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Not to spoil the fun, but I think your tsuba design is plum blossoms. Usually many buds/flowers on spindly, upturned branches represent plum tree blossoms. Kind of a quintessential design (late winter, looking forward to spring which is just around the corner). from https://wakeidou.com/pages/412/

生中心在銘 時代承元之頃 成章添状付 Ubu, zaimei Circa Jōgen (1207-1211) With paper from Nariaki (Nisshū's great great grandfather) Small typo in Jan's post 照 > 昭

Samurai Art, Im sorry I dont know who you are really and have not heard of you previously, I have only seen a few of the things you have written here as I just joined. I was only trying to clarify some of your mistakes, but I am an amateur and did not mean to offend or embarrass you. I did study Japanese in my university and have done home stays, so my Japanese is pretty good. I have also been learning here in Japan for some time. I was only trying to correct some of the terrible mistakes you have made regarding Urushi, such as the names of the urushi, and the most funny was where you mistook the word furo (which means "bath tub") for the word Muro which is a temperature/humidity controlled chamber. I think you can probably do urushi in a bath tub though if you like. Though, I really regret some of the things that you have said regarding the abilities of the artists in Japan though that is insulting to them and people like me who have made the long walk to study under them. That is not fair to them, and it turns many people away from this beautiful country. People who might have the dream of coming here to learn, or hiring a traditional artiste to do work for them. I was lucky to have met some people who guided my path here. I did not mean to embarrass you by pointing out your mistakes as I am just an amateur. I of course have just begun my journey, so I do not wish to make any enemies here. One thing that I don’t understand though, You say Mister Mancabelli’s teacher, Miura Hiromichi said that you were a much better student than his own students, and that is why Andy (current Miura sensei), dislikes you? Im sure you know, because you have watched Japanese television about this, but Miura Hiromichi, named Andy as his “atotsugi” which means heir, or successor. He gave Andy permission to use his name “Miura” and when I met with him, he called Andy “Anjin” because he was not able to phonetically pronunce his name correctly. This was cute. And Miura sensei told Andy to use it as his “shu mei” or pen name. It is also the name of his registered company. If you met Miura sensei, he would have pronunced your name as “De-Bu” which in Japanese is a derogatory term for "Grossly obese". I know it is very ironic because you are probably very skinny, which is also funny. I was told that Miura Sensei was from the Miura hanto peninsula originally, which was were Miura Anjin - William Adam’s family and estate was located. It is actually possible that there is a direct connection to William Adams that you mentioned. Now Andy is “Miura sensei” I dont think many foreigners have been named successors to living treasures. I have seen his work and it is worthy and amazing. And shamefully, I am still a beginner, so I have nothing of worth to show. Maybe I can have something for you in a few years….. I hope. For now, I will only share what knowledge I have been able to learn from the kind teachers I have met.

Thanks Mike for starting this off, I believe Mountbatten's actions saved many historic items from destruction. Many thanks John C. saved me from going through many old boxes. Thanks too, to John, I'd completely forgotten about that article. Regards the swords he acquired for himself ( B W Robinson ) Back in the early seventies I went to view an auction at Elliot and Snowden. It was a hot sunny day and propping open a door leading to the pavement was a leather clad gunto. A brown ticket label was attached to the hilt, on which was written "Brought back from Malaya, B W Robinson" There was no mistake it was his handwriting which was so very distinctive. On a quick search found this.

I'll start with the second one: [照]昭和癸丑歲仲秋誌之 = recorded this in mid-autumn in Shōwa, year of the water ox (1973 CE) Edit: fixed silly typo, thanks Steve!

Either way the owner liked the girls!

Kudos, finding an undervalued piece is the dream of every collector, much better IMHO than acquire a certified piece. Adding value through knowledge is the very essence of collectionism.

Programmes can be read here, including #37 and #81: https://to-ken.uk/re...ihonto-magazine.html John C.

Well, that's a mind blower, finding out it is published. I wonder how it got to Singapore? The Japanese refer to that as a horidashi, or a great piece bought cheap.

I may be late to this conversation but yes I have seen this form called Toppai kabuto. Shiinari is usually used for higher vaulted or more pointed toppai kabuto. And I think that you are correct in both of your assumptions. that is similar to the way that they used to write the kanji for “20”. This is more likely the katakana for “sa”. I have seen army presentation maps were the different groups in formations were noted as katakana in the Japanese phonetic alphabet for their relative positions. such as batallion 1, 2, 3, 4. = battalion sa shi su se so. and so on.

One of the kindest and most helpful people I have met. Yes very busy, but will always make time with advance notice.

I usually mostly lurk but damn. You certainly had the time for something as trivial as slandering people like Nishioka but for some reason don't have time to explain baby's first urushi ? I too have had the occasion to meet with mr Nishioka earlier this year and most of what that Henry dude said is right. It's also incredibly disrespectful to him to say that he's unable to get a proper urushi finish, and that no katchu-shi is able to, are you in a better position than Japanese museums to judge that ? You're making a mistake at toddler-level Japanese with using a furo instead of a muro, a furo is a goddamn bath for christ's sake, and we're supposed to believe that you're fit to judge people that are spending their lives doing this job ? That's N5 level Japanese, any damn beginner will make the difference. Useless information, unless you're genuinely expecting people in here to have a room temperature IQ and being unable to differentiate an artist name and a long dead historical figure. I can't even fathom why you thought it'd be pertinent to put that information here, the only thing it serves is being patronizing and it's pretty disrespectful to the people here. Also cool backpedaling here about the Sabi nuri, while you clearly said "sabi-urushi nuri" at first. Calling bluff on that one. If I'm not mistaken you've met the man just once, surely this is not enough time to judge someone's work. My brother in Christ, you just boasted about your skills in the same bloody post. The burden of proof is on you for all the wild stuff you're claiming. Your posts have only been dumb claims with nothing to back them, and you dare ask other to show their stuff. Andy isn't even in the goddamn thread but instead of refuting the points made you're asking someone that's not here to post his work. That's how rent-free he lives in your head. Instead of relying on ad-hominem the moment your claims get challenged, next time, make a proper answer like a grown man would. I used to look up to you, then started getting suspicions when interacting with you, but now it's pretty evident that you're just LARPing as a katchushi. All that stance about being humble goes out the window the moment you get challenged. It's unfitting of what you're pretending to be. Agreed. I've had the chance to meet him, as well as a few other Shokunin and everything that's been told has been positive, reinforcing the idea that Dave's been spouting bullshit since the beginning.

An unusual method of attaching the leather snap strap. Posted by @Itomagoi HERE

Probably useful with this bottle of Saké - - https://rakusake.com/product/detail/658 or this 21 year old Shōchū - https://www.jauce.com/auction/t1139222519 Bottoms up! 乾杯

I can support Henry’s statement about Andy San! Met him last year in Japan. Very nice guy, but always busy, hence hard to get an appointment

I would try talking to somebody else on facebook. Try in Japanese. Many very helpful artists there who will not lead you in the wrong direction. If you are in Japan and need advice, Miura sensei has helped me so much in the right direction. But you would have to travel to Japan to meet him in person. There are also some workshops in Japan that teach urushi (not for armor) which offer short courses for amateurs and people who wish to have a hobby. It can help as an introduction to this art.

This statement is the most disingenuous thing I have seen written on this thread. There are indeed people to learn from in Japan. I know, thats why I traveled half way around the world to do so. Such a statement only operates to hurt the reputations of the more than qualified artists here in Japan who have devoted their lives to the betterment of traditional art. If you really wanted your son to learn from the best, I would suggest sending him to Japan. Mancabelli (Miura Anjin) only does tradional work. Nishioka is capable of traditional work and is trained, however I think some of the students are using non-traditional methods at least for their new work and harikake helmets that they make. Ogawa does not use traditional methods and many of his orders in recent times are done in aluminum. He himself has stated that his works are for cosplay and hobbiests. He is a nice man and has been very straightforward about his techniques. Most of the current traditional armourers living in Japan have come from or been influenced by the Morita Tomojiro line. The information about rawhide here is also wrong. They did not wait three years to make armours out of it in the olden days . You just have to be taught how to work with it and prepare it before lacquer. When working with rawhide, you do use steam to mould it. Of course, they applied urushi shortly afterward. Fake urushi will not work with rawhide. If you use fake urushi it will fail. The procedure for lacquering rawhide is of course different from that of iron and you must learn the techniques. Do you use real urushi? Where did you study? Who was your teacher? Its not a “furo” its a “MURO” and there is a big difference between the two! There are currently, other sellers of traditional urushi besides Watanabe. But I found them through Miura sensei’s instagram where he gives directions to their website and shop to help promote traditional art. he told me that he will continue to add more such information to the page.

Hi, This information is not actually correct. I have found that sometimes the words used in local areas, and depending on the particular profession, what the artist calls the materials can change. However, what you are calling “sabiji urushi” is absolutely wrong for Japanese armour, and I cannot see how it could be right for other professions such as box lacquering, bowl lacquering etc. Armour is the most difficult of all of the arts to do lacquer on and uses different techniques. What Samurai art is talking about is “sabi ji nuri” which means literally “rust finish coating”. It is basically a “makiji” coating covered with either one or two additional coats of seshhime, or a pigmented urushi that gives it the appearance of a “rusted finish”. For armour, the base coat that Samurai Art mentions does not use some of the ingredients, and certainly not as a combination, though it can use some of them. Also, Tonoko is not dried volcanic clay. Clay is sedimentary and it is derived from sedimentary deposits in different locations in Japan and in the olden days, leftover polishing stone powder (from stone polishers) could be used as as well for particular work such as makie etc.(uchiko) By rumour the best tonoko comes from Kyoto. However in Wajima (Ichikawa) they do use a type of jinoko (dirt) that is derived from a different process. In recent years they do not allow people outside of their artiste group to acquire it, and it is a shame. I do agree that there are few books in non-japonese language but there are many books in Japanese, and there are some good videos in Japanese and English about proper urushi. Mancabelli sensei is trying to save the traditional arts here in Japan by promoting the dealers and giving information for those trying to learn. There is a very large difference with real urushi and fake urushi such as cashew. and they do not mix. fake urushi should never be used for restoration and damages/destroys the original item. there are too many points to mention here. Real urushi does take a high level of commitment, literally a lifetime. Most would be restourers or artists do not want to take the time to learn how to work with it. But actually YES there are books, and YES there are very capable people in existence that are very qualified to help devoted, serious newcomers. Unfortunately they are currently mostly living in Japan.

#100 also has the following essay: https://to-ken.uk/onewebmedia/Programme 100 July 1978.pdf Japanese Surrendered Swords: A Reminiscence of 1945 - B.W. Robinson

Mumei Stasuma waki with its Satsuma rebellion tsuka

I have often seen this “Kiku-Sui” motif on Fuchi and Kashira and I think they are also civilian WW2 fittings. Have any of you ever seen the matching tsuba? https://buyee.jp/ite...VDNBYXN4ZXBzWUE2OD0= btw I haven't seen this kind of seppa with the leather lock and I think it's pretty cool. :-)

Wow. Here I was thinking that tsuba looked familiar.... Now I know why. $175 purchase price also pops my brain a wee bit.

To-ken Society of GB monthly newsletter "Programme 81" gives an account of the talk given by Basil Robinson. He reminisces the time as a British army captain he sorted through 1800 surrendered swords in 1945. Mountbatten had access to all of these. "Programme No.37" has a letter from Han Bing Siong describing the sword at Windsor Castle and speculates on the sword Mountbatten returned to Japan. Unfortunately, I cannot lay my hands on these newsletters at the moment, perhaps someone has copies of them? Back in early postwar Britain Mountbatten wrote a memo listing those who were to be presented with swords but noted that they haven't arrived in the UK yet . I'm still searching for this. On the internet somewhere is a film clip of Mountbatten at his home, holding one of the swords surrendered to him, he talks at length on this. I'll look for it when I get time.. A gunto sword with a blade by Yasutsugu is on display at the Commando Training Centre and is presented annually. It is yet another one said to have belonged to Field Marshal Count Terauchi Hisaichi. It's known as the Mountbatten Sword. Quite a few pictures of this sword being presented at that establishment can be googled.

Gentleman, I just got my copy of Owari To Mikawa No Tanko. Plate #240 is actually my tsuba. The groove in the nakago-ana really clinches the identification. Incredible luck to have blindly purchased a $175 tsuba 25 years ago in Singapore, only to come full circle to its provenance. Thanks so much, one and all for urging me not to take a blow torch to "fix" this tsuba .

Hello, koshirae as i promised... Signature on tsuba is Seiryuken Eiju cca 1780 - 1800. That's all I know. And I really like decoration on saya (beside the fact I like the whole koshirae). Anyone has some idea about the technique?

https://www.aoijapan.com/tusba-mumei https://www.touken-m...uct/shousai/TSU-2792

I have had this small Kanayama tsuba for some time, purchased in Singapore before I started collecting tsuba, and subsequently lost during move back to Boston. It has been rediscovered, although I honestly don't know how I acquired it and from whom is was purchased (probably on eBay or an antique shop). I did have an interest in nihonto and Japanese antiques in general at that time. Anyways, it took me a while to notice that there is a well-defined gouge or cut out in an elongated and sharp vertical groove present on the left middle edge of the nakago-ana. I thought it was damage. However, in Eckhard Kremers study "A Kyoto Master and His Workshop," he describes this kind of feature as common to Ko-Sukashi from the same workshop if not the master (see photo below from his study). These gaps were often filled with strips of copper indistinguishable from the sekigane that we often see including those present on my tsuba. Has anyone else encountered this kind of cut out? Who can fill it in with a copper strip? I'm pretty handy with metalwork applied to restoration of vintage electric guitars, but I am not keen on tackling this kind of work.

Greetings, picked this WWII Sword up at the Forks of Delaware Gun Show from a good friend of mine for a very honest price. The handle is rewrapped and other than that complete and in very good shape. The blade is arsenal made and has a little arsenal stamp but just a nice weight and balance that I truly appreciate. Can anyone please help me with the smith and year and month? Thank you very much for comments and insight. God Bless

I have seen this often. The tsuba wasn't made for the blade specifically, and the punches tighten the ana to the blade

My initial impression Paul, is that this is a late revival piece that has seen better days. Since the bare bones and decorations generally follow the remit for O-yoroi hoshi kabuto, and after the fire nothing is hidden from sight, it could make a good study piece for labelling the names of individual kabuto parts.

Sorry, I know virtually nothing about Nariaki. I only know he is a few generations from Nisshū. What little I know comes from this site below https://meitou.info/index.php/本阿弥

@Butch Gareth, yes a nice example of a Zohei-to in good (early?) Type 98 koshirae. In recent posted article is a summary of them, some examples plus outline of Kokura Arsenal .

I dunno John, guessing very few in the UK. Quite a few stores sold wall hangers back in the 80s. Just thought id take a look, forgot i have a Ninja sword too, thats actually pretty decent made with a 440 Stainless steel blade. Sadly under UK law now then i guess ownership of my first sentimental swords is now a bit dodgy. I know this site is for real Nihonto but as a kid barely into his teens, they made a few xmas days very special Ito actually not too bad lol

Definitely showato, and unfortunately the blade is more oxidized than the tang. Stains all over.

Not much can be said that you could rely on. However the double habaki would suggest a genuine old blade (and sometimes a sign of something decent) but the kashira is a horrible fake replacement. The fuchi looks genuine but poor condition. The blade could have any number of serious flaws that we cannot see. Its a total gamble but might be worth a shot if it’s really cheap. Good luck. Colin

Guessing that they were done as a quick and shoddy way to tighten up the fit and stop things rattling around, with regards wrong thickness seppa. Though just a guess.

rare to find Ka Mon on Japanese Gendai to it would be nice to collect more Gendai nakago here with this special feature........... In this case a so called Cintamai / Nyoirin Kannonafter my research a "treasure pearl"that fulfills wishes

Ok, I have some. The "Date" family crest on an 18th century blade: There are the Tokugawa mon: 9th Generation The 1-leaf Tokugawa emblem From Sesko: Eighth Tokugawa-shôgun Yoshimune (徳川吉宗), 1684-1751)” was “unhappy with the general decline in the quality of blades at his time … his project that peaked in the 1721” was a “sword forging contest.” “There were four winners selected, namely … Masakiyo … Yasuyo … the 4th generation Nanki Shigekuni (南紀重国) and the Chikuzen smith Nobukuni Shigekane (信国重包).” … “The tang bears the single leaf of the Tokugawa aoi crest granted to the winners of the contest.”

here is the well known Kikusui of the Minatogawa shrine forge

Unfortunately I cannot find this particular smith in any of the swordsmith indexes. I cannot find a Yasuhiro smith who would sign like this. One thing to consider is also the very long length and lack of curvature. As the sword has been shortened by considerable amount it would likely be 85cm+ in original form. I feel my thought might wander towards kinnōtō, however that is just total speculation and the nakago looks fair bit older than I would think for them. Of course there were some long and straightish katana produced in multiple periods, just that they were bit outside of the norm.

You could try contacting Mike Yamasaki of tetsugendo.com he can help with the restoration. Jimmy Hayashi, the top polisher in the U.S. is located in San Francisco... -t

Hi Mike, Here is a link to care and handling for Japanese swords; please pass it along. https://nbthk-ab2.or...ord-characteristics/ Grey

Cox, Malcolm E. Showa Period Swordsmiths of Fukuoka Prefecture, Kyushu, and the Kokura Arsenal. 2024. A4 size, 149 pages, B&W & color illustrations. Besides gendai Fukuoka swordsmiths, this study also covers the arsenal markings used on RJT blades made under the supervision of Kokura Army Arsenal. For this reason, it covers some of the surrounding prefectures under the jurisdiction of Kokura Army Arsenal. This is the first serious English language study of this aspect of wartime blade production.

Just sent him a PM. Thank you for the suggestion. I will let you know how I make out MikeR

Boxed General tassel.

I am a member of this board. The mixture is called sabi-urushi nuri, not kokuso, as previously mentioned. It consists of flour, sawdust, or hemp strands. Sabi is made with water and a dried volcanic clay called tonoko. As a retired professional restorer, I cannot delve deeply into the restoration process. I have no interest in educating the three katchushi posers in this group who wish to learn the process to improve their monstrous works. For the newbies, I cannot recommend anything in the same way asking about sword polishing would be received. There are no books on the subject; to learn, you must study metalwork and how to apply urushi yourself. Studying in Japan should allow you to find a teacher like Nishioka or toyoda sensei, which is the only route in my opinion.

Yes, 貞継 Takai Sadatsugu 高井 貞次郎 "SADATSUGU (貞次), Shōwa (昭和, 1926-1989), Gifu – “Sadatsugu” (貞次), family name Takai (高井), rikugun-jumei-tōshō, ryōkō no jōi (Akihide), Fifth Seat at the 6th Shinsaku Nihontō Denrankai (新作日本刀展覧会, 1941)" An RJT qualified smith. No chance there's a faint star near the top of the mei side? The only other blade I have of his is a Tan stamped blade from 1942. Also, can you tell if the blade is gendaito or oil tempered? Close-ups of the hamon would be nice.

Looks like SADATSUGU (second KANJI with a doubt), made in Juli 1944. Photos of the NAKAGO and blade should always be shown tip-upwards. Taken on a dark background, directly from above, light from the side, presented as cut-out, so not much of the background is seen.

That makes sense. Thanks for the explanation. Now I understand how these alterations are part of the history of the guard just as repairs on tea bowls are appreciated as beautiful by the wabi-sabi-yugen aesthetics of the Momoyama and early Edo periods.