Tcat

I will take you up on that Guido, PM sent.

Ford, Fascinating. I always thought there was something a little "odd" about the composition, and it didnt seem to fit into any school I have ever come across in my somewhat limited reading and online research, hence my asking. I know exactly what you are talking about regarding the willow being uncertain. The "leaves" also look somewhat weak - I believe them to be copper, but my photography skills here are poor and I cant be sure the colours are right. What I meant about the heron was that I have seen almost identical heron rendered in the same style and manner in other works, but the rest of the scene seems a little strange. It is wonderful to have input from someone as knowlegeable as you on the matter. I probably wont see Don again for a while as I am now based in Beijing, but your name has come up in conversation in the past and of course he speaks very highly of you and your work. Many thanks,

Ford, thanks for the reply - how very interesting........ there is nothing on the back in terms of design or mei, just a simple smooth matt finish. I have seen tsuba with a very similar style heron/egrit rendering before, but always assumed they were Japanese. This came as part of a koshirea (no matching kodogu) that I obtained from Don B. in London about 18 months ago. Here is a slightly closer shot. If not Japanese.....then......who/where? a "fake"?

Greetings gentlemen. This is another begging letter, once again displaying my lack of general nihonto knowledge. Perhaps someone can help me fill in some of the gaps (gaping voids) again. Can anyone suggest a school for this one? Regards,

Lol! The duck-snagon is my fave though.

I want to attend one of these shows so badly, if I lived in the USA I would have already for sure... Perhaps I may get a chance this summer. Really enjoy pictures of these events, the items and the people there. Its great to put names to faces and see some of the remarkable things on offer on the tables. Long may it continue, and please post pics all!

I knew this would fetch a good price.... why? Because - call it 'junk' or whatever - but it is of significantly higher quality than most other 'junk' you see of this kind. Sure, there are better examples, but as someone pointed out they would more likely be found on sale in a more prestigeous auction house. Do not be surprised if this turns up again in 10 years time at one of said auction houses having been repaired correctly and with a more appropriate tsuba..

Hi Lee, Yes of course you are right, there are many examples of fine wood carving to be found around China (I live there too) and I am of course familiar with the ubiquitous puzzle ball.... (I knew someone would cite that as a 'real' example of good carving, I have always wanted a mammoth ivory one...) but I stand by my point the carving we see on this piece is still deep, cavernous (haha) and of good quality. You dont often see sword scabbards like this. Bone and other materials have been integrated into this work also... ok, for fear of being labeled a shill Ill shut up now..

John, I would say its place is 'decorative' but think it is also meant to be held and examined closely. The carving is deep, winding and cavernous. It is for running your eye over and is to be enjoyed. Usually the oxbone ones are not remotely as well carved...and when they are they fetch high prices. Strangely enough, the way I see it is that in the modern world its 'place' isnt all that isnt all that different to that of a juyo blade - they both fall into the realm of decorative art for appreciation. I would argue that the relative importance between this carving and a juyo blade differs..a juyo blade being more relavent and of greater historical significance...but as for function or purpose... This piece is a whimsy and not of great historical importance...but it is interesting and thought provoking as well as being quite an eyeful. Not exactly my taste, however if it were in slightly better condition, slightly better looking and slightly more original it would be...albeit at the very end of my taste bellcurve..if that makes any sense.

So....the assessment is; it's not a nagamaki or even a particularly decent blade - cant say I am shocked with these conclusions. However John - can you really call this "trash"? Sure, it is a little gaudy but really, I know decent workmanship in woodcarving when I see it; it's not of the highest level by any means, but somewhat rare and desirable all the same. For the export market perhaps - but for 'tourists'? I dislike the final execution..the tsuka could have been done better and the 'tsuba' looks terrible, but as for a sulpture in the rough shape of a koshirea its really not a bad piece of work. I dont think this is of chinese origin. Im thinking late meji or perhaps even post 1940.

Hi Thomas, The original post was here - http://www.nihontomessageboard.com/nmb/ ... f=1&t=7804 - pics at the top. I have searched for as many opinions as I can from people; from what I can gather the mei reads moriyuki rather than yasuyuki... but perhaps it is yasusada? You mentioned on the original post that you read it as yasusada... :? I would really like to know the origin of this blade, so to all please excuse me for resurrecting a dead thread.

Jacques, The quality and intricacy of the carving is of quite a high level. The heads of the dragons look to be made of ivory (perhaps that is wishful thinking on my part...oxbone?) and the belly scales look like inlayed mother of pearl. The wood carving is detailed and would have been incredibly time consuming even with skilled hands. Would such a piece have been intended only for the "tourist" market? I remember a similar debate not too long ago regarding a tsuba that some members immediately wrote off as a "foreigners piece - for export only"; however some disagreed. A fairly interesting debate sprung from that topic regarding the "western aesthetic" with regards to tosogu (compared to that of the Japanese). Not intending to start a flame war but could you justify what makes you think this is a "tourist" piece? It looks of high enough quality to be desired by tourists or locals alike... P.S. Definately Meji...right?

Many thanks John. Can you suggest another source which may have more info?

But is it a nagamaki? Whats up with the partially drilled(?) ana?

Dear Sirs, I am looking for information on this smith: 源守之 - Minamoto Moriyuki ( I believe he is listed by Hawley as MOR454 ). I do not have a copy of Hawley's to hand and I am unsure of any other places which have a reference to this smith. I am looking for any information at all. Does anyone know anything about him? An oshigata or a mei would be highly appreciated, but I understand that this is probably asking a lot. If anyone could post what they have or could find I would be most thankful. Regards,

http://cgi.ebay.com/ws/eBayISAPI.dll?Vi ... K:MEWAX:IT Can anyone comment on the blade? Looks like the carving on the saya is the selling point, but is this a nagamaki...?

I started a thread regarding the tsuba here: /viewtopic.php?f=2&t=9187 if anyone is interested.

Jason, They are both wakizashi size.

Would it be correct to assume that despite differences in states of preservation, these tsuba were made at roughly the same time? Kaga school mid to late 18thC?

can anyone suggest a date for the tsuba...?

Im sure many here have seen this already, but I stumbled across it the other day whilst researching a project I am working on. Published in 1980 so slightly dated, but gives an overview of the development of steel production in Japan juxtopposed to what was happening in the western world at a similar point in time. I found it a good read: http://d-arch.ide.go.jp/je_archive/engl ... _unu8.html Regards,

Not bad at all. As good as many web dealers and better than a more than a few. It is almost impossible to capture all the activies along blade when photographing from this perspective however. The lights you need to take a shot with the kind of contrast and detail you get from a scanner can only be found in professional photography studios.

I could swear that somewhere I read a Japanese source that said something about rubbing not neccessarily sweat, but oil from the face (I believe it was oil from the skin on the nose) onto sword nakago and iron fittings as a way to promote formation of an attractive and stable patina...I have no experience with shakudo however.

Louis, Fantastic print there. A very desirable Kuniyoshi... I had the pleasure of attending a large Kuniyoshi exhibition at the Royal Academy a year or so ago. This was one print I spent a long time looking at. I remember it being referred to by knowlegable commentators as an important reference point for the birthplace of Manga and modern Japanese animation, with all its intensity and flashing light. Really something. The skeleton was there along with all the classic Kuniyoshi prints but this one has always been one of my favorites.

Happy belated to each - NMB is invaluable. Thanks to all for providing such a community and service.