reinhard

Some features look doubtful, but the mei is good enough to have it checked by an expert. Therefore the blade should be treated with utmost care from now on. If it turns out to be genuine work, it will be quite a precious discovery. For those who like to investigate any further, here's an example of HIDEMITSU's mei on another tanto dating from the same year: reinhard

John, I think you've got the wrong kanji for MASA here. It is probably this one: reinhard aka Bad Santa

It's the same thing with EEGs. Great wavy patterns are indicating potential weakness and trouble of the worst kind. It's best to concentrate on flatliners.* reinhard *with kind permission by Wysocki medical school. BTW next semester they are offering great courses in basket weaving and advanced shoe-tying.

Well, some of us do. Your feelings of loyalty to Stephen are probably most appreciated by some of NMB's members, but they are not a benchmark in this particular case. As you just said, you don't know what this is all about. reinhard

Going along this sad and pathetic thread I stumbled over this statement. Can you specify? reinhard

Nevermind. Maybe some day you will. Until then you better forget about your funny theories about German and Anglo-Saxon "races". They won't get you anywhere. I'm neither German nor Anglo-Saxon BTW. reinhard

"Good deal....a bargain" "Congrats....what is it exactly?" "deals still can be found on Ebay.....maybe a boy's sword or a smith's sales example....you're doing good...." It is no bargain at all. It needed to be polished properly before telling, but this would cost you many times the amount you have already paid, plus the costs for a decent habaki. Whitish, blurred surface and dark ha are pointing towards an amateurish attempt of "polishing" on some kind of whetstones. Telling by the pictures the blade looks like the top part of a naginata to me. It is definitely not a "boy's sword" or even a "smith's sales sample". These are terms often used helping to sell unidentifiable crap BTW. You "couldn't resist". Remembering my own past I can understand you to some extent. What I do not understand, or let's say, I have an idea, but will not tell right away, is why some of NMB's more "experienced" members are easily giving away the rest of their and this board's credibility and are jumping happily into the swamp of online trade and vague guesses again, even encouraging other people to do so as well. Since some knowledgeable people are still trying to give reasonable advice here (Koichi, Ted, Ford to name a few) their reputation should not not be misused in order to make this board a trap door to the rotten sinks of E and other bays and all the crocs...sorry I meant crooks, hiding there. reinhard

Nano-coating is an alternative. It is not too cheap and most important, it is none of this traditional stuff, which is difficult to get and contains God knows what. You won't see any details anymore, but it will last a lifetime. reinhard

The subject of KUNISADAs mei is very complicated. Fujishiro Matsuo made extensive research into this field. He explained and illustrated this in vol.8 of MeiTo Zukan. Nidai KUNISADA's dai-mei for his father made in Kaisho style (there are others), look very similar to shodai's late mei. For illustration: The mei on the far right is by shodai KUNISADA, written during his later days. The other three are examples of nidai's dai-mei in Kaisho style for his father. - Before anybody is trying to tell what the differences are: These are four examples out of many. Please don't. Mr.Fujishiro explained it all in detail. Sorry for not commenting the mei in question. It's not only that the picture is not good. The whole subject of KUNISADA-mei is far too complicated to make a valid statement from a distance. reinhard

Not strange. Only logical. Like Jacques said: Third and fourth generation did not exist. This is one of countless errors in Hawley's books. Good old Willis put just every single bit of information he could get into his compilations without checking their validity nor fully understanding their meaning. Second generation KUNISADA, who used the same name like his father at the beginning, changed his name to SHINKAI during Kambun 12 (1672). He died suddenly in Tenwa 2 (1682). His fame surpassed his father's while he was still alive. Why should a son of his appear in 1681 using the old KUNISADA mei (until 1684) and even more absurd: How comes an almost contemporary "fourth generation" popped up at the same time, also using the old KUNISADA mei and working from 1681 to 1688 (according to Hawley)? Last but not least: Never quote Hawley's silly rating points unless you are trying to undermine your credibility once and for all. reinhard

Does this look like Japanese craftsmanship at all? What does this mean for the rest of this very poor lot? reinhard

You all better return to the blade in question. It looks quite interesting. Why not installing a particular sand-box for Monsieur Jacques and his particular problem. A sub-forum named: "Fight the book-worm who never leaves its premises" might do. reinhard

It's quite obvious, isn't it. The original mei was not fully removed. Some of its deeper traces are still visible. A new mei was added, including parts of the former one, in order to build a "reasonable" signature. It didn't work out well as it seldom does. reinhard

I second Mr.Trotter, who said about all there is to say. The mei is a gimei of the poorest kind. Translation would be: Ko To (no) Ju MASAZANE saku i.e. MASAZANE resident of old East made this. Think about it. reinhard

This blade pretends to be named "...kubi giri maru" ("...little head cutter"). By doing so, it is in accordance with other sick and disgusting trash related to WW II memorabilia, not to mention their replicas. In this particular case I'm sure it's a fake. Reminder: Some people tend to believe ShinGunTo was an extension of Samurai culture into 20th century. This is bullsh... Japan went to war as a hi-tec nation and GunTo were far from any real purpose in warfare except killing POW's. reinhard

This is the one from Icke-Schwalbe/Karpinski's book Mariusz was talking about. A general hint: If something looks neat, elaborate, uninspired, two-dimensional and executed by a trembling hand, it is probably the opposite of art and of any other true talent. reinhard

I would love to, Brian. I read about marauding baboons in Capetown in yesterdays newspaper (true!) and I really would like to say hello to my kin. Unfortunally my job binds me to boring and civilized Northern hemisphere during winter. Nevertheless I'm looking forward to meet you Southern guys next year. best regards reinhard

Paul, Freely translated it says: On the cover: Owari tsuba On the inside: Karabana (Toka?) sukashi (this is referring to a flower/blossom unknown to me) Unsigned and dating from late Muromachi period Metal is pierced in positive silhouette design Kei, Ken, Juko (strength, health, composure and dignity) are outstanding Written in the year of Showa Hinoto-U (Showa 2nd or 62nd year; 1927 or 1987) Sasano Masayuki was born in November 1920 and passed away in January 1993. reinhard

As works of MYOJU they were treasured from the very beginning and not carried through wind and rain. I think MATASHICHI's famous tsuba is a "multi-layered"-approach to the concept of wabi/sabi. First it is expressed by the subject of broken fans, which is part of a "worn-brocade"-design; assembled on a surface, which is modelled after weathered stones and the whole thing is meant to look like after a long time of wear. It is a picture-puzzle. Don't worry. Although a little senile by now (age 47), I'm still able to draw my own conclusions. It's always a pleasure to argue with you. If it's OK for you, we can leave it at that for the moment, for this subject will pop up again for sure and I don't want this thread to become a matter of supremacy over interpretation. BTW, you are invited to see the MASANAGA tsuba for real whenever possible. My pic definitely failed. reinhard

Because it is part of my collection and I had a lot of time to study its workmanship in hand. Again, the pic alone is by no means good enough to make any valid statement about "micro detail". Tiger, rock and bamboo don't show signs of wear. How comes? I agree with you as far as the "buggered up metalwork" is concerned, but I disagree with your conception of natural/artificial ageing when it comes to some of the greatest tsuba of all. Umetada MYOJU made more than one of his masterpieces in this style of artificial ageing (including false seppa prints BTW). In Nihon To Taikan two great examples are depicted. Seing tsuba like these in hand, it is obvious that they were made like this on purpose and the effect is just breathtaking. First generations of Shimizu Jingo, Hirata Hikozo or Tsuchiya Yasuchika provide us with many great examples. I don't want to argue on the basis of "believe". I remember disagreement earlier on this forum (tsuba attributed to Miyamoto Musashi,remember?), but you can't convince me in this field. Nevertheless I do respect your skills and knowledge, of course. best regards reinhard

Curran, I'm not sure what you mean by "micro detail". I beg to excuse my limited skills as a photographer. This is difficult to explain on the basis of pics and words like most topics concerning NihonTo. Examining this tsuba in hand makes it clear at first sight: The surface within and around seppa-dai is almost perfectly even. Discolorations looking like wear by seppa are obviously part of the "worn plate"-design, skillfully added by the artist. Their perfect look surpasses any real wear caused by time. reinhard

Keith & Ford, I agree with you in so far that the "real thing" wabi/sabi cannot be created by man per definitionem. But it was the art of creating the illusion within frames of aesthetic principles and supreme craftsmanship, that has been so highly esteemed ever since. To my limited experience it has always been the "man-made factor" appreciated the most. A tsuba, ragged by time and wear, did not rise great feelings in the hearts of samurai, for it happened just like that by time and wear and was turned into an ugly thing. Creating the illusion of a worn plate AND following aesthetic principles at the same time, on the other hand, was regarded as one of the highest forms of tsuba making. Hayashi MATASHICHI's juyo bunkazai tsuba with broken fan design is a very good example. Eventually I'm kicking open doors here, but just for fun I would like to present another example. It is a tsuba by Nara MASANAGA (signed on the obverse with his Kao). The tsuba is in perfect condition. The plate is supposed to look like an old and worn piece including "fake" print of seppa-dai etc. The inlay depicting a tiger seeking shelter from the rain however is "flawless". - The "worn and discolored"-design of the plate is perfect, much better than any natural aging process could have done. It creates an air of melancholy in contrast to the vital and fresh tiger and bamboo theme. reinhard

It's not about wabi/sabi. It's about the illusion of wabi/sabi. MYOJU was the grand master of this art. Every chiselmark and every discoloration are intentional. reinhard

This is the key for understanding some of the finest works of art. Umetada Myoju, Hirata Hikozo, Shimizu Jingo, Nishigaki Kanshiro and others cannot be appreciated without understanding this sentence. Thanks. reinhard

Off topic and just for the record: They were in the collection of Giorgio Crespo de la Serna for a while. Stubborn as he was he bought them against all reasonable advice. Latest victim of the infamous couple I heard of was Darcy Brockbank, who presented his catch on NMB some time ago. - Giorgio Crespo de la Serna was also owner of the horrible gimei SUKEZANE with hitatsura hamon shown on the same plate (No.14) in Robinson's book. This sword came to auction as part of his legacy at Sotheby's in London in June 2003 (lot 91). I've seen it in hand and it is not worth any serious discussion at all, but since it comes with the bonus of provenance (V&A museum) it will probably pop up on the Western market again. reinhard