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Hello, everyone, I would like to share one more fuchi-kashira depicting an eagle capturing a monkey, attributed to Risshū. I find the composition quite dynamic, especially the interaction between the eagle and the struggling monkey. One small detail that caught my attention is the treatment of the monkey’s head, where the hair seems to be rendered with irregular strokes, giving it a rather wild and lively appearance. I have also read that this motif has sometimes been interpreted as symbolizing authority or dominance, perhaps reflecting ideals associated with the warrior class, though I would be very interested to hear other views on the meaning of the scene. Any thoughts on the workmanship or comparable examples would be greatly appreciated. Liang

About a year ago I bought a bronze oil pot for an Edo period Japanese andon lamp. A fine-looking thing, but as is often the case, it had lost its lid. Rather slim in silhouette, it needed a small lid. Round and round the antiques fairs I went, rejecting most but buying occasionally, only to be disappointed once more by the lack of a proper material or age match. Months passed. One dealer who has several weathered antique lids on a string handed me a nice one yesterday that he had been saving for me. “Cut this down to the correct size, using an angle grinder.” “Tin snips?” I ventured. “Definitely not. Grind it down to size!” Gulp. Never really been happy working metals. A delicate thing with definite age. What if I ruin the old lid? Still, lonely hearts club, etc., so a potential new life for the pot I reckoned, and got to work shrinking the thing. Hand files and sanding papers though. Getting close to the right size? About 6.7 cm across… Hmmm… .

Hi @Ben A Harris, @vajo, @John C and @Bruce Pennington I have relocated this thread to the NIHONTO section. Ben, I did this because it seems that your blade is not machine made. It appears older, and maybe interesting. Sometimes older blades were put into WW2 fittings to be carried during the war. Now that we're in this section, you will be asked to provide more detailed photos (if willing). You will want to remove all the fittings, including habaki, and focus on the blade. Use my photo below for some guidance. Please understand that it's very challenging to get blade details photographed, so it will not be an easy task. I recommend looking around the forum, and getting an idea of what some good photos look like. Looking forward to seeing more of your sword, if you choose to share with us. All the best, -Sam

Thanks Bruce and everyone who contributed knowledge to help me learn about this blade.🙏🏻 Nothing but respect.

Pretty much as stated in the description "Gunto Hokoku No.45 Takeuchi No.2". (Hōkoku is a patriotic phrase: duty to country/patriotism). I can't find any other reference to this label anywhere else on the net, so it raises a little yellow flag in my mind. It sure looks properly aged though. But, is it a sticker? Is it embossed on the leather? Is it a one-off item, or did this "Takeuchi" company make any more of these kinds of saya? If so, why can't we find other examples? And I actually think its "No. 415" (not 45, as stated on ebay), but I don't know what the significance of that is.

I see that this same sword was posted here in 2018 (and the same photos of the nakago, rotated).

Appears to be a gimei of Yasutsuna with a Tenryaku (天暦) 2 date - a day in the 8th month of the year 948. Best regards, Ray

A SUNNOBI TANTO is basically up to a SUN (30,3 mm) longer than a TANTO (303 mm). In former times, measurements were probably less precise in Japan (as in the West), so there might have been variations and different interpretations.

平安城住下坂 Heian Jo Jū Shimosaka “Made by a Shimosaka smith living in the Kyoto area” The Shimosaka were well-known makers of Yari.

Getting there. I'm about a week or two from finishing a suzuribako tansu. Started with just the door with all the ornate metal work, locking mechanism, hinges, etc. Long process due to making all of the supporting hardware from scratch (sheet copper), unfortunately without a full workshop, and trying to mimic the grain and color of the wood. I'll post pics when finished. John C.

Nor me, too damned hard! Looks like a perfect job to me Piers. Patience pays🙂

Please see below.

Yes Piers, unusual indeed! YAKITE technique is exclusively applicable to iron TSUBA as far as I know.

Spotted on eBay this morning. https://ebay.us/m/6KRoOF

Better blade pics are needed.

Reading this story reminded me of an anecdote shared by Ted Tenold many years ago on this very board: I remember a story relayed to me about a Japanese swordsmith that was a visiting guest here in the US. He has made a few small tanto while here and was signing them the morning after a long night of libation. As he was inscribing the mei, he made an abrupt stop from his pace. He grunted and shook his head obviously annoyed by his misplaced strike of a single stroke. Looking up at the observers he laughed lightly and said, "In two hundred years, this is gimei!", then went back about his business. https://www.militaria.co.za/nmb/topic/4357-signature-comparisons/#findComment-38825 Useful reminders that for all their artistry and consistency, the great artisans of old were still human and subject to the same pressures as us; a slip of the hand, a bit too much sake the night before, the infirmity of age and sickness.

VERY GOOD POST BY COLIN> This is my favorite _half gimei_ Purchased in 2007. Now Tokubetsu Hozon NBTHK. Signed on the front by shodai Norisuke. Signed on the back by nidai Norisuke with his early signature "Norishige". It bounced around Europe for many years as a gimei. I bought it and studied it. Over time and with Tanobe-san help, I came to feel that the 'gimei' mistakes on the front were consistent with the nidai's handwriting. This design was known to be one of the last ones done by the shodai. There is a dated one on record. As the shodai lay ill and dying one winter, it seems the nidai finished the work and partially forged his adoptive dad's signature. Thus, it passed shinsa as a daisaku finished by the nidai. If we didn't have extensive records of the shodai and nidai, this one would have been declared "GIMEI' by the public at large. Judges things by the workmanship. Some people collect signatures, but sometimes you just have to appreciate a finely made piece and ignore the signature. I too like the kozuka of Kansan sweeping. Some of the gold inlay, [on his leggings] is the work of someone very skilled. Nice kozuka. Workmanship is good. --You get sick of it, I will trade you something for it.

I purchased the home of a gentleman that once served in WWII. As we began to update and restore the attic we found a compartment (well made area tucked away in the floorboards) with two katana swords and one bayonet rifle. Based on the information that I have read I believe that perhaps these swords are from someone in Japan. I would like to know if they are real. I would also like to know the value if any. I currently reside in the Philadelphia area and I tried to find someone local to help me with this but I am having no such luck. Can you please advise me as to what steps I can take to find out some history regarding these katanas. Below are some pictures regarding my findings.

Found this blade in a grandparents belongings that has passed and trying to figure out what it is, Any info greatly appreciated

I believe the mei is Yamashiro (no) Suke Moritake (山城介盛武), and the date is 慶應三年八月日 (a day in the 8th month of 1857 - Keiō 3). Best regards, Ray

Hi Harvey, if you orient your NAKAGO (= tang) photos vertically (tip-upwards), the signature could be read easily. It looks like CHIKAMURA indeed. Have you looked up CHIKAMURA online? He was a swordsmith in the 12th century so not very likely to appear on the open market now. The tang of the blade has wrong shape, the KOGATANA knife-blade is wrong, the SAYA seems to have been altered. The silk wrapping of the handle is made in a wrong technique. What about the MACHI (= notches on the blade just above the NAKAGO)? Are they on the same level or is there a differnce? Better photos could tell if this might be an older damaged blade transformed to a WAKIZASHI.

Here is a bullet hole, in a narigawa kabuto

Just wondering if the Kanji correlates to the English Text which I understand.

As someone fairly new to studying tosogu, I sometimes find it a bit hard to understand why certain pieces in museum collections or catalogues are considered masterpieces. At first glance they don’t always look more elaborate or technically refined than other examples. I guess with more study and comparison the reasons become clearer, but for beginners like me it can still be a little confusing. So discussions like this are actually very helpful.

Thank you for sharing the article — the tsuba and the interpretations are very interesting. On a fuchi-kashira the scene is extremely small, and without strong magnification it is almost impossible to see so many details. I was quite surprised by the momentary expressions of both the eagle and the monkey, and by the sense of tension the artist managed to create in such a tiny space. Liang

Looks great. Having a full workshop here with lathe and knife belt grinder etc, I'd make short work of that. But you did awesome and it looks great.

長運斎是一? Chōunsai Korekazu perhaps. Often the names on such Kozuka (small side knife for a katana, etc.) were not signatures per se, but attributions in respect to or honoring a famous smith. PS There’s a great movie from 2004 “Hidden Blade, Oni’s Claw”, where one of these Kozuka plays a key role.

Nice pieces… Markus Sesko has an excellent article on this topic: https://markussesko.com/2014/02/02/tsuba-with-the-bird-of-prey-catching-a-monkey-motif/ It’s really interesting to see how the motif has not only been depicted slightly differently, but also can interpreted differently.

A dreadful fake Yasutoku purporting to be made for Yamashita: https://auctions.yahoo.co.jp/jp/auction/m1223043675

Wow, thanks Sam! Extraordinary. @SteveM @BANGBANGSAN Interesting to see the leather band on the haikan, too.

I agree. The nakago appears to be something older than WWII.

@Scogg Sam: I have a couple more projects that should be finished in two weeks or so - another shirasaya for a fukuro yari and a suzuribako tansu. I was wondering if we could have a dedicated forum (or pinned combined thread somewhere) for member-made sword related items. I know there must be at least a dozen or so separate threads for shirasaya, armor, tsuba, etc. If you think it worth the effort, maybe you could run the idea up the chain-of-command for me? John C.

Everything is possible However, I still see a relatively simple carving style that is characteristic of many works from the Nara school. A good example, Liang! I have books by this author; this kozuka is very similar in carving technique and execution - a good school work. Everything is understood through comparison; when looking at these works, there are fewer questions… https://collections.vam.ac.uk/item/O465406/tsuba-sugiura-issando-nagaharu/

While looking through another reference, I came across a kozuka with a very similar Kanzan and Jittoku composition in a Russian publication on Japanese sword fittings. The treatment there appears somewhat simpler, but the overall arrangement of the figures is quite close. I thought it might be interesting to share it here for comparison.

Wow, that's bad. REALLY badly signed by someone who doesn't know Japanese. As mentioned, the shape is a write off and the whole tang looks to have been modified to deceive....even the extra mekugi ana in weird places. This is one to stay far away from. Is this from an online dealer? I'm guessing it's this one? https://aukro.cz/japonsko-rarita-originalni-rucne-kovana-katana-znacena-mistr-kunisuke-7113242336 Ugh...no. I think it may have been a genuine sword, but has been messed with so much that the value is minimal now.

Regarding the comments about the inlay appearing rough and the ornament not being perfectly symmetrical, I wonder if this might relate to the carving approach used in some works attributed to Sugiura Jōi (Ichisandō Jōi). In the nikuaibori manner the figure is first established through carving and the inlay applied afterwards, so the edges of the inlay do not always completely disappear into the ground. As for the robe ornament, although the scrolling pattern is not strictly symmetrical, I noticed a very similar treatment in published examples of Jōi’s work. I am attaching a reference image from Fukushi Shigeo’s Machibori Meihin Shūsei (町彫名品聚成), where the illustrated piece is considered a representative work by Jōi and is designated an Important Art Object. Just to clarify, I’m not trying to defend my own piece — I’m mainly interested in discussing the technique itself. Liang

Dear SR. (Can we have a name to address you by please?) The seller may be uninformed or something worse. This was never near the hand of Kawachi no Kami Kunisuke. It seems to be the result of a crude attempt to forge the signature. Genuine signatures are neat and precise for this smith. If the blade were ever a Japanese sword it is now ruined beyond redemption. The shinogi line is gone, the kissaki might have been broken and reshaped but there is nothing here to study or learn from. Don't buiy it, save your money and your sanity. More detail available if you would like. All the best.

@Volker62 2 more blades with the same nickname. Bizen Osafune Katsumitsu Asa-arashi Owned by Matsushita Masatoshi Auspicious day in the 8th month, Eishō 1 (1504) Asa-arashi Ōwaki-ke futatsu-dō kiri-otoshi (cutting through two torsos at the underarm) Owned by Maejima Hachirō Signed Tomotsugu (kaō)

朝嵐 - Asaarashi, not Asaraashi

Thank you Glen @GRC ! Happy to attach the other indexes here too. Volume1_Index.pdf Volume2_Index.pdf Volume3_Index.pdf

A number of additional books have been added today. Please see below and message with any inquiries. https://swordsofjapan.com/product-category/books/ Best regards, Ray

A list of books has been added to my website below and will continue to updated in the coming days. Please email me directly with any inquiries and to confirm the exact amount with shipping. https://swordsofjapan.com/product-category/books/ Best regards, Ray

Thank you David, I have copies of the 5th, 11th and 12th Exhibitions. Best regards, Ray

intersting info Derek.Here is another one comming up at auctionet Hamburg. Regards Andrew https://auctionet.com/sv/4854523-beskyddare-av-den-japanska-buddhismen-fudo-myoo-tidigt-1900-tal-jh

Strange, I thought I replied to all this translation help yesterday, but it didn't go out. Yes, this information was very helpful and beyond my translation abilities. I was confused by the term "Mon chirashi zu tsuba" but now realize it is as it looks, a scattered, random pattern applied by what I heard is a "drip zogan" method, which is how it looks. Replying to Piers D, I'm in St. Louis, Missouri USA. Been into swords and fittings for sixty years and still learning something new, like here. Ron STL

The top one says 紋散図　Mon san zu, which is Mon scattered design Where you have written tsume + ji, should be 槌目 tsuchime (no ji till further down) 焼き手地　is a kind of (unusual?) ground called yakite, I guess, so 'yakite-ji' (?) Oh and 変り形 is kawari-gata (unusual shape)

Where to start? Two birds with one stone, perhaps? 四方 shiho indicates in four directions. 牡丹 Botan is peony (usually flowers) 雁金 karigane is a strange convention to express wild geese.

For what it's worth, in my opinion, I don't see any reason to regard this tsuba as cast. And while it may not be a masterpiece it seems to me to be a perfectly competent piece of work that additionally exhibits a number of crisp details that make it clear to my professional eyes that this is not a cast copy.

Following the lengthy, and sometimes passionate, discussion and debate around Paul Martin's latest translation project; "Facts and Fundamentals of Japanese Swords" it was generally agreed, certain controversial opinions not withstanding, the book is a valuable addition to the resources available in English. It also seems that the consensus of more experienced members is that it's not suitable for beginners. However, I'm left with the feeling we've not really provided a satisfactory alternative. What books would best serve the needs of beginners and what specific material and information in these books best lays down a good grounding for the new student of Nihonto? I would also ask that if you recommend a particular book it would be most helpful if you could additionally provide your reasoning and perhaps even some indication of what the book provides. At this point I must add that in no way do I consider myself anything more than vaguely conversant with blades as such and that my motivation in asking these questions is merely to try to establish some sort of agreed curriculum for the newcomer in this field. thanks for reading and for your considerations, ford