sabiji

Correctly observed Ian. But, I can only speak for the Heki Ryu Insai Ha. With a correctly strung bow, the string should be to the right of the bow axis (Irikikata or Iriki no Yumi).

I agree with you that the Archers Paradox plays a big role in modern and traditional bows. The actual weapon is the arrow, the bow only serves as a medium to throw it. Therefore, the stiffness of the arrow (spine) must be matched to the energy and the construction of the bow. The best bow is of no use if the arrow does not fit. However, if the spine is correct (also in coordination with the weight of the tip), the nocking point height fits and the release of the archer is very good, an arrow would not even need feathers. Especially in wet weather, natural feathers collapse and hardly fulfill their stabilizing function. That's why the spin has to fit. But all this plays no or an absolutely subordinate role in Jap archery, but also in the vast majority of the different Asian riding bows, because the technique of archery is completely different here. In Kyudo (I do Heki-Ryu) I have to guide the bowstring around my body by a special technique (I pull the yumi out much further than Western bows), otherwise the glasses fly away, it hurts like hell on the chest and bow arm. Apart from that, this whole discussion would not play a role with a Kabura Ya anyway. With such an arrow, you don't want to hit a target at all.

I don't know if I understood you correctly, but in trad. jap. archery no arrow has to bend around the bow. With the draw hand I twist the string, and with the tenouchi I turn the bow out when I shoot. In principle, I do everything that I must not do under any circumstances in western archery ;-).

I don't see anything worrisome regarding rust. Even if this has nothing to do with the topic: I find the Ura-Mei interesting. The (Kanei) dating seems to "collide" with the "Echizen ju". Tagane and ductus of the dating are also different. It seems that the dating was added.

The character 笄 for the kogai means nothing else than hairpin, in the Japanese language as well as in the Chinese language. And as Arnaud already wrote in reference to Sasano's book, it seems to be an object of use, which was formerly rather common among the higher social classes, until it spread to the broad masses of warriors - until finally in the Edo period it became a possible component of a higher-grade complete Koshirae, whose main purpose was rather reduced as an ornamental component. Sure, it's great for scratching, and the opinion as an object for cleaning ears persists. But honestly, who wants to strut around with an ear awl, with which one has just picked his ear, best of all in front of higher-ups? Also, it would be simply too impractical, The pointed end is in itself too thick, And the "ear hook" is actually much too short to make sense. I think the meaning and the original use of the hairpin actually goes far back in history and is related to the hairstyles but also headdresses and caps of high society at the time.

https://www.militaria.co.za/nmb/topic/43725-when-did-the-kozukakogatana-appear-on-katana/

In the holdings of the Kasuga Taisha Nara there are at least Koshigatana Koshirae with both slots, which are said to originate from the Nanbokucho.

Since the kogai was usually placed in the side of the saya facing away from the body (in contrast to the kozuka/kogatana), the presence of this "full equipment" is more likely to be found in the civilian sector. According to the motto, look here, I can afford it, I have taste. Especially wakizashi koshirae (or Tanto-Koshirae in later Edo) have more often the slots for kogai and kogatana, the weapon that was always carried on the man during the Edo period - and thus became a special calling card of the wearer.

Well, at least Shiho-san seems to point in that direction. The Kaji Cho in Kuwana was known as the source of bizen-gimei. It doesn't have to have been Koyama family smiths, there are plenty of other swordsmiths. Kuwana was considered a place to study the Bizen style. Here is an example of a Hatakeda copy attributed to Koyama Munehira. http://www.aoijapan.com/img/sword/2012/12128-2.jpg

Well, I consider Tsukada Shiho-san to be experienced. I think the reference "to a swordsmith from the line of Koyama Munetsugu" is aimed at a Kuwana-Bizen "utsushi". Family members of Munetsugu also forged in Kuwana. To me, Touken Komachi's assessment sounds plausible.

Suzuki Ichirin

Chris, my point was this sentence: If you want to ask us to re-wrap the Tsuka-Ito and re-paint the Saya, the additional cost will be JPY15,000　for each. But never mind, let's drop the subject! It must be probably on me and my sensibilities. But I just can not imagine it, for the equivalent of about EUR 100.00 each to destroy the charm and the patina of this old ensemble. Especially since a high-quality result could hardly be expected for the price. As already written, let's leave the subject. Even if it has taught me a few things...

However, there is a difference between trying to save and preserve an original condition and trying to recreate a partial one (in the case of missing parts) - in other words, restoring. I think there would be an outcry among the masses if someone repainted the paint box of your example according to his own taste. How many really old examples of saya before the late 18th or 19th century still exist? How many tsukaito have seen at least pre-1868? The comparison with polishing blades does not fit.

Curran, I am fully aware of everything you write. This is exactly why I refrain from acquiring such married objects. But of course, this is up to each person. Likewise, to have a mount made for his blade in correspondingly well-founded craftsmanship quality. There are many great, newly made mounts. Even more beautiful to me are coherent and detailed mounts made according to the dimensions of a certain era and with kodogu from exactly this period. But it simply makes no sense to rape a possibly good 350 year old saya with new varnish, in which one should no longer store a blade anyway. No, the saya or tsuka are not works of art, but they do have historical relevance. I have been dealing with the matter not only since yesterday, and have seen enough tinkering and bungling. That's why something like this only makes me sad. And people who obviously have no problem with it, I find just creepy. Please excuse my bad English.

The black lacquer of the saya looks transparent and goes into coffee brown and is obviously really old. Likewise the lacquered tsuka. Tsuka and saya are at least early Edo period. But what Tsurata-San offers then, I just don't believe.... https://www.aoijapan.com/wakizashi-bishu-osafune-norimitsu-sakunbthk-tokubetsu-hozon-token/

Thanks Grev, it is as always remote diagnostic, so please do not put my words on the gold scale. But I do not feel that the tanto is Shinshinto. Even with magnification I can't make out any yasurime, the ha machi is not particularly pronounced. Surely in the Shinshinto again tanto were produced with pleasure in all variations and styles, but Mino-Den was hardly in fashion in that time. And even if a Soshu-Mino mix in the style of Shizu could have been attempted here, as it was done in later Shinshinto the Naotane or Kiyomaro school with pleasure, I simply lack the necessary Nie, because one wanted to copy consciously to the old masters. To my mind, this is a utility dagger from the late Koto and early Edo period - from that time when many Mino blacksmiths sought a new sphere of activity in the many newly created fiefdoms throughout Japan. Or simply stayed in Mino...;-)

Hi Grev, do you have a picture of the whole Sugata and the Nakago somewhere? I can not see conclusively that the dagger should be Shinshinto. It shows Mino and Soshu characteristics, but there are hardly any Nie (except in the Boshi), so I tend to think more Mino influence. The Boshi clearly shows a pronounced Kaeri, and even Muneyaki seems to be present. I don't believe Kiyomaro school, because they were Nie fetishists and the steel seems clearer with them.

Thank you very much Jussi! I appreciate it very much! I hope to see you in Berlin next year....

Dear sword lovers, maybe someone can help me? As part of a research I am looking for images of the Oshigata as well as the Setsumei of Mino Kinju from the Juyo Token Nado Zufu, which I do not own. I would be interested in: - Session 18 , Tanto - Session 20, Tanto - Session 22, Wakizashi - Session 23 2 x Katana, 1 x Wakizashi - Session 34, Tanto - Session 35 Tanto - Session 55 Tachi. If anyone owns this Juyo Token Zufu, and would be so kind as to send me a scan of the page with the Kinju information, it would help me immensely and I would be extremely grateful. Best regards, Thomas.

Perfect! This is exactly what I was looking for! Thanks a lot! We had discovered the exhibition rather by chance and that shortly before closing time. But that left us alone in the exhibition.

Maybe someone can help me. I was in a small exhibition at Honno-Ji in Kyoto at the end of October. There were items related to Oda Nobunaga on display. Among other things, there was a nodachi which is said to have belonged to Mori Ranmaru. The blade from the Muromachi period had over 1 meter Nagasa and is said to be from the Kanabo school. Unfortunately, we were not allowed to take photos of exhibits. And fool that I am, I decided against an exhibition catalog because I already have too many books and catalogs lying around. I had hoped to find information and pictures of the Koshirae on the internet afterwards, but without success. Does anyone know maybe links or other sources?

Well, without having actually seen the blade, one cannot allow oneself an opinion, even if the Sugata to be seen does not remind one of the late Kamakura. But what I would actually expect, especially if one suspects a first-class swordsmith based on a signature, would be that even if the polish is no longer in such a good state of preservation, one can still definitely see the tremendous potential of an above-average quality of excellent work. For example: hey guys, look at the tremendous luminosity of the Nie, it sprays into Ha and Ji and lies over the entire blade like morning dew. The Hamon seems to be full of Hataraki. Even in that state I can see enormous chikei. Moreover, the tang carries the signature ...xy, what is your opinion? But there is nothing to read about it here (but also often in similar posts). The cause may be that existing quality is not recognized, or that the necessary quality is simply not present. This is why excellent photos are so important. Also because many experienced people here with appropriate quality of the heart rises and one could certify you without envy a possible good quality, or at least a certain potential. No matter if Gimei or not (or another Masamune). Also, it would be a good way (for starters) not to spend hours on Gimei, but to learn what distinguishes good blades. Then you can often answer some questions for yourself already. That's all.

This is a kamashiki. A coaster for the kama (kettle), which is also shown. It can be made of various materials. I own a kamashiki woven from pine needles. The kamashiki is also very popular as a family crest (mon) in various representations.

I just saw this thread. The seppa-dai is typical of Akasaka, the tagane are typical of Akasaka, the hitsu-ana fit the earlier rather than the later pieces. Cracks or small imperfections are actually quite common due to the construction. Tsuruta-san has just a Ko Akasaka with TH a lot of money, which is also missing a small spot on the inner ring of the decoration. No drama at all with such pieces.

Seems to taste good! What I've also been asked: are these chef's hats? But somehow the tsuba has something humoresque...