Kozuka mei

[Brian]

Hi,

Can anyone assist me with the translation of this one please. I find tosogu mei so much harder than sword mei due to the multiple variations of readings and varied structure.

Btw, the fingerprints were wiped off after the photo

 

Thanks,

Brian

[Shugyosha]

I think: Ishi Yama Mototada saku (Haynes H05940.0). From Haynes: born 1669 died October 13 1734. A student of the Kyoto Goto school and other Kyoto artists.

 

Kind regards,

[Brian]

Thank you very much John.

Using that, and the excellent eBook from Markus called The Japanese tōsō-kinkō Schools (A bargain at the current 50% off special) I found this:

Mototada was a nobleman. His father was Mibu Motooki (壬生基起, 1646-1679), owner of the third court rank and successor of Fujiwara no Yorimune (藤原頼宗, 992-1065). Accordingly, Mototada enjoyed a very classical education and besides making sword fittings he was also interested in calligraphy, waka poetry and painting. His actual name was Moroka (師香) and he was the founder of the Ishiyama branch of the Mibu family. „Mototada“ was his kinkō artist name whereas he also signed in his early years with „Motonobu“ (基信). He was born on the 13th day of the fifth month of Kanbun nine (1669) in Kyōto. The „Sōken-kishō“ lists him as chūnagon (中納言) and that he held the third court rank, but records on Japanese royalty list Moroka as gon-chūnagon (権中納言) and with the second court rank.

Mototada also signed with the name „Urinrō“ (羽林郎).*42 The family name „Urin“ (羽林) was equivalent to a certain court rank. Regarding Mototada´s workmanship, he oriented himself towards the Gotō style, i.e. shakudō with nanako ground with takabori-iroe ornamentation. But he also worked in katakiribori. Mototada died on the 13th day of the tenth month of Kyōhō 19 (1734) at the age of 66.

I guess the main question now is whether the mei is shoshin or not. The work is good. How good I am not sure....but it does have a chance.

 

Brian

[nagamaki - Franco]

I guess the main question now is whether the mei is shoshin or not. The work is good. How good I am not sure....but it does have a chance.

 

The work confirms the mei and not the other way around. My bet is on this work.

[Pete Klein]

From Shinsen Kinko Meikan:

 

[Brian]

Thanks Pete and Franco.

Looking at examples of his mei, there are such huge differences between each of them that it is very difficult to compare. He worked in such a variety of mediums too. I can find similarities and differences in each stroke, especially the yama and saku kanji. He really varied those. Guess I will have to appreciate the work itself and hope it is right.

I don't envy the shinsa panels when having to evaluate work like this.

Pete, you are good with this stuff. What is your gut feel?

 

Brian

[Pete Klein]

I feel it's good. As you observed, there are subtle and not so subtle difference in the pictured mei so this leaves a 'fudge factor' to consider. He is listed as 'Joko' which is roughly akin to 'Chujosaku' in swords so his work should be 'good/very good' when observed which this seems to be. Whenever I look at mei such as this I ask myself this question, "If someone chose to do gimei work then why this name"? This man's work is considered to be good/very good but his name doesn't jump out from the history of fittings makers so why would someone choose to use his name when another, higher rank could be used? Of course it could be student work sold under the table but I'm just not big into conspiracy theories. I'd just enjoy it as is.

[Brian]

Thanks Pete, that conveys my feelings exactly too. A good lesson too.

I don't collect names, so it's nothing I would submit for shinsa, I just enjoy it as part of the koshirae on the sword. Nice to have something in soft metal that is possibly not the usual "late Edo period" :lol:

I feel the kogai is even better work, but that needs a repair by an expert first, and is unsigned.

 

Brian

[nagamaki - Franco]

Hmm, the differences especially in the first character as well as some of the others leaves me wondering if perhaps this isn't a case of someone else signing this artisans name for him. Regardless, this work speaks for itself.

[Bugyotsuji]

Did you get the translation, Brian? His name comes up as Kito first on that page, and Mototada as an alternative reading.

 

From the tantalizing glimpses, a nice looking Koshirae package.

[Curran]

I paused a bit in surprise at the variations in his signature.

At first I wasn't so sure. I wanted to make up my mind before seeing if Pete had ventured his opinion.

 

After some hesitation, I felt it authentic. Feel is just too similar with things like that right hand vertical stroke upwards overly high in the 'Moto' character.

Regardless of how his signature changed, that seemed consistent and is in Brian's too. Flow also feels natural with nothing leaping out at me as too far a deviation from the reference examples.

Long saku with similar feel to it as to the lower reference examples. I would say authentic, but wonder how cautious of a shinsa team might approach it.

I wasn't sure and am still not >90% sure, but was glad to see I'd come to the same conclusion as Pete.

 

Besides- looks Kyo Goto

[Geraint]

Alltogether a really nice package, just needing some TLC with a new horn kurikata. The koshirae is lovely and the blade too.

 

http://www.legacyswords.com/fs_ant_daito44.htm

 

Nice one Brian!

 

May I ask, does the inside of the habaki and the outside conform to the shape of the blade or does the outside adjust the shape to make it symmetrical?

 

All the best.

[Brian]

Thank you Geraint. The habaki is regular shape, so the saya mouth is also regular shape.

Yes, I do enjoy the package. The kogai will get the Hallam treatment, the one kiri is already repaired by myself.

The kurikata won't be easy based on the shape that is left there. I really dream oneday of finding the original one that must have been removed and must have matched all the other fittings in shakudo with gold highlights, water motiff and a kiri mon on it.

The wrap will need to be professionally redone sometime. Amazing when you see it up close.

 

Brian