Peter Bleed

Fabulous, Fred. Thank you for sharing. Have you any history on the repurposed smallsword guard? When and how did it leave Japan? Any guesses on how big a nippon-to would have fit that guard after it was turned into a tsuba? Looks like it would have been pretty small. I'll say it again, Wow! Peter

What causes collecting fads? I’m sure there are lots of potential reactions to that question, but it seems to me that tsuba collecting has had a series of fads over the past several years. As a collector, I think it makes sense for us to be aware of what is hot. There is certainly nothing wrong with collecting what others also like. But it seems to me that popularity of some styles and schools can lead to “bubbles.” Nobody wants to buy into a bubble! Have there been fads – and price bubbles – in tsuba collecting? Let me cite a couple. In the 90’s tosho and kachushi tsuba – mebbe with a bit of mon-sukashi – were sought after and worth about twice or more than they command now. There was a time when an elegant iron disk was what collectors wanted. Now they are a commodity on eBay. After that, brass inlay tsuba – Heianjo-Onin – were in high demand. My sense is, however, that they are less popular now than they were a few years ago – and that prices have gone down. Namban tsuba seem to be pretty hot nowadays. I have to wonder if they are entering a “fad” phase. I full agree that high quality stuff transcends fad. Good Kanayama and Owari sukashi are always sought after. Some “types” are rare enough they can’t support a fad. We all know what a Kamakura tsuba looks like, but how many do we see? Fads can only happen in rather common categories. So what do you think? Are there fads? Why to they happen? And what should collectors do about them? Is now the time to buy Namban – or to sell? Peter

I continue to enjoy this thread. I too enjoyed reading Yumoto (I bought it before I ever owned a sword!) and as i mentioned earlier, I read "Nippon-to" as well. These 2 were easily available and aimed at the gaijin audience. Both were useful, but you don't have to know very much to know that they are also simplistic and, well, riff with errors. They are not particularly useful now. It turns out that there was another book available at that time. In 1948 Honma-sensei wrote and produced "Japanese Swords" and had it available thru the National Museum. This is a dense 75 page introduction that pulls no punches. It tried to make the reader aware of the details of the history and aesthetics of Japanese swords. This little was essentially free in the old days, but it is rare today. It was a serious book and I think too difficult for the intended audience. It is also worth pointing out that Robinson's "Primer" and then his "Arts of the..." were also early and serious introductions that came out quite early. They were based on serious Japanese sources. The level of serious consideration that went with the small Honma booklet and the Robinson books was, i think, well beyond the early gaijin audience. Peter

This has been a fascinating thread! The images have been very informative. Thank you all and please keep us informed Peter

Let me add my positive comments. I enjoyed the gathering at Minneapolis. The gang was well-formed. There was a good mix of relatively young and relatively old collectors. There were lots of things to look at and things did move. Everything was very well run. I did some mix and match - took a risk on a blade trade, and also came home with a couple of Namban tsuba. I also watched a couple of items move thru the Shinsa (I was going to say 'pass thru the Shinsa, but that would not be semantically correct). The team worked very hard and I think gave everything a close and expert examination. Let me also say that this show convinced me that the sword market is becoming extremely rational. The major "buyers" candidly admitted that they were buying for eBay. I think that means that almost anybody can have a pretty good sense of what stuff is worth. There are very few bargains and sleepers. Peter

look at the shape, look at the kissaki. It is Chinese

Friends, I am looking forward to the upcoming Minneapolis event. Since I will be driving, I will be able to bring a fair amount of stuff. So far the stuff I'll be putting on my table includes a buke-zukuri koto katana by Mino Kaneharu, a Nio koto by Kiyoyoshi in shingunto koshirae a Ryokai katana, a Rai blade that needs shinsa, a papered Kunisada katana 2 buke-zukuri mounted Sukesada katanas a 1868 dated Tanimitsu katana a Sesshu Yoshishige katana, a nagamaki naoshi with Norishige attribution a couple of worthy gendai swords and gunto a wakizashi by Nagayoshi half dozen tanto, books, some pottery as well as miscellaneous kodogu, arts, militaria, and other stuff. I will also have a bunch of European influenced Namban tsuba that I hope folks will look at with me. Please drop by and show me your Sendai Shinto, Ainu stuff, and interesting Namban guards! I’ll be the old guy with the stiff back arriving on Friday afternoon! Peter

This is a sad story, Curran. I admire you for "following the rules, doing the right thing. " I fear however, that the NBTHK SHOULD be there for us. What in the world does our membership mean? They are supposed to be there, educating the forces that be and "preserving" Japanese swords. I get extremely tired of being told that I am a vulgar barbarian if I do NOT pour money down the rat hole and wait for the wheels to turn. Frankly, I would also say, Curran, that I trust your opinion on many matters. Peter

This has been a very interesting thread. thank you all. May I suggest a book I read this summer. It is called "The Yokota Officers' Club." sorry, i can't recall the author's name. A novel and set in the 60's but with some very interesting recollections to the Korean War era. I was in Tokyo in 1969 and recall finding a copy of Inami-san's book in a Kanda bookstore. I took immediately to the Japan Sword Company and had the Old Man sign it. He graciously did and I treasure it still! Peter

I think those are Sendai Kuchi-kashira. The sort of thing made by underpaid samurai who cranked out metal work to augment their small stipends. Peter

How embarrassing! Morita-san is completely correct in his transliteration of this signature. Forgive me for the error. I think Jacques is also correct that this is more like the 1st generation than the 9th or 10th. I would stop short of calling it a gimei, tho. In the world of Sendai shinto these things happen. The question we need to ask - and answer - is do we as collectors prefer this blade - and others like it - with this signature or as a "de-signed" mumei. Please answer that question! I have a couple of swirds that might need to be "unsigned"! Peter

I have come to this discussion rather late, but I always welcome the opportunity to consider the swords by Kunikane. In this case, it would be most appropriate to say swords “signed by Kunikane”. Thank you Micha for presenting this sword and thank you Chris for recalling my interest in Sendai shinto. Indeed, I do love blades by Kunikane since they are 1) interesting and 2) at their best, beautifully crafted. I believe that Micha’s sword is signed “Oshu kuni Wakabayashi ju Yamashiro Daijo Fujiwara Kunikane.” This signature includes information used by KK 1, but I find no record of him using all of this information together – the “ju” and information both about where he lived (Wakabayashi) and his honorary title. Mebbe there is research potential here, but there is also an ‘over the top’ quality to this signature --- and in the suspicious world of Nippon-to such things are a red flag. This could be the sort of thing added by a Meiji era signature cutter with only so-so reference material The 9thKK is recorded to have signed “Oshu Sendai Wakabayashi ju KK” but he was nobody’s Daijo. And he seems not to have made many swords. He apprenticed in Sendai with Kanekura and then went down to Edo to work with Hojoji Kuniyoshi but died at the age of 30. Number 10, KK is also reported to have used the “Oshu Sendai Wakabayashi ju KK” signature, but again without title and with inclusion of “Sendai.” Number 10 went down to Edo to study with Masahide and he made LOTS of swords - - before dying at 29 in 1783! There is lots of interest in number 10. He seems to have been active and something of a promoter, but I doubt that he would have claimed a title like “Yamashiro Daijo.” All this to say, IMHO this signature is NOT like any documented to a known Kunikane smith. It is most similar to signatures used by the first Kunikane. Turning to the look and quality of the nakago, I have to say that it looks awfully fresh to be an early shinto. The ha-agari jiri is unusual, but the yasuri-me might be all right. Remember that KK1 swords all(?) have a little ding in the side of the original meguki ana. I do not know why that is, but note that Micha’s sword has a funny punch by the ana. Beyond that, the signature itself is close enough to warrant very close analysis. The ‘kuni’ character is – well – wrong, but the ‘kane’ looks in the ballpark. In sum, I think this signature deserves shinsa, Unfortunately, shinsa teams seem suspicious of Kunikane swords so I doubt that this sword will paper easily. Still, I would NOT remove this signature until it had been looked at somebody who was specifically familiar with KK1. As an aside, let me say that Wakabayashi is a ward on the east side of modern Sendai. It is ‘behind’ the main train station on flat land that was pretty working class. I think the area were the Kunikane forge was located was pretty far inland, but Wakabayashi was among the area heavily hit by the tsunami. Again, thank you Micha for giving me a chance to think about Kunikane. Peter

Cory, Great thread so far. Thanx. I want to start by being serious. This is a serious sword. It deserves being treated seriously. To heighten that point please let me be ironic. 1) Oh crap, another one of these! You know people give me these things all the time. Send me an private email, I'll tell you about it. Don't beleive those other guys OR 2). Go ahead son, relax, just put the needle in your arm. More seriously, Cory, you have been blessed. Enjoy this sword. learn from it. Talk to others, find more(!), join groups, buy books. Welcome aboard! Peter

This has been a surprisingly interesting discussion. Thank you all. My first impression was that this was a nice looking nakago - - and an ugly blade. I guessed a bad gendai with suspicious tang. Ted convinced me it might be older than I thought. The forum is certainly working. Thank you all. But even polished, I say this is an ugly sword! Peter

Previously overcleaned cast iron? Peter

I am sure that what you are seeing is not "core steel" but simply the remnant of a shortened tang. The edges were cut part way thru and then the nakago was snapped - and partially smoothed. Peter

Friends, I beleive that Koa Isshin swords have been discussed on this list and other venues, but usually from a techincal and aesthetic perspective. Please let me ask about their politcal importance. I am reading Yoshio KODAMA's biography "I Was Defeated" (What a guy; yakuza, class A war criminal, and supposed richest man in East Asia!) and note that he claims to have helped organize and operate a couple of "nationalist" organizations in the late 1930s with names that included the word "Koa." These included the "Koa Domei", the "Koa Seinen Renmei" and the "Koa Seinen Undo." Does anyone know if "Koa" carried particular political impact? Was it a neutral description for East Asia? Or was it essentially about Japan's domination of the Continent? The obvious connection to swords is whether or not Koa Isshin blades were created with explicit nationalistic and warlike political intent. Peter

Thank you all for the responses. I think Barry's example is proof positive that this style is a "type", a regular pattern. I have to agree with the dealer that Barry contacted. These are NOT like other Ainu fittings. The fact seems to be that these fittings are always associated with very low quality blades. This convinces me that they were not made for samurai. They are, indeed, attractive and well crafted, but a great deal of "mingei" has those qualities. Kiseru? How would a pipe go in there? The fact that Ainu carved wood and that these fittings are wood does not make them Ainu. Peter

Let's stay serious, friends. This koshirae is NOT "hade". It may not be particularly sabishi, either, but that is a taste issue. This koshirae is well made but rustic. We have all seen lots of Meiji period stuff, but what would be the market for a rig like this? I wonder if it might not be the sort ot sword used by "matagi", the prfessional woodsmen and hunters of the Edo period. Peter

Dear Friends, I am hoping that I may use a no longer for sale, but still visible koshirae on ebay to beg the help of this list. Please look at item 250765324904 and give me a name for this style of mounting. I am sure several of you will think/tell me that these are Ainu fittings, but I am as sure as I can be that they are NOT Ainu. I have never seen this style of mountings either in photos of Ainu or in catalogues of Ainu material culture. They just ain't there. They are certainly are a type, tho. plain wood with swirling ratan closures, and deer antler fittings. Almost invariable for shoto. I have also never seen them presented in books on koshirae. What are they? Peter

Sorry, I was not trying to be difficult. I just have no skill with image manipulation. I have tried to outline the features I am focussing on. Thank you John for posting the VOC logo. But while I was at it. I have also (crudely) outlined the area where the two dragons meet at the bottom of the tsuba. On many Namban tsuba, - as well as on a great many European smallsword guards - this spot on the center bottom is covered with a grotesque face. John compares these to Chinese taotie. But look at how the dragons meet. I see a square-eyed, broad nosed face in that intertwined mass. Peter

Dear Friends, Thanks for the interesting discussion. Let me show you another tsuba. This is not auriculate, but well-made and symmetical in that it presents a pair of dragons "affronte" (thank you John, gotta love those arty terms). Look at the dragon claws at 4:00 and 8:00. In both I see the VOC logo. Is this merely my imagination or was the logo presented there by the artist. Was he hiding it? Or am I pushing too hard to wonder if he was presenting the VOC as a grasping foreign system? The rendering is less than perfect, but the artisan was probably less than expert with romaji. Beyond that the tradtion of placing kanji in images was well-established in East Asia and supported by the license of grass writing. John asks the the right question. Just because I can see these things (and Piers agrees), does that means that they were intentionally introduced. I am leaning toward beleiving that they WERE intentional, if only becasue they are NOT universal. Most karakusa foliage Namban tsuba seem NOT to have VOC's. So there's the challenge. Go look at your Namban guards. Do you see a VOC Peter

Friends, Allow me to ask anothrer question about Namban tsuba. I enjoy auricular Namban guards becasue it is easy to see in them evidence of cosmopolitan sword culture. Some Namban tsuba had explicit "VOC" markings, suggesting that they were made for men who were associated with the Vereenigde Oost-Indische Compagnie, the Dutch East India Company. Recently, I have convinced myself that some Namban tsuba had more subtle referents to the VOC in their undercut floral elements Please look at the design inside from the round-eyed, long-hair fellow on the side of this auricular tsuba. Is this a VOC design? Peter

Like many others, I read about "Sgt Coldy Bimore" in Saga Magazine in 1965, and even tried to do some research - way back in the pre-net era. Balancing what I did not find against what I was hearing from people who were in Japan at that time, I decided that fiction was the only accurate way of approaching what had appened. My story was called "National Treasure". You might enjoy it. Peter P.S. What do you suppose the Sgt's real name was, Gordon Vimorray, mebbe?

I'll be there as well, Chris. I am glad you are making this happen. Please sign me up for at least one table and a couple of shinsa slots. Is there anything I can do to help? Peter