Bugyotsuji

Daikoku and Ebisu are two gods, their presence indicated by the articles normally associated with them. Ebisu is often shown with a sea bream, for example, so a depiction of a freshly caught sea bream will suggest him. A sack likewise as in your link, will be ‘rusu moyo’ for Daikoku (actually for Hotei).

A little birdie told me yesterday that they now have only ¥100,000 to go before reaching the 3 million yen target. Congratulations! As part of their activities drive, there was a special panel discussion with invited swordsmiths and Togishi. A film crew from NHK turned up to cover the event. Sukesada blades from over the ages were laid out for viewing.

Hello Peter!

Spongiform encephalitis is the only expression that leaps to mind. Copper, so therefore soft, but those holes do not look like they could be reproduced with a pin or needle…(?) Besides, the elaborate bubbling or stippling stops at the edge of the seppadai, so it’s surely not part of the original overall casting process. Perhaps it’s a unique process known only to the artisan (ideal scenario!) so maybe it has no ‘official’ name, leading us to go generic with ishimeji, etc.

Yes we’ve discussed these Ginkgo nut blades (銀杏穂) Gin-nan-po/ho here before, quite a few years back. They’re beautiful, aren’t they! Perfectly formed curving facets. They come in various sizes, some quite small. I’ve seen bronze examples from 5th-6th century AD tombs. It has been said that the weakest spot of an armoured warrior is the eyes, for which you do not need a long blade. Maybe there is indeed more than symbolism and beauty to them though…

I suddenly remembered I had to go and see a man about a dog!

Good question, so I asked AI, who (!) suggested that I post a photo of the surface in question.

The Japanese description itself has several contradictions re ranking, dates and grammar etc., needing elementary editing if they want to be taken seriously. Removing my grammar Nazi hat for a moment, what an interesting blade!

Often I have been surprised to find that these two 左右 look very similar in grass writing, almost indistinguishable to my eye. In this case however, the mouth part does look relatively clearer. The records often confuse the two, (gun registration cards are particularly bad), so I would not be unduly worried if they don’t match up. One suggestion might be to contact the Kunitomo Gun Museum directly for any stockmaker records. The Director there is quite friendly and willing to help. The material I use is a private research paper sold by the author only over the phone, but please see the entries for Kunitomo stock and lock makers. Note the suggested dates shown on the right. He collected municipal gun registration records directly from all over Japan, and lists his sources over several pages at the end. These are his sources for Shiga Prefecture where Kunitomo is located.

古川元珍 Furukawa Genchin https://www.kandatoukodo.com/tousougu/kozuka22.html

Yes Peter, if you can give me a little time to check. At first glance, a complete looking gun, in good condition. Watch this space… (Later) There were a 吉田友左衛門 Yoshida Tomoemon, and a 吉田三郎左衛門　直道 Yoshida Saburozaemon Naomichi, both listed for Tempo. Do either of these fit what you can see? (Of course your stock maker could be related to these but unlisted, perhaps a generation before or after, since the name is very close.) *By the way, there is a gun listed for your smith Kunitomo Kyubei Enju dated Ansei 2.

What’s Dr Sato’s brushwork just below right of the Mei? (Something ＋無 銘?) *Hard to tell from the photos, but is it possible that some of the brush characters have been altered?

They all say the same name, written in sometimes markedly differing styles. Thank you for showing us this fine creative/collaborative work.

Fascinating catalogue, Pietro. Thank you. Interestingly, no dates or materials are shown for these wonderful, indeed genius pieces, many of them contemporary, helping us to transcend artificial concepts of time. ( Some lovely creations by Clive, but none by Natasha though?) Personally speaking, I collect Netsuke from an 'innocent' cultural time, preferably before the end of the Edo period, made for and by Japanese with no consciousness of Western eyes. Since I do not have the cash resources for top-end works, I look for unusual pebbles on the beach, i.e. naive Netsuke gems that rarely but occasionally bubble up in antique shops or street markets.

The paperwork describes it as 餓狼 'Garo' or 'starving wolf'. Garo, or 飢えているオオカミ Ueteiru Okami, is said to be a symbol of danger and fighting ferocity, as a Bushi ideal.