Bugyotsuji

Unfortunately good-quality Ukiyo-e tend to be quite expensive, although perhaps not in the overall scheme of things. Kuniyoshi can be very nice and maybe one day I can afford a pristine one. In the meantime I continue to trawl the ocean bottom and occasionally pick up a semi gem. Opened my folder for my university students the other day for lack of anything else to discuss in the Zeminar, and they were quite gratifyingly pleased to see and handle genuine Ukiyo-e from Japan's past. Even my three mainland Chinese were fascinated by the Chinese (Tang) classic theme they could see expressed, particularly in the rendering of the ladies' faces... On another note, I was happy to meet the Italian Habaki maker Lorenzo at last. I do envy those who can work artistically with their hands, and are able to organize their life so that they can pursue their genius, even if it does not look like connecting to a steady income. Yesterday we did one of our biggest events, the Daimyo Gyoretsu in Yakage. We made a big effort to dress splendidly and put on a good show for the crowd. They really appreciated it, with friendly looks and loud applause. Some members of the Hino Teppou-tai (Hino is next to Kunitomo) had come all the way to see us, curious as to how we work with the old traditional procession. This is a real problem, how to contribute to a popular event, and not, as some traditionalists see it, to steal their thunder. I wore my black armour. My suitcase weighs 26 kg, and the gun case about 12 or 13 kg. It was hard to fit both the Do and the Kabuto into the case. Had to kneel on it to shut it. I hope the airline is gentle with it, or I could end up with a split and sundered Toppai Donguri. Let us hope that in 1600 they knew how to make a strong casque. Does anyone know what to see in Porto or Lisbon, by the way, either weaponry or Japanese connected?

Well, in the spirit of your question, Roy, I must say that you make an interesting point. The rather 'brutal' answers are also instructive. As I had the Yari down the other day I also had a good look to see if there were any Ha-gire as I must confess that when I bought them it was not something I was particularly bothered about. They look good on the wall, all their bits are there, the two longer blades have registrations, one of these has passed Shinsa, and at least two of the Yari have Mei. Oh, one Yari is an Uchine, and two are Fukuro-yari. Now, as to the perfection of the blades themselves, this seems to be an interesting but not essential route to follow. My Japanese sword teacher did not look too interested in even checking, despite the famous Mei and Shinsa paperwork...

Good honest looking blade. Recently someone said that red yari are quite rare and relatively more valuable. I wonder whether that means that the whole 'Yari no E' pole has to be red? As to the popularity, or lack of, of Yari as opposed to Nihon-to, I must agree. Like it or not, there is a clear pecking order, even though a Tachi/Katana, a Naginata and a Yari might be made by the very same smith. Since your post, Roy, I have taken my spears off the wall and given them a good dusting off. In fact, over the years I have discovered little ways to mollify the destructive effects of time and circumstance. In the past I would not have dared try anything, but accumulated hints on restoration of Japanese antiques leads one to a point where you decide to take gentle palliative steps. I have six spears (three in polish) and every so often I rediscover that I love them to bits. Many thanks.

Roy, thanks for showing your Yari. "Hei-an-jo" has a nice ring to it!

I had a funny feeling it was going to be something clever like that! Thank you so much, Morita san, that is brilliant!!!

Ah, egg on my face. I have just discovered that the Kanji for 世 and 三十 are just about interchangeable. They come up together in my etymological dictionary. '30 years' means (or meant) 'one human lifetime' or 'one generation', or 'the human world'.

Is there another signature underneath, or is it just my bad eyesight?

Well, I think the meaning will change depending on whether the last character should be read '30' or 'world'. I was hoping that Morita san might come back and offer his further thoughts. (A collector friend sent me this photograph and asked if I could help him decypher it.) My calligraphy friend is sometimes wrong, but Morita san is rarely wrong! :D (I hope that Morita san can be my friend too...) I respect both of them and their opinions, and I am still open to further advice. I had imagined that the first two characters were a phrase on their own, and that a comma should go after them. Then I was thinking that 非would go with 輪 or 輪世, because in both Japanese and Chinese the word 非tends to come before what it is negating. I understand the text is probably old Chinese, and this was learnt all over the Orient, but I was wondering if the writing was more typical of Japanese So-script, or of Chinese calligraphy. Actually my gut feeling says Japanese, but the whole thing lacks a really old feeling to it.

Aaaarrrgggghhhh.......... I thought we were getting closer, and now I am all at sea again. Help! Thanks for the first offer of an English version, John!

Quote: but this sort of thing is meant to be vague... I like it! :lol: (Although the carver probably knew exactly what he wanted to say!) Can you provide an English translation of the words, YimuYin? Oh, and lastly, does it look Japanese or Chinese to you?

PS A friend has just sent me this. Does it add or subtract, I wonder? I think the kanji of the netsuke is「満目非輪三十」。 「満目」means "as far as you can see" But the meaning of「輪三十」is not very clear for me. I guess it may be related to the saying of Laotzu as I pasted bellow. Virtually, it can read 「満目、輪三十に（は）非ず」。 I am happy if this can be useful for you. PS:老子道徳経 11章 三十輻共一轂。 "Thirty spokes share the wheel's hub" 當其無、有車之用。　 挺埴以爲器。 當其無、有器之用。 鑿戸以爲室。 當其無、有室之用。 故有之以爲利。 無之以爲用。

Morita sama, this is very kind of you to take the time to read this. Would you say "Man-moku-hi-rin-yo", and would the meaning be something like "Wherever I look, I see a world that is not in accordance with spiritual law" (?) Is that Daruma on the right, and could this be what he was thinking when he sat down in the cave for many years? Is that why he shut his eyes, perhaps? Many questions, but the last one is how to read the Mei. Would you think it might be Sho-sen-to To?

Nut Netsuke, but cannot make out the reading. Any ideas/pointers welcome. Piccie file was too big; coming in a minute!

A wonderul whale scene! To those who say that Japan never in fact whaled, here is a little piece of historical proof, even if not so old. What is an unusual theme for Menuki? Almost every Menuki I see seems to have some originality. Wishing I had taken shots of the more unusual now... grrrr... although I do remember a beautifully-worked set of long (4 cm?) Vajra symbols on a lovely Mihara Kai sword. Posted somewhere on this site, but one tanto I have shows a rabbit seated upright on one side and the full moon on the other. Surely a little unusual?

Two lovely Saya you have there!

Are you hoping to mark, and find reasons for, each and every change in the shape of the Japanese sword throughout Japan's history, such as demands of the latest battle formations/tactics, maximum length by Imperial Edict, etc.?

Apologies for the delay, but only just seen this thread. For a very slightly different variation please see this old katanadansu interior, from an earlier thread, as found and after cleaning: viewtopic.php?f=9&t=2554&st=0&sk=t&sd=a&start=510

Again the depth of the knowledge on this site makes itself evident.

That is interesting. Thank you. I know it is a common design, found on many household objects. I have a very old candle-holder with this motif. Westerners used to think it was a heart mark, found even in Japan, until they heard the explanation that the hanging folds of the boar's eye make the heart look upside down.

Yes it's odd. He did say when he sold it to me that whenever I got bored with it he would happily have it back. I think he gets into situations where he mentions something that he has owned recently and the dealer or whoever becomes really interested. He then tests my resolve or desire to really own whatever it is. Generally he knows my motivation is weak and I am always short of money, so then he starts reeling me back in.

Must be the wife...

Carlo, I am obliged, indebted to the person who wants it back. Since he will continue to be in a position to hold doors open for me, I feel that I must go along with his 'suggestion', even if I do not personally want to. This has happened on three or four occasions before; last time I put my foot down. This time I think I owe him, and I hope he will remember me for next time around!!!

Stupidly or not, I bought it and brought it home for the photos you see. Now I have been asked to sell it back again!

Ukiyo-e? Not particularly, but why do you want to sell?

Looks like Ichiyusai Kuniyoshi. 1797-1861