Brano

Your arrogance is unfounded I think the question is appropriate - have you ever participated in Juyo Shinsa? It is enough to have access to information about the blades that have passed Juyo Anyone who buys Juyo Zufu can get them And be able to work with them

Jacques - it doesn't matter who your mentor is What you said - "Only the artistic value of a sword is taken into account when assigning a juyo" - is simply not true Zaimei, nengo, ubu, denrai, origami from a respected Honami... all of these have a positive impact on passing Juyo even if the artistic level is not great

Often times, they are unicorns that are the only known blade of a given swordsmith at Juyo level (and rarity also increases the chance of getting Juyo). Nihontoclub contains over 12,000 swordsmiths, but for Juyo and above there are less than 500 And of these, more than a third are not recorded in Nihontoclub (or I can't identify them)

The topic of how to photograph Nihonto appears here regularly Here you will find a few posts on the subject of how to photograph Nihonto All you need: macro lens with manual focus at least an APS-C sensor in the body (FF is ideal) tripod remote shutter release for the camera several light sources ... and above all a lot of patience I am attaching a few photos of kissaki

Personally, I think that what appears to be a crystalline structure of steel in the photos is actually caused by the software of the hardware (I think the mobile phone) that took the photos However, I couldn't find any data on the HW. so it's just a guess

We are compatriots, that's why he accepted my order Basically all his customers are Japanese

Here are examples of three different blades polished by gaijin BTW - the waiting period is over 2 years for his work

Andrew is fully trained in Japan. I also know of two togishi who work in Japan and are foreigners.

... and the blade passed through Juyo and immediately after that also Tokubetsu Juyo

The steel in the nakago area is not quenched and the temperature is also significantly lower compared to the part of the blade where the edge is created after quenching.

In general, things like making habaki and making new shirasaya are time-consuming Each product is made by a specialist and they certainly have work they took on before yours, so yours is in the queue Be patient Making habaki and then shirasaya can take a year or more

The blade is very tired Also, it's more of an early Muromachi than a Nanbokucho blade You can buy also good blades at AOI if you understand what you're looking at

Yes - the Sue-Aoe terminology was probably confusing Because Sue-Aoe generally begins around the mid-14th century I generally thought the decline of the Aoe school was at the end of the Nanbokucho or the beginning of the Muromachi Also, Jussi's extensive database does not contain AOE blades younger than early Muromachi The blades you are talking about are papered for Aoe and a period younger than the beginning of the Muromachi??

The conversion can be done very easily using a calculator that every mobile phone has today Let's say blade 2 shaku 4 sun 7 bun use 30.3 x 247 and in the result you will move the decimal point by two places

Thanks Kirill for sharing the photos I admit that I am not able to see any ko-nie in your third photo either. However, there are obvious clusters that form nezumi-ashi and saka-ashi The local nijuba and as if shirake utsuri in the Eirakudo photo are consistent with the Enju call. However, not with the Enju from the late Muromachi period that NTHK defines. I would not expect Enju for this period to have such activity inside the hamon Also, the AOE call ( Sue-Aoe) would be fine for a nioi oriented hamon with nezumi-ashi/saka-ashi and shirake utsuri (I assume the utsuri is very subdued in the hand) but it also contradicts the Late Muromachi Does the Sugata blade support the NTHK estimate?

No worries Kirill I was just wondering We both know of two blades that have passed from this seller and their photos are a bit "highlighted" compared to reality

Does this mean that the blade is at least Juyo, or was it part of Kantei? Can you tell me more about this blade? Or maybe post some pictures?

You are resorting to personal attacks again and at the same time calling for decency What do you mean - if it's you, is it okay? I have nothing personal against you, but don't do what you criticize to others And I also have to say that I completely disagree with your statement, why did most of the educated people leave this forum and those who stayed here watch in silence where it's all going This topic is a typical example of that

Alex - no one said it should go in the trash Your guess is maybe an o-suriage very late Muromachi/ Momoyama or bit later blade - correct? According to the photo, the sugata is about 64.5 cm now More than 95% of the blades from the period you defined that I have in my database do not exceed 76cm in ubu Already in my eyes the sugata is deformed (maybe I'm wrong) with sori at the bottom of the blade Now mentally lengthen the sugata by shortening it... Jigane has a lot of kitaeware, the repair costs will almost certainly exceed the fair market value of the blade and for the money invested in the restoration I think Eric can buy a blade in good condition from the school you assume it could be

We can discuss the method of communication used to describe the blade It does not change the fact that this blade was made as a weapon and served for defensive and offensive purposes However, from an artistic point of view, the skill of the swordsmith is clear that we have here a blade of low quality If someone's goal is to collect blades of this level, it is perfectly fine if this collector is aware of what he is collecting However, if we have a newbie here, it would be fair to speak honestly. The blade has many technical shortcomings and I believe that everyone who asks questions is asking in order to learn And not to be praised and given unjustified optimism

I also think it's important to tell those who are not experienced with photography - what we see in the photos of Eirakudo is significantly enhanced This means that in reality the utsuri will be much softer, the jigane the same (thank God), the reflection of the hamon ... I agree that their photographic ability is excellent especially when composing at an angle with the reflection of the hamon However, one must always be careful when judging a blade from a photo There is always the possibility of manipulation from the side of the togishi, then the photographer and the use of Photoshop to mask anything unwanted, highlight anything subdued ...

Yes - the result was published by Jussi in December last year

I would assume we are still on a forum about nihonto and related matters It would be beneficial if you all kindly stopped your personal invectives against each other and started behaving like self-sufficient adults Who do you think is curious about that? It is obvious that some kind of "group" has formed here that hates anything another individual says, regardless of what it is Stop acting like kindergarten kids!!!

Maybe I'm wrong, but I only know of three Gokaden no Tabi books by Tanobe-sensei Yamato and Yamashiro are supplemented by Bizen-Den, but this book is only for the Osafune lineage

I saw the Hokke definition before I wrote my post If the blade is made by a traditional process, what difference does it make if it is made by a Japanese in Japan, someone in China, Europe, the USA or anywhere else? Probably the quality - and if the quality is similar, then it probably doesn't matter - isn't it? And above all it is about the knowledge of the buyer to be able to recognize the quality This is not about how easy we see the jihada, how attractive it is to look at, how much optically visible activity there is in the hamon ... We will always go around in a vicious circle with such topics If someone offers me a blade of metallurgical quality Mitsutada or Moriie for 1/10 of the market price, we will almost certainly make a deal However, I know that will never happen