Lewis B

You probably want to post this in the Military swords section.

I was already a fully paid up Soshu nut but having just received my *long overdue* copy of the book I now have a better understanding why these master-smiths are eulogized. Their unique relationships and the body of work this small group of men produced at a turbulent time in Japanese history, as well as the influence on other schools throughout the country, is truly fascinating. The book is so much more than just a collection of amazing photos of some spectacular swords, but a deep dive into the early foundational work of the Soshu-den tradition by the three masters from Bizen and Kyoto (primarily Sukezane and his adopted son Suketsuna, who would go on to found Kamakura Ichimonji), onto the core principals led by Shintogo Kunimitsu who established and refined the forging and heat treatment that characterizes the school and, finally a treatise on the short legacy of high quality swordmaking in Sagami following the fall of the bakufu. There are numerous historical oshigata, Hon'ami appraisals from the Edo period, and detailed photos of the authors collection all rendered in glorious high definition under the correct lighting. This truly is a seminal publication and arguably the best of its kind for any single gokaden that exists in English.

Any luck locating or having the NBTHK reissue the Juyo Kanteisho? What has been the response from Sotheby's management when you moved your complaint up the chain?

Nothing beats getting a divisive item in the hands of experts. Since you live in France you are close enough to get the opinions of the experts as the Japan Art Show in Utrecht or the NBTHK-EB who hold regular meetings in Solingen. The JAS has many prominent dealers, both Western and Japanese, in Tosogu and are only to happy to give their opinions. The NBTHK-EB President is Eckhard Kremers (enough said).

Another of this wakizashi showing the attractive jitetsu

I wonder why the Yoshihara Yoshindo tachi was withdrawn.

Have you tried Ebay?

Some additional images courtesy of Shiotsuna

Very attractive small ubu tanto, nicely showing the Shintogo DNA. Dark colour jigane so produced in Etchu after Norishige's relocation from Kamakura.

Resolution is low so text is illegible but the features appear correct. 3 mekugi ana, iorimune, Shintogo-esque. Can you post a larger image? Thanks for digging up the reference Uwe.

Does anyone have images of the Norishige tanto that was recently donated to the NBTHK along with 19 other swords? A writeup can be found in the Meito Kansho section from last months Sword Journal No835. This is the 3rd tanto I've encountered with iori-mune making it quite special. https://www.touken.or.jp/english/nbthk/swordjournal_August.html

Any idea what the deep black surfaces could be? Urushi?

If I may make some points as a novice swimming in the deep end, with an enthusiastic appreciation for Norishige, in particular. @MassiveMoonHeh as usual has presented some thoughtprovoking and perhaps radical ideas based on the historical accounts, oshigata and extant blades. Its now widely accepted that Norishige was a student of Shintogo Kunimitsu. If we consider his works they are all (with the exception of the Midare Shintogo and postulated to be a daisaku work signed daimei by Yukimitsu) all rooted in traditional forging styles going back to his Awataguchi ancestry and swordmaking influences. For want of a better expression he was a traditionalist. What he did do to innovate was adjust his manufacturing style to compensate for the poorer quality Akame satetsu that was available to him in Sagami. This led to an increase the number of forge welds to expel the additional impurities such as sulfur. However the evidence suggests he adhered to a strict heirarchical structure within his atelier. There are no swords signed by apprentices with their mei, while Shintogo was apparently physically in charge. The swords that have been suggested are daimei due to slight variations in the nijimei strike patterns are all dated within a narrow window of 1306-08. Its often cited that favoured apprentices would sign daimei towards the end of a master smiths career/life so they could focus on forging. Dating a nakago in general was unusual in the late Kamakura era, so I agree with Brett, that when a nengo was added it was for a specific reason. It makes sense that the date was to mark a milestone and not necessarily one that has significant meaning for the Shodai, but rather for the apprentice (in this instance) working on the piece. It seems logical that these apprentices like Yukimitsu and Kunihiro would want to celebrate their acheivement by dating their daimei work. The application of grass script for the nengo in these two examples shows a certain artistic flourish and enthusiasm beyond the mere process of date recording. The earliest known dated and signed Norishige blade in oshigata is for 1309. The evidence points to him still working in Kamakura at this time. Does that mean Kunihiro had now become the defacto master of the atelier, but for whatever reason, went against convention and allowed the experienced smiths to sign their own blades? Norishige remained in Sagami for several years after Shintogo's death, continuing his apprenticeship with the more senior Yukimitsu and Masamune. Again atypically signing his own name. Or had the Shintogo atelier splintered with Yukimitsu, Masamune and Norishige establishing their own workshop together, separate from the original atelier with its new head, Kunihiro? The style of work would support the latter hypothesis as Kunihiro largely continued to produce blades, albeit slightly longer, in the suguha style of his father, whereas Yukimitsu et al would continue to evolve and elevate the Soshuden style of swordmaking. Speaking of the 1314 tanto, there is evidence in the nijimei that further points to his level of literacy, with an error in the form of an additional horizontal radical strike for 'Shige'. As to why Norishige, in particular, would make these long inscriptions with precise nengo, could they have been devotional pieces intended for temple offerings? His horimono iconography often had religious motifs in the bonji, as well as Dainichi Nyorai and Fudo Nyoo designs. I find these hypothesis testing threads very stimulating and thought-provoking. Without contemporary records we are trying to piece together a multifaceted puzzle and create a picture with missing puzzle pieces based on academic intuition. This is great work Brett et al.

I agree with Russ. The 'patina' looks too even and manufactured. Tehen too perfect given condition of the rest of the kabuto. I could be wrong but as a casual observer thats my sense of it. Would be good to see the interior.

Am I missing the price? Can't see it here nor in the link (unless I missed it) and all items for sale need a price.

This rather colourful koshirae accompanied a Norishige wakizashi. It was made in 1974, with urushi and maki-e work by Sato Shisen at age of 73. Born in 1902 and a disciple of Rokkaku Shisui. Apparently these took 3 months to complete.

Worth reviving this thread. Some wonderful workmanship on display here. This is one of my favourite finishes supposedly mimicking insect wear, a technique called mushi-kuinuri. Stunning piece in real life.

Interesting looking nagamaki-naoshi. I would also say Soden Bizen is a good place to start. It would be great to see the write up on the Token Society if you can link or copy and paste.

Well if AI responses to questions around Nihonto are anything to go by, the NMB data scrapping has been going into overdrive in recent months. Over 50% of the results throw up threads on NMB as the AI source material.

Likewise.

Yes it appears they are different entities with very similar website addresses. Seems to have had some delivery and customer service issues in the last few years.

Hi Mark, Do you mean https://www.ryujinsword.com/ There's a phone number and contact email on the site.

Killer deal on #11

Thanks. The reason asked is because there are elements that can be picked out in my Senjuin kodachi. The ko-nie in the monouchi being noticeably more refined on my example. The boshi with a tendancy to kaen and sunagashi appears not dissimilar to the blade you posted.