Lorenzo

Thanks to you too Brian

Thank you Eric

Hello. I got a couple of deer horn with perfect size for a daisho katanakake. Can you post please some pictures of decent katanakake made with deer horns to use as reference?

Because of a mistake by me that forum has a (hopefully) temporary problem Please do not try to go there until new communications by me. A Surface-to-Surface missile is already travelling from Cape Town to here, I am waiting that in a steady cross position.

Do you know what this book is? I would like to have a copy but I have no hint about the title. Thank you for your help.

I suspect that to full fill the carving to get a flat surface there are several continued applications of the gold and mercury amalgam making the gold application in relief, at least considering the base of the carving. Since Ford wrote here: I still do not understand how (and if) a gold application can stand out the surface if not applied so that it stands out immediately and without further work to low the rest of the work down. So I can guess (and since I am only guessing all feel free to correct me) that a gold gilded drawing that stands out the surface may be applied in a similar way then an hiramakie in urushi or several application such takamakie, so without a carving on the base material :? I think Ford can solve our doubts here

Hi Martin, check this picture out and click on it for the zoom. http://www.mfa.org/collections/search_a ... ll_start=1

Going back on topic, I suppose it is plausible to find some tsuba with battle scars, but those scars has been caused by incidentally strikes and not by a voluntary and planned front attack toward the enemy's hands, which seems a bit too dangerous and not directed to a unguarded zone. :? I suspect one can make a crash going forward with car and destroy only the rear of the car, if he slip on water and then crash

It was the article about the ara-tameshi, where an osaka shinto katana was broken in two pieces striking on a shibuichi tsuba. http://www.nihontocraft.com/Aratameshi_Nihonto.html

My wife is 33 years old, Japanese, and had same experience at school when she was a child, when writing calligraphy. She is not left handed but a school mate of her same class was.

Sorry my mistake. I have not the book here now, and I was tricked by the fact that on the Boston Museum website it is described the same way as the Yoshioka Inabanosuke tsuba with a peacock, "iroe hirazogan" (which should means flat inlay to give colour) that I wrongly assumed to be done with what we are calling keshikomi. So this means both this inlay are done with chisels. About the red gold it was my error in reading.

On Lethal elegance by Joe Earle there is a set of fuchi/kashira filled of tiny red and gold kanji on a shakudo base described to have been done this way, I mean kinkeshikomi. That red is described as "red gold". I suspect whatever it is it should have a large content in copper. So we know we can use mercury to apply both gold and silver; is it true for copper too?

DVD is available for purchase at this address.

The new patina bit may be applied to mask a machi-okuri operation by the togishi. Few centimetres below that purple colour (that seems achieved with a gun barrel patina product) the rest of the nakago seems better :? The new "shirasaya" too may be another expression of the fantasy of the polisher as well as a new habaki not patinated the right way. A piece to avoid in any case

Cheers, it looks like one I owned. Bungo, Taira Takada, late muromachi.

You bugger XIX century

As Giuseppe told us during the guided visit at the museum, that was a bow carried inside the carriage as difense while traveling

It is not very close to kyoto but if you would like to visit the country side of the Bizen region, it might be a good Idea to visit the Bizen Osafune Token Village, sword factory/museum in Osafune, Okayama prefecture. http://www.city.setouchi.lg.jp/~osa-tok ... /index.htm I think many of us has visited there. The two times I went was very informative. Here are other informations: http://japantrip.tripod.com/Japan/osafune.html

I live in Italy but quite far from there, I have read the news this morning. My best wishes too.

Dear Mark, have you got other pictures of that koshirae? If too big, and if I am not asking too much, can you send it to me via email? Kind Regards

Ciao Vittorio. Is that habaki in iron?

Just to add a book to the list; I have this: http://www.ejapaneseswords.com/bookpicts.html#natsuo "Kano Natsuo Meihin Hen" Yoshida and Ikeda. A comprehensive study of the most acclaimed kinko of the Meiji period, Kano Natsuo. This book covers all the bases, with excellent photos of Natsuo's kodogu, paintings, and kinko work. An amazingly talented artist. Large format. As new, with slip cover. It is a new publication, very heavy book... maybe is the same book as "Kano Natsuo Meihin-shu". In that case forgive me.

And; this function is really cute; http://www2.mostrasamurai.it/opere3d.aspx You can see very good images, zoom, rotate and interact with it.

Hi. I know the exhibition curator and he told in that the armours shown there are some important pieces. I will go to visit it soon; I will let you know then. There is also a paper catalogue; If somebody is interested I can ask informations about it.