Toryu2020

Thanks for that John, Terrific stuff! -t

This thread should be titled "Why is kantei so pleasureable?" If you choose to study only Shizu blades look at the wonderful variety, the terrific shapes and quality. I want a "Shizu" channel on my tv! -t

Either a presentation piece, as has been suggested, or a "Yari-jirushi" - an oversized blade for use in an over-sized saya to make a statement in a Sankin Kotai procession... -t

Alex - Since the papers have a standard format it is relatively easy to determine the crucial information like artists name - if you have kodogu say that can be more challenging. However as Mark has stated, there is often much more detail on the worksheet and this we at the NTHK do our best to translate for every customer. If there is anything baffling you, we have scans of all the worksheets, I am always happy to help, so feel free to send us an email if it is one of ours, -t

His patron was the Kawakita family of Hikone han in Omi. In theory you could do a study of the history and culture of Omi and Hikone in the 1700's and from that you might infer the tastes of the people around him while he was working. You might discover how his work became popular in Edo or if there were any custom pieces made for Hikone samurai. -t

Busy weekend for me so just getting back to this - You dodged a bullet here Bro - the close-ups of the mei do not look good. Especially the judicious placement of rust pits that look like they were made with a punch. Nice work but not a good signature. -t

sometimes a light acid wash is used in polishing - if this is not neutralized properly you will see rust appear all over the blade no matter how many times it is cleaned and oiled. I think a solution of baking soda and water is the answer - someone here is sure to have the formula, -t

I have always loved this smith and his work, I wonder where this wonderful article came from? -t

The Gokaden existed remember before someone tried to catagorize them, the idea is to use these traditions as a way to follow the development of the sword, learn the many schools in each group and group the artists by tradition and location. In so many words a tool for kantei - along the way we learn the aesthetics that are appreciated by the Japanese but there is no rule that says we have to ape them. You can have an unsigned painting by unknown artist that cost you little - if it gives you pleasure and brightens your home then what need have you of art history classes. Plenty of rich men fill lavish homes with famous art and have no idea why the works are famous. If they are happy then who is to say what is a right or wrong way to appreciate art. The Gokaden does not help you collect, unless you are a collector who desires to hold a sword in hand, and without benefit of signature or papers you know from your own study whose work it is. You seek the opnions of others to confirm your own and your appreciation of the art is not just from a love of the form and craftsmanship but a real knowing, an understanding just where your sword fits in time and history. You dont need the Gokaden unless you need the knowing...

I think under Chinese rules (kanbun) you would read this Oite Gofu Hamada Masayuki kore wo saku so nothing I see here is off - just another way of doing things mho -t

Hey David nice to see youre still out there, still playing with tsuba... -t

Folks - We want to thank everyone for their support of this year's Chicago Shinsa we certified more than 180 items for more than 70 lucky collectors. Those certificates have now been sorted, packaged and mailed out. Most should receive their kantei-sho within four days, if you are in Canada or Estonia it could take a little longer than that. It was very pleasing to see so many had taken the time to study and prepare their pieces for shinsa with excellent result. Once again you have shown that scholarship in the area of Nihonto continues to grow in the U.S. On behalf of Yoshikawa Sensei and the whole team we thank you again and when next the NTHK visits the U.S. we hope you will again consider us as your shinsa team. Thomas C Helm

Tai - The depth of the strokes the order they are cut and the style with which they are cut do not match the hand of this smith at any stage of his life. It is too bad that someone did this, but often the fakers put bad signatures on good swords. You may find more reward looking past the mei and deeper into the blade itself. fwiw -t

I agree with Stephen, an exciting find, wonderful to have the chance to study and preserve a piece of your heritage. Unfortunately the signature does not compare well with known examples fron this period in the smiths life as demonstrated by Markus. and by examples I was able to find here. A blade and koshirae like this still have a lot to teach us if you are willing to invest the time. Start with the local guys take your time and get it restored I think it will be rewarding. -t

Neat additions to have, thank you. Oyama Izumi Jinja - if i am not mistaken. Defintely worth the trip if you are into armour. -t

Not an anomaly Pete but a fashion, popular in the Late Shinto, Shishinto period, ostensibly because of the longer nakago and the fight that was brewing. Even so many swords were made with shinobi-ana but many tsuka were not. Nice to have if doing tameshigiri but not at all necessary really. there is tell of the Chinese and Japanese in Manchuria, having a gentlemens agreement of sorts, one hour before sundown each day all fire would cease and any man brave enough would face the enemy with swords only out in no mans land... -t

Looks like田代源⭕️久 or Tashiro Minamoto nantoka Hisa this should posted under translation assistance... -t

It means he recieved a stipend for his work so had a patron, was not an independant artist. and as Axel says the bigger the family name the better the smith as a general rule. -t

James it is the same group and it is Yokoyama not Yokohama - if you read Elliotts page it references the very same source. Still hoping there are more examples out there... -t

Thanks James - had not looked in the Toko Taikan - does it address tsuba or just the Yokoyama school in general? Wish I had seen this at the show, would have been nice to compare the metal. -t

Heres a piece I am currently researching. Having exhausted my library I wonder if any members can point me to other examples of tsuba from the Yokoyama school? any help appreciated, -t

Tobias I think it has more to do with you the host rather than the rules. There are rules for a tearoom but not a living room. and in tea sometimes breaking a rule makes for an exciting aesthetic. I think seasonal references are fine not always in the kakejiku though, sometimes actual flowers or fruit are used instead or you could even display kodogu that express the season. Sansui might be more contemplative more appropriate for a zen retreat but might also have seasonal references therein. You can match the seasons or juxtapose or you could ignore the season if you wanted, it really mostly up to your own taste. -t there is one rule I guess; no velvet!

more likely ji-sukashi 地透かし rather than maru-sukashi im thinkin... -t

Zak? Wouldnt it be a much more enjoyable gift if you did some of the research yourself? Start with the Bungo Takada school and go from there. A great adventure! -t

look up Hie jinja, also read Hiyoshi jinja the original is in Shiga but there is a branch in Edo (Tokyo) the messengers of the guardian diety are monkeys - the temple has many monkeys depicted in statue and painting. These are distinctly different from the monkeys of Nikko. the no character i believe is a stylized torii - i do not know but it may be that the inspiration was someone's kao as you suggest. I think if you just search images you will see what I mean. -t