (and I'd say the best of this group) is number 1. I think (IMHO!) that this is a first phase "namban" tsuba. Calling it Hizen might be all right, but I suspect that it started out on the Continent (ie in China) and that it was modified to serve on a Nippon-to. Note the big, blocky nakago-ana and the uncomfortably place ryo-hitsu. This one could be pre-Edo IMHO. Peter

In the old days, when you went to a gun show you always carried a "drop tsuba" that you could use to replace a nice guard you might find on a plane-jane blade. Buy it here, replace the guard, sell it there. . . . Number 1 is a "drop tsuba". Number 3 is Kinai. The other two may be drop tsubas too. Peter

Ron, Thank you very much for sharing your research/reconstructions and for starting an interesting thread. Your work raises lots of questions. Let's start with chronology. How old are the tubes and systems you are studying? Are they all pre/early Edo era? Peter

I think Ford hit the nail on th head by saying that most pre-modern tsuba-ji were not "artists." They made tsuba (!) and probably got paid by the pound. In fact, I suspect that there were late Edo period tsuba-ji who may have made hundreds of guards, but less than 10 designs. I also suspect that specialists (let's call'em "hacks") may have only done parts of some guards. Think of those 3 way hole elements on the mimi of some Namban tsuba. They just make me feel like one guy did the plat, and other did the mimi. There were two rationale. First, the traditional Japanese emphasis on technique demanded that "shokunin" practice and practice, and practice until they completely mastered the designs of their "school". Why do you think all those "Owari" bird designs are so similar . Because guys made them and made them and made them. That's a good example, because it shows that if complete designs were not replicated, design elements were. Second, the apprenticeship of the Edo era was certainly exploitive. Apprentices just had to crank out the goods. In this - as so many other areas - the NMB tends to ignore the mass and focus on the exceptional. Think about all the stuff you/we look thru to find the items we judge worthy. Think of the times we have found pieces that look like a "tri-sho." But, hey, Natsuo had to do some "student work." Peter

I just learned that my flight to Tampa tomorrow has been cancelled because there is - or may be - snow in Chicago. Words fail me. Best of luck to everybody else. Peter

Dear Friends, I have not begun to pack for the weekend, but as a results of the List's (wonderful) discussion of Namban, I just got out 12 cupped Namban tsuba. some are certainly repurposed Chinese guards, and others are - well - not. None have papers, but maybe they're worth seeing anyway, So I'll bring them to Tampa. I won't have a table, but is it too late to ask with we might find a bit of space and an hour or two on Saturday to have a "Namban Slam Down." Peter

This remains an interesting thread. I continue to be convinced that MOST of what are counted as "Namban tsuba" are mish-mash creations of stock motifs that reflect the Rampeki or "Hollandamania" of the late 18th century. That fad was a popular phenomenon of mass culture. As Ford points out, there was another - earlier - interest in foreign materials that occurred in the earliest Edo period among the Daimyo elite. Christian motifs showed up at that time, but INHO European sword fittings were rarely copied into Japan at this time. Namban portrayals of this era show European carrying swepthilt rapier. Bilobed and cup guards that inform many "Namban tsuba" date from the 18th century. There were, of course, Continental military campaigns going on as the Momoyama era was passing, so I think it is not surprising that "Chinese" guards were repurposed by Japanese soldiers. All of those things get conflated as "Namban." I hope we can continue this conversation in Tampa. Peter

Jean, As a recovering Namban collector, let me thank you for asking what I think is an interesting question. Of the options you provided, I would have to say it is a “style”, but that description doesn’t help us understand the category we consider “Nanban.” I have come to the conclusion that is best to think of Namban as a FAD that swept across Japan in the late 18th century. At that time, Japanese fashion-setters decided that there were a series of motifs that looked exotic and, therefore, fashionable. These included things like beaded mimi, fancy seppa-dai, maybe a couple of Latin (looking) letters, and other designs that did not look “Japanese.” Rich guys could buy well-crafted examples of this stuff, and then the masses would buy cranked out versions the same stuff. Namban was marketing device that satisfied that fashion interest. Skilled kinko masters may have responded to the fad with master works. Those might be collectible, but at base Namban is the Middle Edo period version of Hello Kitty. Peter

Last year, after seeing what seemed to be a priced Kunikane on the Shi-shin site, I called the number that was shown. It rang twice and Bob answered. We had a nice chat - but the Kunikane was long gone! Call the number. Peter

Jean, You ask the most basic question of shinsa. Why do it? My personal opinion is that submission is usually undertaken out of 1) ignorance ("I wonder what this is?"), 2) insecurity ("Gee, I think this is what is is, but, I'm not sure"), or 3) arrogance ("I own it so it must be significant"). In place of these strategies, I recommend, 4) Reasoned hypothesis testing ("My best assessment is that it is either this or that . . . , and in either case, papers will add to the value." For common and easy to identify categories and without background research, shinsa simply doesn't make sense. Peter

The blade cries for shinsa. And Tampa is coming up Peter

Chris, To move this thread back to the film... I contacted the Kawasaki Reading Room (remember Kawasaki makes motorcycles and subway cars here in Lincoln - Go Big Red!). The Director would happily get a copy of an early film on swordsmithing. They would curate a copy - could one be held - and they have good contacts in Japan. So... Please get me the titles etc of the film - Nihongo de - and the contact information on the agency wich has the print. This looks like it should be doable. Peter

Chris, If Bob can help you, and a Japanese connection is what you need, go for it(!). Let me also humbly say that I have some suasion with the Kawasaki Reading Room at the University of Neberaska-Lncoln. I would also work hard on getting t copy of this film archved thru the UNL Center forDigial Research in the Humanities. And, would love to help. Please keep me in mind! Peter

I'm challenged. I hope someone will unpack this presentation. Peter

I agree with Arnold (as usual). These gomoku-zogan tsuba are a reflection and indication of what seems to have been a active recycling and "hustling" trade that was the low end of sword marketing during Late Edo times. Musui's Story, the autobiography of a ronin describes how he supported himself for a while by buying trading in fittings he bought in flea markets. Not all the hustle was for the foreign trade, I suspect. I think this tsuba may have begun life as an "Onin" style piece and it may have been flipped and turned before the scrap brass wires was fused on to the surface. Peter

Joe and Mark, Thank you. The Board worked. Peter