With this publication I try to systematically and comprehensively process the subject of ,,Japanese sword mountings". It was not my goal to depict as many extant interpretations of sword mountings as possible but to deal with their different styles. With this publication the reader will be informed in which way the Japanese swords were mounted over time, the origins of the various styles, what changes they underwent and it will also serve as a reference material to classify extant specimen. In this sense the descriptions were embedded in an explanation of their historical context rather then listing them simply by their interpretation or in alphabetical order. As the main focus lies on ,,koshirae", explanations on the sword fittings - the tosogu - were omitted because their descriptions can be easily found elsewhere. Also, the military mountings - the gunto-koshirae - were left out because there are excellent publications available which deal with them in great detail.
This index contains a comprehensive listing of more than 20,000 Japanese swordsmiths, from the early days right down to modern times, i.e. from kotô to shinsakutô. It is not simply a list of names, it also provides biographical information according to the extent of a smith's fame. Aim is to give the reader a coherent picture of a certain smith, that means his civilian name, how did he sign, in which style did he work, and who was his master or his school environment. Thereby, the most common theories on a smith are included and discrepancies in the transmissions are pointed out. This work is a revised and completely new recorded list of smiths by incorporating all relevant Japanese and non-Japanese sources. Incorrect entries and double listings were deleted and readings corrected. The smiths are listed in alphabetical order and sorted according to their used characters. A list of all characters used in the names of the smiths in this index is available, sorted by stroke order, so that the search of a smith with an unknown reading is also possible."--Back cover.
This book should bring the reader more near to the no less interesting era of the ,,New Sword", the shinto. With the transition to the peaceful Edo period, the Japanese sword experienced considerable changes which are briefly touched in some other sword publications. This book now tries to present the historical and scholastic changes of the shinto in a comprehensive manner. The reader should get an idea about the activities of the Edo-period swordsmiths in all the provinces and how - if at all - they were connected in terms of school or workmanship. The classification based on the traditional gokaden is no longer applicable in shinto times and so a more geographical processing suggests itself. In the beginning we have the large sword centres of Kyoto, Osaka and Edo. Subsequently, all other provinces follow, arranged according to their ,,significance" in the sword world and in context with each other to avoid as much as possible big geographical and theoretical jumps.
This completely new encyclopedic reference for the Japanese sword contains about 2,500 entries, many of them illustrated by photos and drawings. The Encyclopedia of Japanese Swords is an A-Z general encyclopedia covering each and every part of the sword: the blade, the mountings, the fittings, and all their different interpretations. Further, this encyclopedia also explains the literal or etymological meaning of each Japanese term and provides an even deeper insight into the subject.
I now complete the series with the ,,Nihon-shinshinto-shi", the history of the shinshinto era of Japanese swords, starting from Suishinshi Masahide ́s initiation of a new trend around An ́ei (1772-1781) to the ban on swords issued by the Meiji government in 1876. As with the ,,Nihon-koto-shi" and the ,,Nihon-shinto-shi", the reader should be able to grasp a coherent picture of the backgrounds and scholastic activities around the Japanese sword at the end of the feudal era. Finally, the time scale must not be overlooked: The ,,Nihon-koto-shi" had to deal with roughly 800 years, from the Nara to the end of the Muromachi period, and the ,,Nihon-shinto-shi" comprised ,,just" about 200 years, whereas the shinshinto era lasted only about a century.
After about two years we are proud to present the second catalogue of the Nihonto-Club Germany. Again, and with the support of our members, we have collected and catalogued altogether 31 blades whereas this time tsuba and kodogu also appear in the catalogue. This publication not only introduces "well-known" and "classical" items but also fine blades by rare masters like Jitsu ́a, Ko-Hoki Sadatsuna, or the 3rd generation Hizen-Tadayoshi for example. The order follows the usual way, i.e. Koto, Sue-Koto, Keicho-Shinto, Shinto, Shinshinto, and Gendaito.
An unavoidable difficulty with books that deal with Japanese swords in general is that the workmanship of a smith has to be reduced to its most important characteristics which can be seen on the majority of his works. It is here that this work comes into play, with the motive to provide more concretely described reference examples. Unique is that - depending on the blade - former participant's kantei bids are also addressed. This means that one's own approach and attempt at attributing a blade may also be comprehended. With the 169 introduced shinto and shinshinto blades from altogether 13 provinces, this volume constitutes an extensive reference work. The order starts for shinto with Kyoto, Edo and Settsu, and for shinshinto with Edo.
This is now the second volume of my book ,,Legends and Stories around the Japanese Sword". Once more I try to bring the reader closer to the Japanese sword and dig deeper into the matter by the means of legends, stories and anecdotes about famous swords and their swordsmiths. Like in the first volume, I introduce several famous meito or meibutsu, for example the Kogarasu-maru, Yoshimoto-Samonji, Takemata-Kanemitsu, Kuronbogiri-Kagehide, Tsurumaru-Kuninaga and many more. And the stories deal among other things with the greatest swordsmiths in Japanese history like Masamune, Muramasa, Samonji, Kiyomaro and Kotetsu, to name only a few.
This book deals systematically, for the first time in English, with all the Japanese tôsô-kinkô schools and sorted by their production sites such as Kyôto, Edo, Mito, Higo and the like. Comprehensive cross references are given for the origins of the individual schools and the master-student relationship(s) of the individual artists, supported by genealogies for the larger schools. In addition, a detailed introduction of the historical context of the Japanese tôsô-kinkô, the manufacturers of sword fittings, is given at the beginning. Also added is an extensive index containing all the names, first names and pseudonyms of the artists introduced in this publication.
This booklet features all 27 sword fittings that are to the present day designated as juyo-bunkazai (Important Cultural Property) and 28 sword fittings that hold the discontinued status of juyo-bijutsuhin (Important Art Work).
It is often said that Masamune was the greatest Japanese swordsmith of all times From a mere technical point of view, it is next to impossible to say if there was one "greatest" swordsmith as the country brought forth so many great master smiths. Each of these masters had a personal approach in producing a perfect sword, and within these elite circles we are not only referring to technical perfection but also to aesthetical considerations. So putting aside the claim to name a "greatest," we can at least say for sure that Masamune is by far the most famous swordsmith of Japan. The aim of this publication is to contribute to the understanding and appreciation of this great master, that is to say by not only presenting his works but also by providing a newly researched and detailed historic overview of his life and the circumstances in the establishment of a new forging tradition. This publication introduces more than 50 of his meibutsu (noted swords). PLEASE SEE LULU.COM FOR THE HARDCOVER COLOR DELUXE EDITION.
This index contains a comprehensive listing of more than 20,000 Japanese swordsmiths, from the early days right down to modern times, i.e. from kotô to shinsakutô. It is not simply a list of names, it also provides biographical information according to the extent of a smith's fame. Aim is to give the reader a coherent picture of a certain smith, that means his civilian name, how did he sign, in which style did he work, and who was his master or his school environment. Thereby, the most common theories on a smith are included and discrepancies in the transmissions are pointed out. This work is a revised and completely new recorded list of smiths by incorporating all relevant Japanese and non-Japanese sources. Incorrect entries and double listings were deleted and readings corrected. The smiths are listed in alphabetical order and sorted according to their used characters. A list of all characters used in the names of the smiths in this index is available, sorted by stroke order, so that the search of a smith with an unknown reading is also possible."--Back cover.
An unavoidable difficulty with books that deal with Japanese swords in general is that the workmanship of a smith has to be reduced to its most important characteristics which can be seen on the majority of his works. It is here that this work comes into play, with the motive to provide more concretely described reference examples. Unique is that - depending on the blade - former participant's kantei bids are also addressed. This means that one's own approach and attempt at attributing a blade may also be comprehended. With the 189 introduced kotô blades from altogether 19 provinces (including the five gokaden) this volume constitutes an extensive reference work. The order starts in the classical way, namely with the gokaden Yamato, Yamashiro, Bizen, Sôshû and Mino.
The legendary sharpness of Japanese swords is widely known, and through the activities of various martial arts practitioner's information on tameshigiri has also become more accessible in the recent years. But, for a large part, this information focusses on modern cutting tests and only briefly discusses the historical aspect. As far as sword collectors are concerned, the subject of tameshigiri has been approached by several experts in the past, but here too information is rather limited. This publication systematically processes this subject for the first time to provide an overview of the historical aspect of tameshigiri. Not only are the developments from mere sword tests to systematic cutting tests are addressed, it also explains the sword testers, the various cuts and set-ups for cuts, and the practice of recording cutting test results on sword tangs for example. It is rounded-off by a reference section which provides examples of tameshi-mei.
Eine nicht zu vermeidende Problematik bei allgemeineren Büchern über japanische Schwerter ist ja, dass die Arbeitsweise eines Schmiedes auf die wichtigsten, sich auf seinen meisten Klingen wiederzufindeden Merkmale reduziert werden muss. Hier setzt nun dieses Werk an, dessen Hintergedanke es war, mehr konkret beschriebene Referenzbeispiele bereitzustellen, die noch dazu im Sinne eines kantei, also einer Schwertbegutachtung, abgehandelt werden. Einzigartig ist hier, dass - je nach Klinge mehr oder weniger umfangreich - auch auf frühere Gebote von kantei-Teilnehmer eingangen wird, sprich eigene Ansätze bei der Zuordnung einer Klinge können so ebenfalls nachvollzogen werden. Mit 189 vorgestellten koto-Klingen aus insgesamt 19 Provinzen (inklusive der fünf gokaden) bietet dieser Band ein umfangreiches Referenzwerk.
Eine nicht zu vermeidende Problematik bei allgemeineren Büchern über japanische Schwerter ist ja, dass die Arbeitsweise eines Schmiedes auf die wichtigsten, sich auf seinen meisten Klingen wiederzufindeden Merkmale reduziert werden muss. Hier setzt nun dieses Werk an, dessen Hintergedanke es war, mehr konkret beschriebene Referenzbeispiele bereitzustellen, die noch dazu im Sinne eines kantei, also einer Schwertbegutachtung, abgehandelt werden. Einzigartig ist hier, dass - je nach Klinge mehr oder weniger umfangreich - auch auf frühere Gebote von kantei-Teilnehmer eingangen wird, sprich eigene Ansätze bei der Zuordnung einer Klinge können so ebenfalls nachvollzogen werden. Mit 169 vorgestellten shinto- und shinshinto-Klingen aus insgesamt 13 Provinzen bietet dieser Band ein umfangreiches Referenzwerk. Die Reihung beginnt für shinto mit Kyoto, Edo und Settsu, und für shinshinto mit Edo.
The purpose of this publication is to provide a basic guide and reference for identifying Japanese seal script. The most effective way of identifying a seal script is by its radical, a graphical component under which the character is traditionally listed in a dictionary. The radicals used here are the Japanese version of the 214 Chinese Kangxi radicals.The first thing to do is to identify the radical under which the character is most likely to have been indexed.To begin with, this dictionary offers a RADICAL SECTION. If you think you found a match with the supposed radical for the seal character in question, then go to the page which lists the characters grouped under that radical. This dictionary contains approximately 4,000 characters. As mentioned, the purpose of this publication is to provide a basic guide and reference. It is not meant as a comprehensive seal script dictionary offering different interpretations of each seal character.
The purpose of this publication is to provide a basic guide and reference for identifying Japanese cursive script. When you are facing a character written in cursive script identification by the number of strokes cannot be applied any longer as the abbreviated writing style omits certain strokes. So the only effective way of identification is by its radical. For that, this dictionary offers a RADICAL SECTION which provides several examples of how each radical appears in its cursive writing. A match with the supposed radical of the cursive character takes you to the page which lists characters grouped under that radical. This dictionary contains approximately 5.300 characters, but is not meant as a cursive script dictionary with different handwritings of each cursive character, as the aim is to provide a basic guide and reference for identifying them.
Als Abschluss meiner Erweiterung Dr. Honma Junjis Standardwerk ,,Nihon-koto-shi" folgt nun nach dem ,,Nihon-shinto-shi" das ,,Nihon-shinshinto-shi", also die Geschichte der shinshinto-Schwertperiode von ihrem Gründer Suishinshi Masahide bis zum während der Meiji-Zeit verhängten Schwerttrageverbot des Jahres 1876. Gleich der ,,Nihon-koto-shi" und der ,,Nihon-shinto-shi" soll auch hier der Leser wieder ein schlüssiges Bild über die Hintergründe und schulischen Aktivitäten vom Ende des japanischen Schwertes in seinem feudalen Kontext bekommen. Wie schon mit der zunehmenden Urbanisierung der Edo-Zeit erfolgte die Aufarbeitung der shinshinto-Zeit in ähnlicher Weise wie dies schon im Vorgängerwerk ,,Nihon-shinto-shi" der Fall war, und zwar beginnend mit den großen Zentren und im konkreten Fall mit der Wiederbelebung der Schwertschmiedekunst durch Suishinshi Masahide, gefolgt von den einzelnen Provinzen, die wieder anhand ihrer ,,Signifikanz" für die Schwertwelt als auch im Kontext zu einander abgehandelt werden.
This is the first supplement to the first two kantei volumes. It contains 61 koto, shinto and shinshinto blades in the classical order, namely kotō-gokaden, koto other provinces, shinto-centres Kyoto, Osaka and Edo, shinto other provinces and shinshinto. The numbering continues with the last blade of the Shinto & Shinshinto volume, i.e. with number 359.
This is the second supplement to the first two kantei volumes. It contains 175 koto, shinto and shinshinto blades in the classical order, namely koto-gokaden, koto other provinces, shinto-centres Kyoto, Osaka and Edo, shinto other provinces and shinshinto. The numbering continues with the last blade of the first supplementary volume, i.e. with number 419.
This book should bring the reader more near to the no less interesting era of the ,,New Sword", the shinto. With the transition to the peaceful Edo period, the Japanese sword experienced considerable changes which are briefly touched in some other sword publications. This book now tries to present the historical and scholastic changes of the shinto in a comprehensive manner. The reader should get an idea about the activities of the Edo-period swordsmiths in all the provinces and how - if at all - they were connected in terms of school or workmanship. The classification based on the traditional gokaden is no longer applicable in shinto times and so a more geographical processing suggests itself. In the beginning we have the large sword centres of Kyoto, Osaka and Edo. Subsequently, all other provinces follow, arranged according to their ,,significance" in the sword world and in context with each other to avoid as much as possible big geographical and theoretical jumps.
After about two years we are proud to present the second catalogue of the Nihonto-Club Germany. Again, and with the support of our members, we have collected and catalogued altogether 31 blades whereas this time tsuba and kodogu also appear in the catalogue. This publication not only introduces "well-known" and "classical" items but also fine blades by rare masters like Jitsu ́a, Ko-Hoki Sadatsuna, or the 3rd generation Hizen-Tadayoshi for example. The order follows the usual way, i.e. Koto, Sue-Koto, Keicho-Shinto, Shinto, Shinshinto, and Gendaito.
This is the first supplement to the first two kantei volumes. It contains 61 koto, shinto and shinshinto blades in the classical order, namely kotō-gokaden, koto other provinces, shinto-centres Kyoto, Osaka and Edo, shinto other provinces and shinshinto. The numbering continues with the last blade of the Shinto & Shinshinto volume, i.e. with number 359.
I now complete the series with the ,,Nihon-shinshinto-shi", the history of the shinshinto era of Japanese swords, starting from Suishinshi Masahide ́s initiation of a new trend around An ́ei (1772-1781) to the ban on swords issued by the Meiji government in 1876. As with the ,,Nihon-koto-shi" and the ,,Nihon-shinto-shi", the reader should be able to grasp a coherent picture of the backgrounds and scholastic activities around the Japanese sword at the end of the feudal era. Finally, the time scale must not be overlooked: The ,,Nihon-koto-shi" had to deal with roughly 800 years, from the Nara to the end of the Muromachi period, and the ,,Nihon-shinto-shi" comprised ,,just" about 200 years, whereas the shinshinto era lasted only about a century.
This booklet features all 27 sword fittings that are to the present day designated as juyo-bunkazai (Important Cultural Property) and 28 sword fittings that hold the discontinued status of juyo-bijutsuhin (Important Art Work).
This book deals systematically, for the first time in English, with all the Japanese tôsô-kinkô schools and sorted by their production sites such as Kyôto, Edo, Mito, Higo and the like. Comprehensive cross references are given for the origins of the individual schools and the master-student relationship(s) of the individual artists, supported by genealogies for the larger schools. In addition, a detailed introduction of the historical context of the Japanese tôsô-kinkô, the manufacturers of sword fittings, is given at the beginning. Also added is an extensive index containing all the names, first names and pseudonyms of the artists introduced in this publication.
With this publication I try to systematically and comprehensively process the subject of ,,Japanese sword mountings". It was not my goal to depict as many extant interpretations of sword mountings as possible but to deal with their different styles. With this publication the reader will be informed in which way the Japanese swords were mounted over time, the origins of the various styles, what changes they underwent and it will also serve as a reference material to classify extant specimen. In this sense the descriptions were embedded in an explanation of their historical context rather then listing them simply by their interpretation or in alphabetical order. As the main focus lies on ,,koshirae", explanations on the sword fittings - the tosogu - were omitted because their descriptions can be easily found elsewhere. Also, the military mountings - the gunto-koshirae - were left out because there are excellent publications available which deal with them in great detail.
This completely new encyclopedic reference for the Japanese sword contains about 2,500 entries, many of them illustrated by photos and drawings. The Encyclopedia of Japanese Swords is an A-Z general encyclopedia covering each and every part of the sword: the blade, the mountings, the fittings, and all their different interpretations. Further, this encyclopedia also explains the literal or etymological meaning of each Japanese term and provides an even deeper insight into the subject.
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