Lewis B

大和守外永作 Doesn't look right. The rest seems ok

I like the design choices on the piece, especially the fittings. Very playful.

Thanks for the link. You're right the resolution and contrast is good enough in those examples to see the fine detail in the hada.

Yes, the saying You never see a ghost or a Go, certainly adds to the mythology and exceptionalism surrounding his work. I think part of the problem is that there are no signed works in existance (except maybe one tanto I read about in the Homma's Kantō Hibi Shō). And that at various levels of Shinsa the attribution flip flops at the whim of the panel in charge that year. There is no doubt the blades attributed to him are amongst the best examples of Soshu-den, but there is a certain degree of ambiguity in the attribution, due to the lack of signed reference pieces. To me it really signals a level of quality and that the attribution is secondary.

Those are little better but low rez. If I squint I think I see masame in the shinogi-ji

Ahh it's been o-suriage to a wakizashi. Good illustration how great photos can become useful study material. Unfortunately older b&w images like these are lacking.

Yes, of course you are correct. Thank you for the correction. Not sure what gave me the idea Hoki was on Kyushu. However there is a suggestion a connection existed between the Ko-Hoki school and the Bungo Yukihira group. The influential Tendai Daisenji Temple located on Hoki Daisen Mountain garrisoned military monks in the late Heian. This temple was apparently in a subsidiary position to Kyoto's Enryakuji Temple. The Ko-Hoki supplied the Tendai with arms, thus creating a connection as part of the Tendai power, which may have extended to Bungo Yukihira who was a Hiko-Yama bushi on Hikosan Mountain, the centre of Tendai influence in Kyushu. The Chouanji Temple (Bungo-Takada) was also known for its connections to the Kamakura Bakufu. If Norishige was aware of Yukihira through the Saeki clan connection with Bungo and the Otomo, it may have led him to Yukimitsu as well as offering an opportunity to see and study Ko-Hoki swords.

My Senjuin blade. I've been looking for explanations how Norishige might have had an entre into the Shintogo Kunimitsu atelier. It appears the Saeki clan origins of Norishige could explain a connection. Historical texts say the Saeki served as senior retainers to the Otomo clan in Bungo during the Kamakura era. That gives us a link, at least geographically, to Bungo Yukihira who is said to be Yukimitsu's father and this association may have been the introduction Norishige needed to join Shintogo & Co. Furthermore, the Ko-Hoki smiths appeared to have a connection with Bungo and the Tendai and in turn the Saeki/Otomo clans. This local clan affiliation might explain why he was so fixated throughout, but especially early in his career, with their blades and style. Nice to consider the possibility his first sensei was one of these later Hoki smiths or more likely one from Bungo. I doubt he would have acquired a taste for this 'rustic' style, nor the techniques, from the Kyoto Awataguchi tradition of Shintogo. This very unusual nagamei inscription on a TJ tanto has raised an interesting connection to Hoki Sanemori. Under what circumstances would Norishige have included a reference to another smith on one of his blades? Out of deference or acknowledgement? Markus S says there were several generations of Hoki-Sanemori so perhaps one of these was his first teacher or associated in some way with his early training. Worthy of further study. This is an extract from Soshuden Museum discussing the Mei. It is necessary to point out the existence of another tantō, which, unlike the previous ones, has survived up to modern times: Tokubetsu Jūyō No. 9. It was also signed by the master in a slightly unusual way. Above the signature, the 勝 (Shō, Katsu) kanji is located on top of the only mekugi-ana. It has the following meanings: “win,” “victory.” The large space between the smith’s signature and this kanji emphasizes that there is no connection between these two elements. This kanji was known to be used in signatures of Hōki Ōhara Sanemori (伯耆大原真守). However, he placed it on the tachi on the haki-ura side, where the date of manufacture had to be located (e.g., see Sanemori’s tachi classified as Tokubetsu Jūyō No. 19). The appearance of this kanji in Norishige’s signature seems strange, especially since it was written in smaller strokes than the signature itself. NBTHK experts conclude that it is part of the master’s signature. Consequently, Norishige explicitly denoted his relationship with Sanemori, as well as with the Ko-Hōki (古伯耆) School. This school’s strong influence has always been reflected in the works of many smiths connected with the Sagami School and especially in Masamune’s swords. However, we should note that this blade was dated 1314. This sword was forged before Norishige started his training with Masamune, whose artistic works were most directly associated with Ko-Hōki. Therefore, as a result, the meaning of this kanji has not yet been clarified.

This is why I believe Norishige already had a Sensei prior to Kunimitsu. It was normal for apprenticeships to start when the student was in their early teens (basically strong enough to swing a hammer with some accuracy and control). This would suggest he had several years swordsmithing experience under his belt before joining the Sagami atelier. And like Go he must have shown some considerable prodigy-like skill to be allowed to learn the techniques of, and be taught by the old grandmaster. Not long after he would sign his own blades. Earliest in oshigata dated 1309. This must have been quite meaningful in that Kamakura period context, suggesting less sensei/follower relationships (with Yukimitsu/Go/Masamune) and more like an equal, collegiate arrangement. Yes, Norishige is quite the enigma amongst the pantheon of early Soshuden masters.

Thank you @MassiveMoonHeh for a very interesting and thought provoking op-ed. The analogy to the early days of Silicon Valley and how this brought together a critical mass of knowledge and advancement through experimentation and collaboration is just so apt. One can only imagine how Soshuden might have evolved had the Kamakura Bakafu stayed in power and these early Grandmasters remained in close proximity..... @eternal_newbie made a timely resurrection of the thread discussing historical connection between Go and Yamatoden. Only one extant blade attributed to Go exhibits a clear Yamato and Soshu influence but there are blades by other makers that blend the forging styles and deki of these two gokaden. I think old oshigata show blades by Go existed with Yamato influence. The obvious exponent of Yamato and Soshu styles is Shizu Saburo and his followers. But also Senjuin Yoshihiro can be added in the mix. Working back from his active dates and examples of blades with nengo, we arrive at a DOB ca. 1280, it's certainly within the realms of possibility he was Go's father. I'm curious how Go could have been smithing in Sagami and also be a retainer of the Momonoi family in Matsukura, given his young age. Whatever the truth given what he achieved in such a short time clearly establishes his prodigy status. The pact with the devil theory is a unique perspective Exploring the connection of Go with Senjuin Yoshihiro, we can see how the young Go might have been taught Yamato styles of sword making. I have a small, thin 62cm o-suriage kodachi (shortened approx 10cm) that has NBTHK attribution to Senjuin. However it has strong Soshu forging style influence, and thus is open to some interesting possibilities, such as being by Senjuin Yoshihiro. The hataraki, the ichimai boshi with hakkikake, chikei throughout some with an angular shape, yubashiri, sunagashi and ara-nie with tightly forged itame hada and surface nie throughout giving the blade a wet appearance. All that mixed with the Yamato features of masame with a high and wide shinogi. I need to spend time comparing the features on this sword with those of blades attributed to Go, especially the Kabuto-Giri Go This blade was originally part of the Tsukamoto museum collection and I can see how it would have appealed to a collector from an academic standpoint. The juxtaposition of characteristic features from two different gokaden in one blade is quite unusual.

I think Norishige had long departed Sagami before the fall of the Kamakura bakafu as centre of power. He signed some of his later work Saeki (his family/Clan name) and its believed this was used after he had moved back to Etchu and established the forge in Gokafu District. The earliest dated Norishige with full naga-mei is this one from 1319, 14 years before the upheaval. https://www.nihonto-museum.com/collection/exhibit/tokubetsu-juyo-norishige-tanto

Red flag? Not familiar enough with WW2 mounts to know if mods were made.

It's a 5 star rated hotel just to give you some idea. $$$$$ I take my campervan so no worries on the overnight arrangements. The event has been held at the hotel every year except for the inaugural one (the 2nd might have been at the conference centre too but 99% sure it wasn't)

Excellent. In a dealer capacity?

I've had a WTB listing up forever and only received one offer. It was so close to retail I balked. Looks like I'll have to stump up for a new copy. The more I see the quality of the images the more I think its worth the investment. Also looking for Dr. Honma's Soshu-den Meisaku Shu These will be last big reference purchases I think I want in my little library ....... at least for Soshuden As Hoshi said we should be investing more in experiences and less in collecting. These books are the perfect example of the former.

$350 plus shipping

Thank you for the clear and detailed review as to why I should now take this out of my Amazon basket. I had particular interest when I read of Kenji Mishina's involvement (its not often we know the togishi who polished a sword), but if the blades are not presented so they can be appreciated in print (especially as B&W images), what is the point. I will skip this publication.

Thanks for the clarification. Its clearly a knotty subject with many interpretations and plausible hypotheses. The last one though sounds more like sour grapes. If I had to choose I would say Option 3 was the most likely. It couldn't have been easy to travel over such a large area in the early 14th century. Go is said to have Yamato infuence in his forging style and might have been another journeyman smith, like Norishige, with swordsmithing roots in Yamato.

Goldmine of info is right. I've only skimmed half the newsletters and its already changed some misconceptions I had. For example I had always assumed the 10 Masamune Juttetsu were smiths who had traveled to Sagami to learn his techniques. Yamanaka states it was Masamune who traveled around Japan visiting the home provinces of these 'disciples' where he learned from them and he in turn passed on his knowledge. Sort of makes sense.

Thanks to @MassiveMoonHehfor posting the Yamanaka Newsletters. A quick perusal uncovered a Kokuho tanto signed Kunimitsu. What caught my eye was that this blade is described as having an iori-mune, which is incredibly rare amongst all Shintogo tanto. I have only come across one other Shintogo tanto with iori-mune and that was described as Katakiriha-tsukuri. The takenoko-zori is also intriguing. Anyone have a link to oshigata or more info on this Kokuho sword? Extract from the Newsletter Kunimitsu 国光 (新藤五) Tanto Length: 42.3 cm (this has to be total length) Width: 2.1 cm Shape and Construction: Hiratsukuri, and takenoko sori. The mune is ihorimune. Hamon: The Hamon is hiro suguha with ashi, and there are abundant nie all along the hamon, and especially along the hamon edge. Kinsuji are seen along the hamon too. Boshi: The boshi has a komaru with a kaeri which is a little longer than the usual Kunimitsu, and there are small hakikake at the very tip of the boshi. Jitetsu and Hada: The hada is ko-itame hada and tightly forged. There are abundant ji nie all along the blade, and these form chikei in places. Nakago: The Nakago has been shortened a little and the tip is cut in kiri. The file marks are katte sagari of which very little can be seen due to age. There are two mekugi ana and the one at the top has been partially plugged. There is a two character inscription “Kunimitsu” on the omote side. This Kunimitsu is probably is probably the least conventional Kunimitsu work, and when compared to the other two kokuho Kunimitsu, it is a little Inferior, although the steel of the blade certainly is just as good as the other two. Kunimitsu is more of a master at making tanto than making tachi. There are very few tachi blades by Kunimitsu, although tanto are seen in greater numbers. Also, Kunimitsu is regarded as one of the better sword smiths who made tanto, along with such other masters like Awataguchi Toshiro Yoshimitsu, Soshu Masamune, Sa, and Rai Kunitoshi, and possibly Rai Kunimitsu and Kunitsugu. The fact that the hamon of this Kunimitsu is hiro suguha attests to the fact that this blade has been well preserved.

Well we were warned. https://Japan-forward.com/is-the-british-museum-rewriting-samurai-history/

Could be kirikomi plus a filled mekugi ana.

The menuki are not that dissimilar to this pair that just listed on Eirakudo https://eirakudo.shop/807221

Very attractive set. I especially like the playful posing of the Shishi lions in the menuki.

The Rosetta Stone and Elgin Marbles might argue that statement At least the photos are quite high quality. I can even see the cat number for the Yoshikane, which to me is a really nice piece. Entered the BM inventory in 1992 and came from the Walter Compton Collection through the Christie's auction. They paid $143k. The Zufu states it's quite tired but the fact it's signed/ubu makes it important. And it's almost 1000 years old, so I guess we can cut it some slack. I prefer the Ko Bizen Kageyasu tachi though.