Top 10 Swordsmiths In Japanese History

[Gakusee]

13 hours ago, Rivkin said:

 

 

Yes, the unsigned portion works a bit like magic. Tons of signed Bizen pieces, except in Ichimonji daito. Tons of ubu Mino works - except the earliest. And its not like late Kamakura blades are that different sugata-wise from Oei.

 

 

I have no idea what the above is supposed to mean. There are plenty of signed Ichimonji daito - both with smiths’ own names (Yoshifusa, Norifusa, Sukezane, Nobufusa, etc etc) and with Ichi only. And that is for Fukuoka Ichimonji. Then for Yoshioka you have of course various “ichi” but also various “Suke-“ smiths. 
Now, of course there are more mumei and “ichi” blades than there are named ones but that is because of suriage and also because at the end of the day, it was a workshop and the “ichi” brand was sufficient. 

[Alex A]

This has been an interesting thread and it has raised a niggle or two that have always been lurking in the background.

 

Going to sound like im raining on the parade now but perhaps others have had the same thought. The comparison to paintings and music, those have infinite possibilities whilst im sad to say blades do not. 

 

Metal art work YES, different geometry and change of basic material and ways of manipulating that material to come up with a LIMITED number of variations (hataraki etc), each containing whatever "artist" intended. 

 

Imagine if paintings had the same visual boundaries!!, My point being there is only so much you can get into a blade, sorry but its the truth. Not detracting from their beauty and appeal though. You cant compare the variants in paintings or music to that of a blade.

 

My final point on this and i think its already been mentioned. You have different smiths at different times working in different ways with different materials.. Sometimes in ways that did not allow them to go out on a limb and be all flamboyant. 

 

Think this thread would be more interesting with some examples of blades by these top 10 smiths, if possible.  Reasons why you think your top 10 smiths are the best. Others may be too afraid to pull out their top 10 as it does not conform with what has been written in books, this is what i would find really interesting. 

 

 

 

 

[Nihontocollector752]

1 hour ago, Alex A said:

This has been an interesting thread and it has raised a niggle or two that have always been lurking in the background.

 

Going to sound like im raining on the parade now but perhaps others have had the same thought. The comparison to paintings and music, those have infinite possibilities whilst im sad to say blades do not. 

 

Metal art work YES, different geometry and change of basic material and ways of manipulating that material to come up with a LIMITED number of variations (hataraki etc), each containing whatever "artist" intended. 

 

Imagine if paintings had the same visual boundaries!!, My point being there is only so much you can get into a blade, sorry but its the truth. Not detracting from their beauty and appeal though. You cant compare the variants in paintings or music to that of a blade.

 

My final point on this and i think its already been mentioned. You have different smiths at different times working in different ways with different materials.. Sometimes in ways that did not allow them to go out on a limb and be all flamboyant. 

 

Think this thread would be more interesting with some examples of blades by these top 10 smiths, if possible.  Reasons why you think your top 10 smiths are the best. Others may be to afraid to pull out their top 10 as it does not conform with what has been written in books, this is what i would find really interesting. 

 

 

 

 

What about Horimono, exotic hamon...i think each medium needs to be appreciated for what it is.  I don't think the comparison should be painted art vs metal work but artistic traits and significance as to what makes any one artwork the top rather than its counterpart 

 

 

Pictures of examples would be fun though

[Alex A]

4 minutes ago, Nihontocollector752 said:

What about Horimono, exotic hamon...i think each medium needs to be appreciated for what it is.  I don't think the comparison should be painted art vs metal work but artistic traits and significance as to what makes any one artwork the top rather than its counterpart 

 

 

Pictures of examples would be fun though

 

Exotic hamon ?, All hamon types listed in a few pages in a book along with hataraki, wouldnt get too carried away.

 

Horimono, simple carvings on a blade, mostly, and yes there are some skilled and more intricate carvings but thats the minority . 

 

Only so much you can get into a piece of steel, as mentioned.

 

Been looking at blades for 15 years day in and day out, i dont form my opinion likely, and as mentioned this thought as always been a lurking.

 

 

 

 

 

[Jussi Ekholm]

Unfortunately I do not yet have Dmitrys book but I hope to get it in the future.

 

Of course dated items of this era are pretty rare outside Bizen. Here are items of these smiths that I have personal references for.

- Norishige e.1314 l.1320 (there is one dated 1321 but it appears the Norishige signature on it is gimei but date is genuine)

- Kunimitsu e.1294 l.1324

- Yukimitsu 0 dated ones (BUT there is older Sagami smith named Yukimitsu. Tokyo Fuji Museum has a tachi dated 1271. They refer him as 藤源次行光, perhaps he is the Yukimitsu for which "the Kotō Mei Zukushi Taizen says that he was born in the first year of Shōji (正治, 1199) and that he died in Kōan three (弘安, 1280) at the age of 83 but this would make him 50 years older than his master and it would also mean that he died before Kunimitsu had even matured his studies and brought forth what became later the Sōshū tradition" [quote from Seskos Index]

- for Sa I only have 1339 dated ones

- It gets bit tricky in Mino, as only dated Kaneuji items I have are signed with (包氏) and I would think it connects to Yamato e.date is unclear but from 1356-1361 l.1362, for Kinjū I only have 1369 dated item. However there is Mino smith Kanetsugu (兼次) from whom there is 1350 dated item surviving.

- Hiromitsu e.1352 l.1364

- Akihiro e.1357 l.1392

- Nobukuni e.1358 can't really say latest as several generations

- Hasebe Kunishige e.1349 l.1368

- For Takagi Sadamune I have 0 dated ones.

 

Here are numbers I currently have for signed Ichimonji long swords (I counted quickly so there might be a naginata or 2 in the mix).

298 signed with smith name - 90 signed with just Ichi (when I some day get all the Jūyō books those numbers should go to 354 and 105 just from Jūyō items I still currently miss).

 

This is very fun discussion even though it must be boring for some.

[Alex A]

Jussi, i find it interesting, definitely 

 

Just slightly meaningless without people telling us why they picked their list and adding some enlightenment, at the moment it is just lists of names.

[paulb]

Alex,

I'll try and explain why my list is as it is but without going into great detail on each.

Most of those I have listed are blades that I have seen in hand which I think makes a huge difference. Certainly I hadn't even considered Yukimitsu until I saw that particular tanto which I found mind blowingly beautiful.

All the blades I listed have a number of traits in common:

1. The hada is generally extremely fine and well executed. Predominantly ko-itame but with some additions and variations.

2. All of them have a great deal of activity within the jigane in the form of ji-nie and chickei.

3. This activity spills over in to the hamon. Despite most being suguha, all show a great deal of activity in the form of kinsuji, inazuma, a lot of nie, sunagashi and more. 

4. Finally the way the shape, ji-hada and hamon sit together to create an overall composition that is "Just right". No one element stands out from the others they all work together to create a perfect harmony and composition.

 

And they did all that with a hammer, anvil lumps of iron and charcoal and a good eye. Pretty remarkable and the fact we can enjoy this work 6 to 900 years after it was made says a great deal for the quality and also the way it has been cared for throughout its history.

 

 

[Alex A]

Thanks Paul, your consistency stands out.

[Rivkin]

54 minutes ago, Jussi Ekholm said:

Unfortunately I do not yet have Dmitrys book but I hope to get it in the future.

Here are numbers I currently have for signed Ichimonji long swords (I counted quickly so there might be a naginata or 2 in the mix).

298 signed with smith name - 90 signed with just Ichi (when I some day get all the Jūyō books those numbers should go to 354 and 105 just from Jūyō items I still currently miss).

This is very fun discussion even though it must be boring for some.

 

I was stupid not to read Dmitry's book before compiling the Soshu tables... Since he did very detailed and "unjapanese" effort of getting all dated pieces for every smith he discusses from both major old oshigata books and existing blades. Plus he included "poor attributed" blades like Daishinbo, Yoshihiro's father-son-whatever which might or might not be real. And he discusses a lot of arcane subjects. 

For example there is an opinion that there are no ubu Masamune blades. Kenge nakago exists only for Masamune and Go and a few blades in Soshu... the ones which went through Honami hands.

 

On Ichimonji my very personal impression:

50% of Bizen Juyo pre-Muromachi aside form Ichimonji I've seen were signed, if only partially.

With Ichimonji this drops to well below 10%. Did not check the actual numbers, but that's my gut feeling. Ichi are very often on non-ubu blades. This was done after suriage, and most likely in Muromachi.

Moreover a lot fo signed Ichimonji, especially nagamei are tanto and naginata... The worksmanship there is in my experience is quite different. For some reason midare utsuri and all the gorgeous stuff very seldom made it to this format.

[Jussi Ekholm]

Unlike many who focus on highest quality etc. for me that is not too important. My list in the 1st page was pretty much what would general belief in Japan be (with signature requirement added on as personal twist). I am mostly fixed on shape and size, I feel that is my thing in sword appreciation and has been for quite a while now. Of course I can see beauty in some features too but more often I would choose bigger/signed/ubu/more imposing item instead of nicer looking one. As if you combine amazing quality to pieces that I like they are pretty much forever out of my personal reach.

 

Here are two quite interesting items that I have seen and are in European collections.

 

1st

 

Is in the collection of Samurai Museum Berlin. Now I did ramble about not seeking for quality and yet this one is spectacular quality. The wide shape of this is what initially got me to like this but when looking this in hand it was easy to appreciate the fine craftsmanship and hada etc. When in original form this must have been beast of a sword. Now here is where the shape and size do it for me. This is appointed to Rai Kunimitsu and is a top tier item. However even if the craftsmanship would not be at this level, I would like it almost equally if it was lower quality and appraised as Nakajima Rai, or even pretty much the lowest Rai-related Echizen Rai.

 

2nd

 

This is in an European private colletion. In order to understand the rarity of this you need to know how many works of Fukuoka Ichimonji smith Yoshimune are out there. So far I have only found 3 signed tachi and 1 gakumei wakizashi. 1 tachi is Jūyō Bunkazai at Tsukubasan Jinja, then there is this TJ tachi and 1 Jūyō tachi. Now of course the item is another top tier item of wonderful quality but even with severe pitting/flaws etc. signed & verified item such as this would be historically very important (perhaps I can someday find badly flawed signed Ichimonji ).

 

There are also other Yoshimune smiths in Bizen. Here is extremely spectacular signed 94,3 cm ōdachi by Yoshimune, it was thought at Jūyō shinsa to be the work of Yoshioka Ichimonji Yoshimune (Late Kamakura - Early Nanbokuchō smith), however it got rolled to be work of much earlier Ko-Bizen Yoshimune (Late Heian period) at Tokubetsu Jūyō evaluation. Even owning a single item like this would be a dream collection, sword like that is to me the holy grail.

 

https://web.archive.org/web/20161107181756/https:/www.kusanaginosya.com/SHOP/368.html

 

[WillFalstaff]

4 hours ago, Jussi Ekholm said:

This is very fun discussion even though it must be boring for some.

 

@Jussi Ekholm Absolutely agree! Fun for nerds like us!

 

I think the value is now manifold higher with 5 pages of in depth opinions as well as hard data of one kind or another. 

 

My original intent with the post, though not clear at first, is to organize in some way the data and experiences of board members where it is more easily accessible. 

 

If online data had weight like gold, this thread would be heading to Fort Knox. 

 

[Alex A]

Jussi, for someone thats main concern is the shape and size of swords, i have to say, you really do go far and beyond what you really need to know and add a lot of interesting info here for us all to pick up on, so thanks for that. 

 

Paul, the Yukimitsu, this is what is good to find out. A blade you come across that speaks volumes. For me opens other avenues of thought, same with the Tadakuni i mentioned earlier.

 

So many swords and smiths...............

 

Appreciate the extra words

[Rivkin]

My take is more figure-skating oriented. 

There are technical elements ranked in terms of difficulty and each school has a required set of those, as evident from the masterpieces. 

For Soshu one expects chikei, one expects nie to be well defined granulars with slowly varying size, if its very best the nie will have a cloud like appearance with clear gaps within. Personally though I like nioi hamon with inazuma and kinsuji, but that tends to be not the very best Soshu of Go but either early or later Sa. Full cloud based for me frankly can be a bit too much.

For Bizen one expects midare utsuri. Bizen is seldom judged by hada, frankly, there are some smiths being exception.

Add points for composition, add points for consistency of work.

 

[Tom Darling]

On 5/22/2022 at 3:25 AM, Jussi Ekholm said:

Unfortunately I do not yet have Dmitrys book but I hope to get it in the future.

 

Of course dated items of this era are pretty rare outside Bizen. Here are items of these smiths that I have personal references for.

- Norishige e.1314 l.1320 (there is one dated 1321 but it appears the Norishige signature on it is gimei but date is genuine)

- Kunimitsu e.1294 l.1324

- Yukimitsu 0 dated ones (BUT there is older Sagami smith named Yukimitsu. Tokyo Fuji Museum has a tachi dated 1271. They refer him as 藤源次行光, perhaps he is the Yukimitsu for which "the Kotō Mei Zukushi Taizen says that he was born in the first year of Shōji (正治, 1199) and that he died in Kōan three (弘安, 1280) at the age of 83 but this would make him 50 years older than his master and it would also mean that he died before Kunimitsu had even matured his studies and brought forth what became later the Sōshū tradition" [quote from Seskos Index]

- for Sa I only have 1339 dated ones

- It gets bit tricky in Mino, as only dated Kaneuji items I have are signed with (包氏) and I would think it connects to Yamato e.date is unclear but from 1356-1361 l.1362, for Kinjū I only have 1369 dated item. However there is Mino smith Kanetsugu (兼次) from whom there is 1350 dated item surviving.

- Hiromitsu e.1352 l.1364

- Akihiro e.1357 l.1392

- Nobukuni e.1358 can't really say latest as several generations

- Hasebe Kunishige e.1349 l.1368

- For Takagi Sadamune I have 0 dated ones.

Jussi,  your picks are exceptionally great.    Same goes with all others,  great picks.

Here are numbers I currently have for signed Ichimonji long swords (I counted quickly so there might be a naginata or 2 in the mix).

298 signed with smith name - 90 signed with just Ichi (when I some day get all the Jūyō books those numbers should go to 354 and 105 just from Jūyō items I still currently miss).

 

This is very fun discussion even though it must be boring for some.

 

[mas4t0]

On 5/22/2022 at 7:43 AM, Alex A said:

This has been an interesting thread and it has raised a niggle or two that have always been lurking in the background.

 

Going to sound like im raining on the parade now but perhaps others have had the same thought. The comparison to paintings and music, those have infinite possibilities whilst im sad to say blades do not. 

 

Metal art work YES, different geometry and change of basic material and ways of manipulating that material to come up with a LIMITED number of variations (hataraki etc), each containing whatever "artist" intended. 

 

Imagine if paintings had the same visual boundaries!!, My point being there is only so much you can get into a blade, sorry but its the truth. Not detracting from their beauty and appeal though. You cant compare the variants in paintings or music to that of a blade.

 

My final point on this and i think its already been mentioned. You have different smiths at different times working in different ways with different materials.. Sometimes in ways that did not allow them to go out on a limb and be all flamboyant. 

 

Think this thread would be more interesting with some examples of blades by these top 10 smiths, if possible.  Reasons why you think your top 10 smiths are the best. Others may be too afraid to pull out their top 10 as it does not conform with what has been written in books, this is what i would find really interesting. 

 

 

 

 

 

I think it is important that we take an integrative approach and consider the blade in its proper context; at least all the parts of a sword (blade, koshirae, etc) and ideally also the other accoutrements such as kimono or armour, bows, etc.

 

Additionally it isn't really fair to compare to painting as a whole. The Japanese sword is one part of a unique culture and aesthetic. How successful would we expect an Ancient Egypt exhibition to be if only swords were displayed?

 

This isn't to deride the Japanese sword in any way, but rather to illustrate that it is punching well above its weight as an art object.

 

Comparison to suiboku-ga (sumi-e) is perhaps fairer, where there are defined boundaries and limitations. Some of the finest art in all domains comes from the creative and innovative ways an artist overcomes the constraints of their medium.

 

 

I think this quote from Ogawa Morihiro is perhaps worth sharing:

 

If the Japanese sword can be likened to a picture, it would relate aesthetically to the black ink paintings known as suiboku-ga. The bright and dark, clearly polished jigane would be analogous to the paper, and the yakiba, with the appearance of white blossoming flowers, for example, would represent how the black ink is said to display "five colours," meaning the impression of colour derived through variations in tone. In order to preserve this essential beauty and carry the polished sword, a scabbard of soft wood is made to contain the blade. To strengthen the scabbard, and to protect the blade against humidity, the scabbard is covered overall with lacquer. The other components of a sword mounting (discussed more fully in the essay titled "Sword Mountings and Fittings" in this volume) include a hilt (tsuka), whereby the sword is gripped in the hands, which is typically wrapped with ray-skin and bound with cords or leather to protect it from fracture under violent impact. The ends of the wooden portions of the scabbard are protected by metal fittings, and a tsuba (sword guard) is attached, protecting the palms of the hands and aiding adjustments to the overall balance. Accordingly, the Japanese sword can be said to represent the essence of several traditional crafts and fine arts represented by three specialist groups: swordsmiths, polishers, and the makers of sword mountings and fittings.

[Alex A]

There are swords and there are swords,

 

Some you just pick up and you know straight away how much effort went into it and what the smith intended.

 

You pick up other swords and the reality is "art" came in 2nd.

 

This is the trouble.

 

Sometimes you watch a video of a modern swordsmith making a sword, that sword turns out beautiful and you really appreciate it as "art". Thats about the only time i forget about function, the fact its a weapon.

 

Hope my rambling makes sense.

 

 

 

 

 

 

 

[mas4t0]

1 hour ago, Alex A said:

There are swords and there are swords,

 

Some you just pick up and you know straight away how much effort went into it and what the smith intended.

 

You pick up other swords and the reality is "art" came in 2nd.

 

This is the trouble.

 

Sometimes you watch a video of a modern swordsmith making a sword, that sword turns out beautiful and you really appreciate it as "art". Thats about the only time i forget about function, the fact its a weapon.

 

Hope my rambling makes sense.

 

 

 

 

 

 

 

 

I think this is well captured by another quote from Ogawa Morihiro (on the same page as the quote above).

 

Before the Meiji era, when swords were still used as practical weapons of war, a fine blade was so esteemed that a samurai would make virtually any sacrifice in order to obtain a great sword that would protect him on the battlefield. The sword — often called the "spirit of the samurai” — was also the most coveted of gifts, to be given or exchanged on auspicious occasions and special events. In addition, after victory in battle generals often presented renowned swords to their commanders who had achieved military success, regarded as the highest honour by the recipient. Indeed, just one superior sword conveyed more meaning, and more prestige, than gifts of large domains or any quantity of gold, silver, paintings, and other treasures.

 

The following is one example illustrating the scope of the samurai's obsession with swords. It concerns the tachi named “Ikkoku Kanemitsu” (One Province Kanemitsu) in the possession of the family of Duke Yamanouchi, formerly lords of Tosa han, which is designated an Important Cultural Property. In the early Edo period, this sword, by Bizen Kanemitsu, was highly reputed as a very great sword indeed. Having heard of it, Tokugawa Yorinobu, son of Tokugawa leyasu and the ancestor-founder of the Kishū Tokugawa family, asked Tōdō Takatora, a famous general under leyasu, to obtain the sword for him from the Yamanouchi family. The story goes that Yamanouchi Tadayoshi refused the request, to which Tōdō Takatora replied, “Even though you say that, if it were a command of the shogun you would have to give up the sword." Tadayoshi countered, saying that he "would return the whole province of Tosa” — an area covering the whole of present-day Kōchi Prefecture and nearly priceless in value — but would “never part with the great sword by Kanemitsu.”

 

Swords made by famous smiths were, accordingly, extremely difficult to obtain, and for that reason fakes purporting to be the work of famous smiths have been made even since ancient times. In the Kanchi-in Bon Meizukushi — a 1423 copy of a Kamakura-period treatise on swords, kept in the Kyōo Gukoku-ji, Kyōto — it is recorded that cleverly made fakes of blades by the early Kamakura period swordsmith Bungo no Kuni Yukihira were in circulation, and it explains how the fakes could be recognised. In another instance, there were apparently so many blades purported to be the work of the famous seventeenth century smith Kotetsu, it was often said that if you see one hundred swords with his signature then without doubt you have seen one hundred fakes.

 

I realise that this is well known to all participants in this thread, but it might be of interest to some people reading along.

[Nihontocollector752]

The problem when speaking to people with 15 years of collecting experience ( @Alex A ) is that in 15 years they have basically looked at swords and still see only one thing. Very basic mentality and difficult to change the opinion, show them a beautiful bonzai and then they light up. Everyone has their own boat and different things rock them. 

 

To say Horimono are simple to make without having seen one made, to not have seen the Gassan in the Metropolitan Museum and not be awe struck or to never have owned, held and appreciated an Awataguchi Tadatsuna Nidai but comment so easily is a failing in 15 years of learning or "collecting"

 

[Alex A]

Il get my coat

[Baba Yaga]

20 minutes ago, Nihontocollector752 said:

The problem when speaking to people with 15 years of collecting experience ( @Alex A ) is that in 15 years they have basically looked at swords and still see only one thing. Very basic mentality and difficult to change the opinion, show them a beautiful bonzai and then they light up. Everyone has their own boat and different things rock them. 

 

To say Horimono are simple to make without having seen one made, to not have seen the Gassan in the Metropolitan Museum and not be awe struck or to never have owned, held and appreciated an Awataguchi Tadatsuna Nidai but comment so easily is a failing in 15 years of learning or "collecting"

 

Not much has changed in 15 years, or 25 years, or 800 years in regards to Nihonto. A sword is a sword is a sword. The only thing I see, it's way easier to receive papers.  The powers at be have loosen the criteria. 

[Nihontocollector752]

Just now, Baba Yaga said:

Not much has changed in 15 years, or 25 years, or 800 years in regards to Nihonto. A sword is a sword is a sword. The only thing I see, it's way easier to receive papers.  The powers at be have loosen the criteria. 

Depends where you're playing, juyo and tokuju are much harder

[Baba Yaga]

Just now, Nihontocollector752 said:

Depends where you're playing, juyo and tokuju are much harder

I should of stated the obvious 

[WillFalstaff]

@mas4t0 What book are these excerpts from, Mark? I’ve been delving into Japanese visual arts lately. I got 101 Great Samurai Prints by Utagawa Kuniyoshi (woodblock prints) and have been meaning to also explore suiboku-ga. 

[mas4t0]

21 minutes ago, WillFalstaff said:

@mas4t0 What book are these excerpts from, Mark? I’ve been delving into Japanese visual arts lately. I got 101 Great Samurai Prints by Utagawa Kuniyoshi (woodblock prints) and have been meaning to also explore suiboku-ga. 

 

 

It's from Art of the Samurai: Japanese Arms and Armor, 1156-1868 (Metropolitan Museum of Art)

 

It's been out of print for a few years, but it's available to download for free as a PDF from the MET website.

 

https://www.metmuseum.org/art/metpublications/Art_of_the_Samurai_Japanese_Arms_and_Armor_1156_1868

[Alex A]

7 hours ago, Nihontocollector752 said:

The problem when speaking to people with 15 years of collecting experience ( @Alex A ) is that in 15 years they have basically looked at swords and still see only one thing. Very basic mentality and difficult to change the opinion, show them a beautiful bonzai and then they light up. Everyone has their own boat and different things rock them. 

 

To say Horimono are simple to make without having seen one made, to not have seen the Gassan in the Metropolitan Museum and not be awe struck or to never have owned, held and appreciated an Awataguchi Tadatsuna Nidai but comment so easily is a failing in 15 years of learning or "collecting"

 

Well Jimmy, read some quotes on here over the years but that statement has come from someone on the tallest horse i ever did see, more like off a giraffe or even a Trojan horse 

 

I have a little time before work so will try and make things a little clear for you. Whilst not an expert and never claim to be i feel ive seen enough in my time to have an opinion. Its no concern whether you like it or not.

 

Earlier, i was referring to the comparison between swords and paintings, so no point going over that again.

 

First, the only thing that matters to me in this hobby is to look at a blade and be able to 1)know its level of quality and 2)be able to work out what it is (the fun part).

 

As for horimono,  i dont like intricate carvings on polished bright blades/steel. Show me a beautiful carved soft metal tsuba and thats a different story. I would not want to own a sword solely due to a carving, its the blade/quality alone that is the interest. Obviously, im not saying there is no skill in these carvings!, although i find many lifeless.

 

There comes a time for any "collector" to be honest with themselves and really take a closer look., answer those niggles. Narrow the field, so to speak.

 

Anyways, been an interesting thread, be good to find out more about about why folk pick out certain smiths above others, maybe you could enlighten us ?

 

Best get off to water the bonsai haha

 

[Jussi Ekholm]

Well I guess I can say I have healthy obsession with Kotō swords and researching them. I just got my latest book package from Japan and I am really hyped. Just finished going through all items in Jūyō 43 session today.

 

I think some items are just so amazing it is very easy to realize when you just turn the page and see the oshigata of the item in the book. I am having hard time putting it into words but as I have gone through thousands and thousands of Jūyō items in the books, there are some that immidiately hit me when seeing them in the book, and these can be shortened mumei pieces too. For example there was a mumei Norishige that wowed me and absolutely amazing mumei Chōgi in Jūyō 43 session. When I actually researched those swords both had achived Tokubetsu Jūyō later on. I can only imagine how amazing the swords are in real life as they have this wow-effect even seen in book. Now on the other hand there are some items from the same session that have achieved Tokubetsu Jūyō that I am not immidiately understanding. Sometimes appreciation is very complicated matter.

 

Also I think most sword lovers know Jūyō Bunkazai but I am not sure if people are aware that there are lower level Bunkazai as well. I am not too well versed in Japanese cultural heritage preservation so Japanese members can correct if I write something wrong. There are nation level Bunkazai (国) These are Jūyō Bunkazai, second tier is prefecture level Bunkazai (県) and third tier are city level Bunkazai (市). I have pretty much gone through and picked items of my interest out of all of the nation and prefecture Bunkazai, and I am about 200 cities deep at city level but Japan has lots of cities... There are actually only quite few swords in the prefecture and city designated Bunkazai as Japan has rich history of other culturally important aspects too. It has been bit boring side project of mine when I run out of other research material as info on these is often lacking online, being just one line about the item.

 

This just came to my mind to put this out there as there was Hōju tachi in Jūyō 41 that I previously knew only as Ichinoseki City Bunkazai and owned by Ichinoseki City Museum. And today I found very stunning tachi by quite unknown Ōei era Bizen smith Sadaie at Jūyō 43, that I previously only had as Morioka City Bunkazai. While both of these smiths would be far away from classical top tier smith rankings to me personally they are much more important than just another regular mumei Rai Kunitoshi or Shizu etc.

[Alex A]

 "Sometimes appreciation is very complicated matter."

 

Nail on head , Jussi

 

Cheers

[Nihontocollector752]

17 hours ago, Alex A said:

 "Sometimes appreciation is very complicated matter."

 

Nail on head , Jussi

 

Cheers

Especially if you only see the world with blinkers 

[Alex A]

Another F*^%%% As•¥$$€ 

 

To the ignore list

[Rivkin]

On 5/25/2022 at 10:38 AM, Jussi Ekholm said:

This just came to my mind to put this out there as there was Hōju tachi in Jūyō 41 that I previously knew only as Ichinoseki City Bunkazai and owned by Ichinoseki City Museum. And today I found very stunning tachi by quite unknown Ōei era Bizen smith Sadaie at Jūyō 43, that I previously only had as Morioka City Bunkazai. While both of these smiths would be far away from classical top tier smith rankings to me personally they are much more important than just another regular mumei Rai Kunitoshi or Shizu etc.

 

In my limited experience lower level Bunkazai has a lot of value with paintings and such, many of those in mid level temples still in the area (most important pieces were shipped to national museums and replaced with copies unless the shrine is like Katsuga Taisha); with swords its seldom a consideration, suggesting some history of the local ownership or production...

One of the issues I always had with "how to collect" guides, besides that in nihonto for some bizarre reason those are written not by collectors, is the motivation to collect is very mutli-faceted. There was time when I collected difficult to photograph blades to improve my photography skills, then rare schools to learn what they are; seldom such blades are keepers but... I think few in nihonto appreciate historical collecting - unlisted smiths etc., but I personally like it a lot. I also like objects with Edo papers or documentation.

Here is unusual thing - official genealogy of Rai Kinmichi to Sendai Katsumichi. Thanks to Markus Sesko for helping out with it!