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Being a diagnosed dyslexic myself, makes this stuff pretty challenging. Even keeping word order and spelling straight in English can be rough. I usually reread my posts 5-10 times before I finally catch mistakes that other people notice almost immediately. Sometimes I don't even see those mistakes until I leave and come back with a fresh perspective. It gets even harder when kanji are involved, especially counting strokes. A lot of that comes from just not being familiar with another language, but it still takes a fair amount of effort. I've done it before, but I don’t really like using dyslexia as an excuse, because it’s just part of my everyday life. It’s very common, and most people who have it don’t even know, and those who do, often don't lean on it like an ailment. I literally don't even know what it's like to NOT have dyslexia . As I understand it, there's varying levels severity with dyslexia, so I must have the more common mild version... So it may be the cause for mistakes in spelling here and there, but it's typically no biggie. It makes me a slower and more careful learner, and I think that's a good thing. I even read slowly, which is how I was flagged to then be diagnosed while I was in school. I still have to google MENUKI and MEKUGI half the time, so I don't mix them up -Sam

Interesting discussion. There are at least three (four?) systems of transliterating Japanese to English, some from the 19th century. I used to agonise over this in my early days of collecting, but no more. My view is that we should be as good as we can by example individually and be gentle and encouraging with other folk as Jean has done, without being didactic in the matter. The Hepburn system is the preferred method, but these days I reckon we should roll with the punches instead of being overly precious about it. The way to have the stuffing knocked out of you is to study Japanese intensively for a few years... BaZZa.

LB142 straight guard Type 30 bayonet with bright blade,豐田自動織機（Toyoda Automatic Loom Works)made， under Nagoya arsenal‘s (名古屋陸軍造兵廠）supervision .Ser# on the bottom of the pommel should start with Hiragana ろに,which means 100th Series.

No. Atobori was a historically common and context-dependent practice from the Edo period onward. To recap.. Atobori (後彫り) refers to carving in a blade separate from the original design for the blade at its time of manufacture. That is to say after the sword was originally forged and finished, rather than as part of the smith’s initial “conception”. While often viewed critically by modern collectors, atobori was quite common practice from the Edo period onward. The prolonged absence of large-scale warfare in the Edo period reduced the practical emphasis on armor-piercing and battlefield durability, while factors such as balance, handling, and visual refinement gained relative importance. Within this context, atobori bo-hi were sometimes added to existing blades to alter weight distribution, improve handling characteristics, or adapt older swords to contemporary preferences. Atobori was also influenced by aesthetic fashion. Certain periods favored the presence of hi as a visual element, particularly on otherwise plain blades. Adding a groove could visually sharpen the sugata, emphasize curvature, or lend an older sword a more “classical” appearance in keeping with prevailing taste. When carried out by skilled hands, such work could be executed in orthodox styles, including nagashi terminations, making the best atobori difficult to distinguish from original carving. In the Meiji period, motivations shifted further. The abolition of sword-wearing and the collapse of the traditional samurai market led to the modification of many older blades to enhance their visual appeal to collectors, tourists, or foreign buyers. Atobori bo-hi from this period were often added to make a blade appear more dynamic or refined, sometimes with little regard for historical coherence, though the quality of execution varied widely. In the early 20th century, atobori continued for mixed reasons. Some blades were modified for martial arts use, where balance and handling were prioritized, while others were altered during remounting or refurbishment. As before, the workmanship ranged from careful and traditional to purely cosmetic. Importantly, atobori does not automatically imply deception / fake / gimei or poor quality. Many atobori hi were executed competently and reflect legitimate historical practices. However, because the carving was not part of the blade’s original forging concept, any but the best often reveal subtle inconsistencies in proportion, termination logic, or stylistic harmony when compared to original work. For this reason, experienced observers tend to assess atobori not by a single technical fault, but by the cumulative weight of visual, stylistic, and historical considerations.

Smartphone in hand it feels akasaka senjuin mino. Datewise late Nambokucho or beginning of Muromachi. Mune does not match, but everything else looks good for it....

Ian, concerning the hi, it is a gut feeling. I have seen a lot of hi and this one makes me feel uneasy, it takes time to carve futasuji hi, (there are seen mainly on koto blades, Nambokucho, short ones in the first part of Muromachi). Why carve futasuji hi on a low quality tired blade. BTW, all these info can be found in Nihonto books, buy the Nakayama Kokan, the Connoisseur book of Japanese sword. You will learn from it. have look on the futasuji hi of this Tametsugu blade:

The blade is proposing to be by Chikuzen Daijo Taikei Naotane and dated Tenpo 8. This is a very famous late Edo period swordsmith and there are many gimei (fake inscriptions) purporting to be his work. Compare with authenticated examples.

A friend is going to look at this blade tomorrow. Sorry these are only pictures from the seller. Sounds like maybe not in great shape and rest of the mountings are missing. Wondering if from the markings anyone can give me any more info on the blade - when it was made perhaps?

Uwe, how did you get that!?!?

Hi Friends sorry for the delay. Past days i have a trouble uploading images. The color is more realistic in that pictures. Thanks for the info! In Spain the tradicional day for the Christmas presents is on 6th of january, i still have some time. Gemini (better app providing images análisis rather than chat gpt ) sais its late edo too and the fruit is kachi guri, representing dry chessnut joined that simbolice like rokujuro said Fortune and prosperity.

正阿弥 Shōami on the right?

Museum displays sometimes need a little tweaking here and there. This is a high zunari. The kabuto pole section is usually adjustable, and in this case maybe could be lowered a notch, or they have inserted too much stuffing in support of the ukebari. (Possibly they've lifted the kabuto higher to give visitors a better view of the menpo.)

興亜一心と 満鐵作之　Kōa Isshin Mantetsu kore wo tsukuru. 昭和庚辰春?　1940 probably Spring?

@Hudson Pat, well the mounts look to be shingunto. Pics of nakago not too clear. left one is date: 昭和康辰春　Showa kou tatsu haru Showa year of dragon spring (1940). right one is the smith . Last two kanji are 作之　"saku kore" made this. I will look further into his name. 　 Edits now added. I added an example. Well made swords, initially made in Manchuria, under Japanese supervision then later in Japan. See the newer email by Kiipu

You've done a fine job there, Jay. Really something to be proud of, restoring a piece of history like that. Small-bore Sakai guns from the mid-Tokugawa period onwards tend to be flashy, highly decorated for the rich merchants who would buy them, but yours is more understated, which may be because it is an older version.(?) According to Sawada Taira in his book Nihon no Furuju (and he is a proud resident of Osaka), guns of up to 3 Mon-me were sporting guns for hunting small game, or for target practice. Military guns only start from 3.5 Monme (bore of 13.2 mm) and above, most often around 5 (14.95mm) or 6 Monme (15.78mm). When you talk about the wider diameter of the front of the barrel, do you mean the exterior diameter, or the bore? If the exterior, then I suppose a bulge at the end could stop your hand from slipping off the end of the barrel when loading in cold or wet weather. (Last year I came into possession of a long Sakai gun like yours, and then more recently a shorter, heavier 5 Mon-me military version with larger bore.) For reference:

Thanks Piers, From reading that page you have provided, I see that it is rare for the front of the barrel to have a wider diameter that the rest of the bore. I assume for easier loading. My example has that characteristic too. I have provided the assembled photo of my gun. From what you have seen, is it possible to tell if it could have been a military gun or for a private individual such as a sporting gun? Thanks, Jay

I have discussed it a bit in the Guide, but generally if you see one of those with say Kaga Muromachi blade, they are reliable and the blade itself is often good grade because those were not dished out in huge quantities. If you see it with very top name, the modern judgement was obtained and was 1-2 grades lower. Blue papers are never crazy, they can be optimistic... or the modern team could be pessimistic, or even plain wrong.

Higo or Nanban? Pretty thick. 75 X 68 X 7.

荘司筑前大掾大慶藤直胤 = Shōji Chikuzen Daijō Taikei Fuji Naotane 天保八年仲秋 = mid-autumn of Tenpō 8 (1837 CE)

Modern generation...instant gratification and everything handed on a plate. You get used to it. Many of the people are innocent though...some sign up and forget their details to come back and say thanks. Some just assume it's implied. I try give them the benefit of the doubt. But yeah...it's common everywhere online nowadays.

Hey guys....I notice this a lot. Newbies with one or two posts, publish something with questions....they get a whole lot of opinion and discussion (mostly correct) but there is a distinct absence of acknowledgement let alone comment by the OP ???? Is it just me?

“Museum quality” means absolutely nothing. Knowledge determines the understanding of quality, not what some museum displays show us…..stuff they were left eons ago that they neither understand nor try to understand. Of course, there are some specialist exceptions but mostly I have little time for museums. Fine quality things are safest in collectors hands.

I recently bought this sword from a guy who's uncle brought it back after the war. It has a lovely active hamon and the nakago is profusely marked, with two holes, but I haven't had much luck with reading it. I really appreciate the quality of these traditional Japanese blades, but am very new to determining age, school, province, or reading the mei. Any help will be greatly appreciated.

Good evening I know it s common knowledge that the green papers ( Tokubetsu kicho ) have pretty much zero value now but where the blue papers ( Koshu Tokubetsu Kicho ) affected as well ? Havent really come across these and I know they are uncommon

We have contact.

Lewis, This style of shikoro is called a manju or o-manju, which was mainly used in the late Muromachi/early Momoyama (although of course, there are Edo examples too). It was in the Momoyama that the hineno jikoro came into being, with the shikoro having a more downward slant and the last lame being shaped to the shoulders, which ostensibly offered better protection. I also agree that Pier's observation is another partial explanation - the kabuto probably sits a bit higher than normal. This armour is a very well-known and often published example - it's a high level armour (as is evidenced by its being on display at the TNM).

Old thread with blade you guessing being one of Emura’s with similar marks. So it’s not one time trait. (bo-hi and marks come together) @Rei Sinn If you will come by this check my example.

Yes and yes. You bought the first lot? It’ll be interesting to see what you discover once they’re in your hands. The ‘netsuke’ resembles those made in Hong Kong around the turn of the previous century, perhaps 1900-1920…(?)

It is 昭和庚辰春 1940 Spring. This Mantetsu was made in the year of the Dragon.

I don’t think this armor fits in the category “form over function”! A certain gap between the shikoro and upper the edge of the sode is almost unavoidable. In this case, the uppermost plate of the sode (kanmuri no ita) is executed as ori-kanmuri no ita (angled). That should add some additional protection. We also have to keep in mind that the neck of the wearer was often covered by an armored collar (eri-mawashi). Lovley gusoku, BTW!

Thank you both for this information. im saving the link to the sword index for my future reference. Very useful.

I think the kissaki must have been worked to it's current form long time ago, and the polisher now probably just maintained it's form. Identifying the small details is always difficult to me but I think the two red arrows in your second post could be uchinoke (https://markussesko.com/2015/05/29/kantei-3-hamon-boshi-1/) I am liking Rohans and Kirills opinion about Yamato vibe.

Namboko-cho, Soshu? I'd also agree o-suriage (having lost the original sori).

Maybe Lewis is referring to the yawning gap that appears to exist below the shikoro to the back and sides where tare and nodawa offer no extra protection? Lewis …..anything else you can tell us? Location, age etc? Looks in near perfect condition

Sorry, I've been kind of guilty of this recently. I posted about an old sword magazine I found and also asked advice on a wakizashi which I ended up buying. Unfortunately, I haven't posted updates or photos of either yet because the end of year vacation has seen me on the move between various friends and relatives. As soon as I'm back home, I'll update those two threads with pictures.

Tks Rohan...understand what yr saying.... sadly, more often these days it appears manners are a thing of the past.

Thanks, Rob. The swords & museum are in Bairnsdale so getting them out might be hard. I would like to discuss, and maybe I could chat and show you a video (WhatsApp?) at the museum. My number is *redacted*. Thanks again, George

Hello G, Firstly, it's nice that you have made the effort to try and conserve these swords. The advice given so far is pretty solid but if you wish to discuss further, I'm on the Sth Coast NSW and would be happy to give you my mob number if you care to PM me. I'm also heading through country Vic next weekend for a couple of weeks with family (Geelong area) and if you were close to my route, if at all possible, I would love to visit and help out first hand. Rob

I know that this may not seem like a satisfactory response… but they just look “wrong” for that sword in a couple of ways. Firstly the bohi terminates midblade before the monouchi with a nagashi (tapering away) style. Unusual, and often an indication of atobori in and of itself. What does not indicate atobori is the nagashi style termination at the machi, this is / would be normal. However, on the ura side I find my eye to be anxiously checking alignment of the carving of the futatsuji-hi, which appears ever so slightly misaligned. With strong futasuji-hi, the eye will relax and everything will feel right to the trained observer. The spacing here however feels functionally parallel but aesthetically unresolved (seems to be some slight divergence). Meanwhile, a sword of this style is seldom seen with this kind of carving, that is to say, a utilitarian sword from the muromachi period, which this seems to be, basically does not originally have soe-hi. I don’t want to come across as elitist but the “eye training” one gets from looking at hundreds / thousands of “correct examples” over decades solidifies an aesthetic expectation which is very difficult to describe but this sword falls short of. Call it a gut feeling if you will, but I’m far from an expert.

Sorry but pictures are really bad, Nothing can really be said on the hada, same for hamon. I dislike the Hi, they are not as the ones used in this period. From my friend’s book (Markus Sesko) Japanese sword smiths, there is no smith with this kanji (tsune) in Muromachi period. Usually, in post Oei period, smiths used nagamei. Exception are scarce and often the swords were dated.

dont listen to him, DONT strip that apart. the tsuka is deformed and the wood liner is most likey damaged. meaning re-assemble maybe troublesome, you dont need to see the nakago its a machine made blade. you dont need to run the risk of devaluing it evan more. the photos are good enough for this type of sword. i have sold plenty of type 95s on the NMB including the copper handles. you can see everything needed to sell

Tengen Chiben (1737-1805), whose art name was Gako (meaning "Goose Lake"), was a second generation Rinzai monk in the Hakuin Ekaku tradition. He lived and taught at temples like Onsenji and Nanzenji, leaving behind influential ink paintings and calligraphy that showcased his deep understanding of Zen Buddhism. He was known for his expressive figural paintings, especially of Zen eccentrics like Kanzan (Chinese Hanshan 寒山), "Cold Mountain") and Jittoku, following the tradition of Hakuin's lineage. However, this painting and accompanying inscription of one of Hanshan's most famous poetic quatrains (#5) shows his lively and individualistic brushwork. The dark outline of their bodies, eyes, and handle of broom stands out from the gray-wash of their clothes, serves as a compositional device to emphasize attention on the moon above. Interestingly, Gako substitutes the less formal Wǒ (我) for the first character Wú (吾) in Hanshan's poem, both of which have the same meaning. The verses connect the moon's perfect, untainted reflection to the enlightened mind (Buddha-mind or kensho), representing clarity, emptiness (mu), and the universe: 吾心似秋月 (Wú xīn sì qiū yuè) - My mind is like the autumn moon, 碧潭清皎潔 (Bì tán qīng jiǎo jié) - clear and bright in a pool of jade, 無物堪比倫 (Wú wù kān bǐ lún) - nothing can compare, 教我如何説 (Jiào wǒ rú hé shuō) - what more can I say1 This specific piece was purchased in auction for a mere fraction of its real value, perhaps unrecognized as the very example from a private collection that was published in Stephen Addiss' seminal book.2 1The Collected Songs of Cold Mountain. Translated by Red Pine; publisher Copper Canyon Press, Washington (2000), pg. 39 2The Art of Zen: paintings and calligraphy by Japanese monks 1600-1925. Stephen Addiss; publisher Harry N. Abrams, Inc., New York (1989)

Jason, I believe this is representing a waterfall, with the vegetation and insect in the foreground. If you notice the top edge of the grooves have a slight curvature, like the water at the top of a waterfall as it passes over the ledge. The bottom has no such curves. Also, I think this is wet-location vegetation such as may grow in the mist of a waterfall.

My good friends, I know that we have been through some major conflicts on some other of my threads on this forum (oh let’s think, like my "Tsuba casting molds?" thread!). But when the end is in sight (come on God give me at least 10 to 15 years!), everything doesn’t matter anymore. Maybe a little too much philosophy! Oh well! This is a great forum. And I will continue to put forward my thoughts on subjects, no matter what kind of backlash I get. Hey, that is just me! Starting tomorrow, I will start taking digital pictures of my collection to start cataloging them! Onward and with respect!

I like frogs... But yes, often what is seen in museums includes the donated "trashy" pieces of a century ago. Most good pieces in museums derive from big, important (&knowledgeable) collectors of Japanese art in the early 1900s and there were not too many. Hamburg Museum has some great ones, as well as Oxford collection. Other museums too of course. But then there were also other collectors which focused on other Japanese or Asian works, but for the sake of completeness also had some Tosogu - these are often questionable items.

https://www.jauce.com/auction/m1143410685 nice looking pair.

Shachi reminds my allways on the big read dragonhead fish.

A fuchi in that subject

A cast copy of the Victoria & Albert Museum piece Posted July 23, 2022 [Bottom of page 3] found on ebay https://www.ebay.com.au/itm/334888119734 described as Kinai - not even close! PS. the $105 AU postage for such a small object added to the purchase price of $176 AU [which is with a $30 USD discount] seems a trifle expensive for an obviously cast piece, to me.

Another obviously cast example from the same mould/mold [isn't English/American spelling confusing!] as Glen's posted June 2nd - a few less dents in the rim. https://www.ebay.com.au/itm/155640907444