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Late Edo kinko.

Small Tanto Tsuba.

After pinning the Type 95 Worksheet thread, it's had over 1200 views. So, you don't mind, I'm pinning John's thread in hopes more folks will see it and add to John's study.

For that price, irrespective of the crack and possible gimei, I would have bought it. These are harder to find than other types of jitte or swords in the US. In that condition, it would go for double that price here. John C.

“Extensive lacquered wear on Koshiraé.” This is deliberate, a red lacquer surface, allowing black lacquer to show through, creating the famous Negoro-ji nuri effect.

Something a little different. An article about teppo disguised as yatate from Daruma magazine. John C.

Its an interesting point and I would say that: 1. The novelty of forums is gone and people came back to their own small interaction circles. They read, but do not participate. 2. Once they have papers they don't need to discuss things, or so they feel. 3. It is very common for someone posting photographs to receive a substantial dose of insults, ranging from you can't form an opinion based on a photograph, to its junk which should not be used as an example etc.. 4. Politics. The place used to be entirely liberal and very nasty to those who are not. I am far right and very nasty. 5. The number of educated people who could contribute significantly is grossly overestimated.

Your obviously Rays friend, Brano. I can respect that. Maybe you sell him swords, dunno. Educated people can have educated discussions but they don't seem to have many at all. There is AMPLE OPPORTUNITY for higher quality sword discussion here but the space seems rarely taken up? Its like the folks that should be doing that kind of discussion prefer getting involved in discussions about lower tier swords, its strange. Maybe it makes for an easier life, dunno. By the way, i am not resorting to personal attacks. I am stating FACTS about why this thread has ended up the way it has ended up. If Rayan had more tact and wasn't his usual self, as he has been in the past. This would have been a peaceful thread. Id be more worried about losing new members to the forum and old ones that support it more than the usual suspect that has caused **** for years.

Some perspective for those that think the sun shines out of Rays ass, the penny dropped for me a while ago when i recognised a pattern. Pretty sure he used to be known here as "Kawa". I could be wrong but doubt it. Same old nonsense, had Kawa on ignore for years but couldn't help notice the same kind of disturbance Has anyone noticed the personal attacks he has been doing recently with Colin?, to which Colin has been the perfect gent and handled it more calmly than most would. Same years ago, seen it all before. If im correct then Kawa/Rayhan is the part of the reason some really knowledgeable people have been put off from returning here. Brian running the forum, i could understand why it makes sense to want to have folks with deep pockets hanging around, offering trinkets or whatever. That's great for the forum but not great for the others that have to put up with his overbearing personality. As said in this thread, people collect a wide range of varying quality swords. Jeez, ive been through everything on this journey. From Nanbokucho Nobukuni to Enomoto Sadayoshi and back round and a round through Yokoyama and Hizen and back down to Dotanuki and beyond. Some of the lesser regarded sword schools have been some of the best to own, for certain reasons. The Dotanuki, not known for their artistic merit, the sword i owned wasn't an arty farty sword but everyone loved it. It weighed a ton, a real clunker and i wish i still owned it, the NBTHK thought it worthy of Tokubetsu Hozen. That's the sword i sold to Guido, he was happy to own it. I own very good quality swords with TH and not so good quality without papers. One of my favourite swords is a Koto Mino tanto that is said to bring luck and i think it does, my son will get that. It has chips that i chose to leave as that's how i think it should stay. There is just something about it, i was meant to own it. The polish is perfect. I'm not really interested in Juyo swords for a few reasons. They are too expensive and i find great swords for a lot less, i dont need to chase those papers though at a push i could of done years ago. Though would that of made me happy?........... NO. We all know that buying stuff you cant afford leads to misery. Point being, no one needs to hear LOUD OVERBEARING ADVICE on what to buy, let folks ********enjoy their sword ownership in peace without the need to make them comply. People can be honest here, with some tact and sensitivity to how deep other folks pockets may be. PS FORGOT TO SAY. There is NOTHING at all to stop folks discussing high quality swords here. Various comments here like "there's not enough high quality sword conversation" or whatever. I don't get it, maybe start a topic, just an idea. Or is more fun to pester the bottom feeders with elitists ideology???????

The gold tier seems to be working, I would be ok to see multiple donation tiers. Like the gold tier, but add platinum and diamond, perhaps 2x and 3x? This forum is for a community that collects expensive things, some high-end collectors lurk, many (some) would be ok to donate more. Tier badges would be a constant reminder and encouragement to donate, even without a quid-pro-quo, and hopefully with less need for periodic pleas. Might be not too difficult administratively (actually, I know nothing about managing a forum like this one, but I'm sure it's more work than most of us realize).

Eric came here asking for thoughts on this sword. A number of experienced members chimed in with opinions and observations. And while some were delicately stated, and some not, I found myself learning from the things I had missed and overlooked none the less. Eric asked for thoughts, and to his credit, welcomed all of them. This is the way.

Not so unusual in my opinion. I think I saw it on HIGO TSUBA, and on TEIMEI (inverted INOME) as well: The surface on yours as well as the SHOAMI sample is not original to these TSUBA I think. There was a lot of corrosion eating away material. I am no expert on NOBUIE, but I don't see this design as typical for that school.

This is a masterpiece by Fugai Ekun (1568-1654). In 1616 he became the Soto Zen abbot of Joganji in Sagami Province (now part of Kanagawa Prefect.), but after only a few years he gave up his position to live in caves of the Kamisoga Mountains, which earned him the nickname 「穴風外」Ana Fūgai ('Cave Fūgai'). Poem translation (Okabe Hisashi, "400 Years of Zen Painting"): The sound of roaring, terrifying Heaven and Earth Pitifully, the hundred beasts all run away in fright Suddenly, he strikes and breaks the front teeth "The paintings of Fūgai Ekun, simply brushed with ink on paper, convey a depth of spirit that makes them unique even within the sphere of Zen art. His works are imbued with a haunting intensity; the eyes of the figures he depicts penetrate deep into the human spirit, providing a sense of direct communication with the artist. Yet Fūgai has not received the recognition that other Zen artists have been given, in large part because he lived far away from the major cultural centers, had no pupils, and founded no school. Historically, Fūgai was the first and most important Zen monk-painter of the Sōtō sect. Fūgai also anticipated future directions in Zenga by inscribing his own poems on his paintings and by brushing informal self portraits. His final years were spent in nomadic travel; he died almost literally 'on the road'." Provenance, Zen Art Gallery (Belinda Sweet). Personal collection. [The Art of Zen: paintings and calligraphy by Japanese monks 1600-1925. Stephen Addiss; publisher Harry N. Abrams, Inc., New York (1989)]

Here is the favourite bird-themed tosogu from my collection: a tsuba by Watanaba Issei. It depicts the southward migration of geese in the autumn months and their return to Japan in the eighth lunar month known as “Kanaraigetsu”. As the geese migrate south from their summer visit to Siberia they inspire thoughts of the coming winter, but also give a strong feeling towards the Japanese spirit. I fully appreciate how especially during times of change and uncertainly that this yearly event brings a sense of unity and national pride. The importance of geese in Japanese art was further secured by stories of several military heroes who had achieved victory in battle when a sudden breaking of ranks by flying geese signaled an ambush. This protective role of the birds led to their frequent use in decorating tosogu. I particularly like the detailed carving of the geese on the omote and the snow on the reeds; you can see them buckle under the weight. On the ura the imprints of the geese's feet in the snow are very charming, as well as the sekigane which is made to look like snowfall, a lovely touch.

Good idea, Bruce! The Meiji period NCO swords are really quite interesting to me, like the Type 25, Type 32, and other lesser encountered swords (ex. Type 8 riding swords). I am glad enthusiasts here, like @John C, are compiling records on some of them.

My "kyudo" corner with Otagaki Rengetsu and Kaga no Chiyo works. My wife is very good at keeping all of my "hobbies" tidy.

Kogan Gengei (1748-1821). Born April 27, 1748. Rinzai Zen abbot of Kogen-ji temple in Tamba. He was a disciple of Hakuin Ekaku and Genro Suio. When a Zen bull sits, it is immovable. The bull appears to be formed from an Enso. Provenance, Zen Art Gallery (Belinda Sweet). Personal collection.

To be precise, it reads “Kusunoki Tamonbei Masashige” The maker is allegedly “Gorō Nyūdō Masamune” and it’s dated first year Genroku (1331), witch is a “tad” optimistic, IMHO…

That is clever! Many thanks for posting this. I have not seen this combination before, though you do find them disguised in other ways, inside Tantō Koshiraé, or as Jutte, etc. Ignition is by crushing of small pellets, ‘pills’ of mercury fulminate.

I just thought the large hitsu/riohitsu are a major design feature, exactly what they may represent can be difficult to work out. I found this one in one of my Japanese books "TSUBA KANSHOKI" - page 96 - the design says "Bag", sukashi. Koshoami .

You would be surprised Dee, not all high end sword buyers are interested in learning much more than the name and date of the swordsmith. An expedition into knowledge was never on the horizon, just ownership. I guess that goes with a lot of sword buyers, not just high end.

Please don't go Rayhan, the board needs more people who are prepared to tell it how it is . Bon Dale was the leading light of the Token Society of GB in the early days, he tried to educate the masses and was pretty scathing when it came to bad swords . He would be rolling in his grave if he read this discussion . Ian Brooks

One very similar in the Metropolitan Museum of Art https://www.metmuseum.org/art/collection/search/34912 it is decorated in "Kaneiye" [Kaneie] style with an indistinct signature. Inscribed on the obverse: 山城國伏見住金家 Yamashiro no Kuni Fushimi-jū Kaneie (Kaneie, resident of Fushimi in Yamashiro province) You might need to look also at Saotome? As well as shoami - https://yakiba.com/tsuba-saotome/ Justyn I agree with Jean - I don't see it as Nobuie. - but the design looks like it was used by a lot of schools - - so who knows? This one https://tsubashi.com/product/nobuie-boars-eye/ States the signature is "Nobuie" however the text description states several times that it may not be by Nobuie. "Much confusion and contradicting information about Nobuie, even among high-end collectors. Impossible to say whether this is 1 st generation, 2nd generation, student, forgery, or part of a school of smiths that all signed “Nobuie”. I think many people claiming they have a 1st or 2nd generation Nobuie tsuba, really do not know what they are talking about. Even with papers, one cannot be sure, as the consensus about Nobuie changes from generation to generation. My guess for this tsuba is that it is neither 1 st nor 2nd generation, but possibly would be accepted as “Nobuie” school."

I have not commented as it is difficult to figure bonuses or incentives for gold membership. Many of the comments above make good sense. I agree with the thought that having people "just use us" for multiple translations and info for commercial benefit (selling elsewhere) is frustrating. I enjoy some help from time to time, thanks to the group! some suggestions to limit abuse (without supporting the forum) sounds positive. One suggestions for a benefit of membership could be an advantage on sale items. We are all in different time zones and i see comments from members about missing opportunities to buy something. Maybe gold members have access to new sale listings for 12 hours before they are listed for everyone? Or maybe gold members receive a notification of some type like an email (possibly members could turn these on or off as preferred) might give gold members a slight advantage to see new items for sale. From a sellers perspective selling to a gold member might be easier than navigating multiple unknown people inquiring and making a sale more difficult. I'll give it some more thought Mark

Book overview" Ritter des Reiches in Ehre und Treue "knight of the Empire in honor and loyality" with foreword by Heinrich Himmler relation between Germany and Japan during WWII German Nazi dictatorship Perhaps somebody here knows about this rare booklet?

This is one of my favourite swords of my Dad's. I really like the two Horimono on it. Thought I would share and also pleased to hear comments about the quality etc. just for my interest. Thanks. Note: to see the whole photo you need to click on each photo below.

Saw this advertised a few weeks ago. How old do you think it is have not seen many old ones . Thanks Geoff

If it's red rust, that means it's active. The UK isn't so humid (most of the time) but I think some preservation is called for.

Another Yamaoka Daruma painting I recently acquired with same inscription as the original work I posted. HIs more commonly seen signature here is within the body of Daruma.

Etsuzan Doshu (1629-1709). Born in China as Yueshan Daozong. He came to Japan in 1657 to study with Mokuan. In 1705, six years after he produced this calligraphy, he became the seventh abbot of Manpukuji temple of the Chinese Obaku sect of Zen buddhism near Kyoto. Regarded as one of the finest of the Obaku calligraphers and respected as Sho no Etsuzan (Etsuzan of calligraphy). He frequently started his poems with a dramatic large kanji character. Personal collection. Provenance, Zen Art Gallery (Belinda Sweet). Poem translation: "Small pebbles can build a great wall; purchase this kind of gold all life long!"

Kaizan Sokaku (1769-1846). Enso—the iconic and celebrated "circle" brushed by Zen Masters—often interpreted as a representation of both the void and the universe, emptiness and fullness, the one and the all. Calligraphy in cursive asks, "Where is it?" or "Why ask why?" to turn the experience of contemplation back to the Zen practitioner's sense of self and true nature. I use this image for the personal blog section of my website. Personal collection. [Published in Enso: Zen circles of enlightenment. Audrey Yoshiko Seo, Shambala Publications, Inc. Singapore 2007]

Not so sure. Punched hole would be sharper with a clean edge IMO. To me this looks more reminiscent of a drilled mekugi ana with the burr chamfered down with a file or an abrasive.

Thanks, as always… The way the hitsu are presented makes it hard to know if they were meant to be the same thing or something very different. I was just getting used to seeing how the three in this post could be inome, and then you throw “bag” into the mix . Now I am just confused… I suppose that the ones on mine could also be beans… What do you think about giving it a “koshoami” or “shoami” school origin?

I will try to post it tomorrow. Since I sold it and don't have a clear position of the new owner how comfortable is he discussing the attribution, I'll post only partial shots and general descriptions, but its one of those cases which feels very educational and I still don't understand the whole picture. Her angled photo was nothing like the blade in hand, yet it captured things that only two of those who studied the blade (NBTHK and one kantei person) fully identified, everyone else observed only a portion of those. To make things more complicated kantei person rendered very different attribution compared to NBTHK, though it sort of matched mine. I wish I had the knowledge to fully understand this complicated case.

I think his past postings are quoted under username "Guest Rayhan". "Kawa" may also be correct using the search function.

I am sorry the discussion got out of hand. At least Eric got a taste of what being a collector is like. Run while you can. After the first blade most still can get out. The third one gets you.

Thank you both. Does the Saotome design you show have inome? Is that design a very stylised version? I can see that the one Jean shows is similar, but I can’t find many with the very large inome with rounded (rather than pointed) shapes. I would also guess that mine doesn’t have hitsu-ana since the inome don’t extend to the seppadai like the one in the Met.

Himmler draws parallels in his foreword to the samurai of the past and his black corps and recommens that the men of his SS read this booklet Dee

Why are we going round and round in circles? I get the feeling some are just here for the arguments. Simple fact...I said it needs closer examination. Based on a quick glance. Rayhan pointed out many things that i has not seen, and I have to agree with that. It is pretty far gone. No point trying to make out it isn't. I do NOT agree with Rayhan's "only collect the top stuff" way of collecting, but I do understand it. Top art collectors push for everyone to collect the best. Simple fact is that many of us will never have the money to collect anything TH or higher. No matter how much we save. But we are still entitled to collect at a level we enjoy. That doesn't mean top collectors have to lower their standards. I get it. I appreciate that for many, only the best is worth collectong. I don't agree with telling everyone that they must do the same. So yes...he is allowed his opinion and I understand it and respect it. But can't follow it myself. That's ok, I know the limits of my own items, and don't expect treasures. Why some get so upset at blunt honestly when it comes to evaluating poor stuff, I do not know. Just ignore it if you don't agree. By the same token, leave people to collect what they like. Advise them what they have, and the negatives...then let them do what they like. No point telling them they have trash and should throw it away. Both sides have a point. I draw the line at people getting personal though. But am distracted enough that I haven't done nearly enough moderation. Far too many collectors end up with heaps of project blade, rusted and poor quality that will never be restored. It's a bad habit and almost every time some amateur gets the job and wrecks it. Anyways, I'm trying to avoid the stress here. Guys...just chill a bit!! This is a place to relax, not jump on someone for their opinions. You gain nothing except stress. Advise people if you like. Then let them do what they want. Both sides equally at fault here, both with valid points. Can we just calm down a bit?

We can discuss the method of communication used to describe the blade It does not change the fact that this blade was made as a weapon and served for defensive and offensive purposes However, from an artistic point of view, the skill of the swordsmith is clear that we have here a blade of low quality If someone's goal is to collect blades of this level, it is perfectly fine if this collector is aware of what he is collecting However, if we have a newbie here, it would be fair to speak honestly. The blade has many technical shortcomings and I believe that everyone who asks questions is asking in order to learn And not to be praised and given unjustified optimism

Everyone: To keep it simple... There is the Higo Hirata school and then there is the Hirata Donin school. Higo Hirata (Hikozo and his line) = no cloissone Hirata Donin (and those after him) = extremely skilled goldwork and cloissone, Don't confuse the two.

I want an NMB mug

Dee, give it a break.

The dragon horimono style is called 珠追龍 - Tamaoi Ryū.

Rayhans point is that we have to stop giving people false hope when it comes to their swords.This piece is not worth investigating it is a poor quality junker that is beyond restoration

I have a few, but this is probably one of the better ones

Has anyone thought about the forging flaws in this blade , it is full of them. They seem to be kizu rather than rust pits. It is unsalvageable

@Eric187 These comments above make you feel good, I know. And everyone wants to be told they have bought something special. I will do the opposite and tell you that I hope what you paid was the very lowest possible price and not more, I mean if you got this for 200 USD or less then be happy with it but anything over that and I must ask why you didn't consult someone before purchasing this? Firstly the shape of the blade is Edo period but has been shortened (not good for the period) and is Mumei (also not good for the period). The suriage on this blade was not done well and from the pictures it looks like someone cleaned the tang? Could you tell us the Kasane at the thickest point along the Nakago please? There is Bohi that also looks Atobori and if you run your fingers (use a Kleenex or Fukusa cloth DO NOT USE YOUR BARE HANDS please) along the Bohi you will meet dips and divots and general lack of uniformity, can you check? the Bohi dips downward and that would be an indicator of being added much later and not executed well. The Horimono, In general from the Gassan example that is placed in this post you can see how excellent Horimono should be done (not the Gassan best, their best are better than this example even). Note that the majority of Horimono go on the Shinogi-Ji, this is the thickest part of a Nihonto Daito (or Wakizashi). Tanto do not follow this rule. This is done for structural integrity (in old Koto, Kamakura swords you will see mei carved in the Shinogi Ji area of the Nakago, not in the full Nakago like in the Edo period and much less extensively and with a lighter touch, this is a matter of structural integrity). In your swords case the Horimono is half way up the sword and in the Ji mostly. Horimono are placed towards the lower part of the Nagasa because that is also the thicker part of the sword. Then there is the mystical ball....If you practice Iai or Kendo or read about Nihonto you will know that the 15CM or 150MM from the Yokote down on the Ura and Omote are the striking area on an offensive and you would not put a magical mystical ball in the Ji here and introduce a point of structural weakness.... I have never seen it. But, I am waiting to be shown by the NMB experts who praised this sword. Still waiting for the terminology for that type of Horimono also. You mention your Kasane is 6.5 MM so then what is the thickness where the mystical ball is and how deep is the inside edge carved into that area? After being advised to have the sword polished, what will be the depth then? This is not a sword, it is a wall hanger and I hope that is what you paid for it. Sorry to be blunt.

I am also very interested in the actual positioning of the Horimono, its new to me. At first I though this must be Mino Kanenori but the Hamon isn't an exact fit and his Horimono could not compare to the mystical ball in this example.