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Sorry to reopen such an old thread more than 13 years after the oldest post but I wanted to share this kozuka I recently purchased. It is signed Aki Masa [Haynes 00041.0].

Because it’s an award, it’s recognition, who doesn’t want recognition of their work? Samuel Colt is considered a pioneer for his work in bringing the revolver firearm mass assembly into reality. That all on its own was a great accomplishment, but do you think he turned down the Silver Telford Medal? Of course not, why would anyone turn down an award. But that award gave him no more standing or value than he would have had without it. Awards are awards……..perhaps more valuable to romantics of history than the actual recipients.

Changing the subject just for a moment, but loving the thoughts of woodworkers above! Last night I was watching a programme about restoring some of the walls and ceilings of a gorgeously appointed Bunkazai temple residence somewhere in Japan. (Missed the beginning so not sure where exactly it was.) Imagine large connected tatami rooms in Nijo Jo with colourful Kano-painted fusuma and wall panels, golden, with black-lacquered beams and gold fittings everywhere. That kind of place. One problem which the priest pointed out was a long vertical split in the samite gold cloth trimming down the right side of a sliding panel. They introduced the young artisan expert, wearing a backpack of tools, who assured us he would repair it in the traditional way as he had learned from his father and grandfather before him. The guy spread out a small plastic sheet on the tatami and placed upon it his minimal tool set. He opened a small Tupperware tub and showed us the glistening 'nori' rice-paste glue, the same as traditionally used by schoolchildren. "Repairs may have to be conducted again in the same place in the future" he explained, "so nothing permanent". "In fact," he added, pulling away some yellowed paper residue from out of the crack with his tweezers, "you can see how someone has done this before." He painted the Nori glue onto both sides of a hand-sized sheet of plastic, and slipped it under the edge of the gold cloth fabric, pressing it down with some brown paper as he withdrew his slide. Half an hour of repeating this process, and he declared himself finished. Could we see the line of the 'repair', well, yes, even as the camera crew said "no". Next we moved to a high-ceilinged corridor where one square-framed ceiling panel had a similar fabric split across the painting of flowers. He climbed an A-frame stepladder and used the same process over another half an hour. The after photo still showed a hairline crack and some discolouration where the Nori had seeped through(?) but at least the material was flat, stuck back in place. Educational? Yes, for me it was.

Hello all, I recently acquired a Gassan wakizashi (Hozon - Gassan) and would like to learn more about it. I would greatly appreciate your insight into identifying the period and any additional details you may notice. Thank you, and my apologies in advance for the photos.

Jared, I’m sorry the information provided about titles didn’t meet your expectations. We are all here because we care about Nihonto. What’s historically important to the broader study of Nihonto isn’t always the same as what’s culturally or artistically worth preserving and respecting. All of it matters to most of us, and we feel strongly about it. With any fine art, there’s a spectrum of importance. The Mona Lisa’s significance doesn’t negate the value of a family heirloom or an older painting with more personal meaning. -Sam

Yes indeed Mauro. In fact it is my third kozuka with the same topic! ( from Internet: Lovely scene of the warrior Kojima Takanori kneeling beneath a cherry tree, having just written a poem on a tree's trunk. Takanori was a loyal supporter of the exiled Emperor Go-Daigo, and attempted to rescue him while he was being transported to a remote location. The samurai was able to sneak into the camp, but could not reach the emperor, so according to legend, he carved a poem of encouragement in Chinese for the emperor on a cherry tree. In the morning, the guards found the poem but could not read Chinese, but the emperor could, and was heartened by the message. A shower of delicate petals falls down over him in the cool evening breeze, and a full moon glows softly overheard.)

Hello, After discussing with experienced friends in the business, generating credible and professional .pdf brochure is basically equipping scam sellers with nuclear-grade fraud material. My north star is to create a more trustworthy and reliable market for the field. So, can't have that, at least not in its current form. Shortest lived feature on NW, it will be accessible in a gated form at some point in the future. Cheers, Hoshi

Indeed, it's a mass-produced souvenir: https://ebay.us/m/1HJRYB https://spicersauctioneers.com/catalogue/lot/3854b156aa2e7af44cf82585fc6f87b3/2a6fa85538c56e3991b429b74f737ad8/antique-and-fine-art-lot-294/ In these cases I usually suggest a comparison with a genuine example, but I don't recall ever seeing an antique version of this model. Anyway, this is what genuine birds in wood might look like: https://www.metmuseum.org/art/collection/search/59041

Musubi Karigane (結び雁金) is a traditional Japanese family crest (kamon) featuring a stylized wild goose whose wings are knotted or looped into a circle. It symbolizes "a bird that carries good luck and good news" and is closely associated with SAMURAI families, most notably the SANADA clan. It represents loyalty and is a variation of the Karigane (wild goose) motif. Key details about Musubi Karigane: Design & symbolism: It features a kari (wild goose), a migratory bird often linked to autumn. The bird is designed with its face facing left and its wings deformed/knotted into a circle. Samurai Crest: This crest was used by the Shinano-Sanada clan, as well as families like the Umino and Inoue. It was frequently used for armor, sword mountings (TSUBA), and other samurai gear. Variations: Often stylized as Shiri-awase Mitsu-musubi Karigane, where three knotted geese are arranged in a circle. Modern Usage: It is still recognized as a classic design in Japanese traditional arts, sometimes used on clothing or items related to Japanese history. Taken from the internet

Wish you luck in getting it back. Stuff like this is a niche market and very identifiable, so hoping someone spots it. Don't want more stickies right now, but maybe will look at adding a separate page just for stolen items, let me see what I can do.

The title is a nice thing to have. If you are from a lineage that has traditionally used the title, it is very important for you (and your succeeding generations) to continue to maintain and use this brand. It adds an aura of prestige. It is a kind of marketing tool. But it doesn't open any doors into the aristocracy. The smith just wants it because, in a way, it validates his position as a master swordsmith (even though the "validation" aspect was continually devalued by the bakufu selling these titles). Sukehiro's mentor did not have a title, so maybe Sukehiro or some patron felt Sukehiro's skill had surpassed that of his mentor, and was worthy of a title. Whether or not he can charge more for his swords after receiving the title is just speculation on my part. If you are a swordsmith from a province with dwindling need for swords, you probably don't have much leverage to raise your prices, even with a fancy title. If you are a swordsmith from a province that has great demand for swords, maybe you can use the title to justify raising your prices above those of your non-"accredited" peers. As others have noted, Suketaka was genuinely a master of his craft, as you can see from his several Jūyō-rated blades. So in his case, the title was well-deserved. The date on this sword is interesting because it comes from the period just prior to receiving the title, but that's about all we can say. If there are any flaws or blemishes on the sword, it greatly devalues the sword regardless of the date (and/or any title that might be on the blade). I don't think there is anything else missing. I mean, Fujishiro's swordsmith index notes that Suketaka received the title "Kami" on Dec. 19th, Kansei 10 (1798). There may also be some primary source documents in the Imperial Archives, etc... which also note the date on which he received his title. It really is just a title, something like Esquire. I doubt that Suketaka would have considered himself to be a revolutionary swordsmith. His lineage goes back to the Bingo Mihara smiths (spiritually, not by direct bloodline). He was able to consistently replicate the dynamic toranba style of temper pattern that Tsuda Sukehiro was well-known for in the mid-1600s. This toranba style of hamon was also admired and replicated by Suishinshi Masahide, so somehow the timing of these two smiths, Masahide and Suketaka, converged, and due to their admiration of, and ability to consistently forge, blades with toranba, the sword world considers them as part of a new era. But I don't think Suketaka would have felt he was making a break from the past. Edit to clarify: the complete title is Nagato no Kami (Lord of Nagato). Nagato was the province on the southern tip of Honshū. Present day Yamaguchi, or thereabouts. This is one of many cases where the location of the "lordship" has absolutely no relation to the smith. It's just used for convenience. And I don't mean to imply that Suishinshi Masahide's only contribution was an ability to replicate toranba. He was a smith who may have seen himself as advancing, or "restoring" the direction of swordsmithing in Japan.

The examples I provided are all from papered tsuba, and all NBTHK papers reported the subjects as karigane. The stylized birds with "twisted body' are reported as 結雁金 - musubikarigane.

Nice! I would think fully developed, periodic, profound ayasugi hada is basically post 1490, with o kissaki this one I would say might approach Tensho.

Hello everyone, TLDR: Interested in Japanese swords and fittings? I made this to help the field. Open nihontowatch.com on your phone browser, and add to home screen (Share → Add to Home Screen). Thank me later. --------------------------------------------------------------------------------------------- I have been thinking for quite some time about the future of our field. I have been blessed with incredible mentors and opportunities, most notably the late Darcy Brockbank, who was so generous in sharing his knowledge. Since his tragic passing, I have felt a responsibility to carry that work forward. What I am about to present, I built as an homage to his memory. Our field has problems. We operate in a field of extraordinary depth without being equipped with the knowledge and tools to understand what we're looking at when we browse the market. Refreshing dozens of dealer websites every week, most in Japanese, copy-pasting listings into translation apps, pinching to zoom on sites built twenty years ago — market awareness is just painful and you miss things constantly. You spend an hour and walk away unsure you have seen everything. And this is just the market experience. The deeper problem is access to knowledge. There are no catalogues raisonnés for artists. Yuhindo would have grown into it — it was planned. But alas, Yuhindo is no more. No way to know, with any confidence, whether a price is reasonable without decades of experience or tens of thousands of dollars invested in published references. No way to know why something costs what it does. Communication with Japanese dealers remains daunting for most. No easy way to know who is a reputable dealer. The barrier to entry is simply too high, and this friction keeps our field artificially small. Fine art has Artnet. Watches have Chrono24. Antiquarian books have AbeBooks — markets with comparable depth and comparable opacity, served by platforms that bring transparency and accessibility. These fields have benefited immensely: they have enabled new entrants in droves to collect in confidence. Our field needs more knowledge and transparency to build interest and trust.Japanese swords and fittings. Eight hundred years of collecting history at the highest levels. The category that contains the most national treasures in Japan. The indefatigable search for perfection of an entire civilization. And yet, we have nothing. This had to change. As I write this, there are 3,021 Nihonto and 1,607 Tosogu items for sale across 44 dealers, Japanese and international, in a single searchable interface. Every listing is structured with attribution, certification, measurements, and artist intelligence data. NihontoWatch is on track to follow 100% of the online market for genuine items with NBTHK papers. Refreshed 12 times a day. Everything is translated and structured, as it trickles in live. But what is this worth, if it's so hard to know what you're looking at? Especially for newcomers, it is so hard to tell what you're looking at. This is where the magic is. I am nostalgic of reading through Yuhindo's artist descriptions. It made me deeply appreciate the field. It got me in. NihontoWatch scales this experience and creates something approaching a living catalogue raisonné for every Tosogu and Nihonto artist. It matches every listing against a database combining the complete Juyo, Tokubetsu Juyo, Juyo bunkazai, Kokuho, and Gyobutsu designation data — over 23,000 items at the highest level, with rich text in classical Japanese. This data is then processed, synthesized, and presented into NihontoWatch's artist directory in a way that is respectful of the NBTHK's copyright. With this, you'll be able to discover a maker's historical reputation through quantitative analysis of exhaustive provenance records, in ways never seen before. Over time, all of these artist pages will come alive, forming an ever-expanding knowledge base. - How rare is it? - How many Tokuju? - How many designated works ranked Juyo and above? - Why is this important? - Where does it rank relative to other works? - What is for sale right now? - What was for sale recently? All the answers are in. These are questions that come up constantly in our community, and until now, answering them required years of collecting published references worth tens of thousands of dollars, and patiently indexing them with post-its or one-by-one in a spreadsheet. Only professional dealers or major collectors could afford to do this. This is a BETA, so there are errors. The more obscure the artist, the higher the error rate, and there are still basic errors I need to fix with some famous artists. A lot of algorithmic tinkering and curation ahead. It will keep getting better with your feedback. See the results for yourselves: - Soshu Masamune: https://nihontowatch.com/artists/masamune-MAS590 - Ichimonji school: https://nihontowatch.com/artists/NS-Ichimonji - Yasuchika (tosogu): https://nihontowatch.com/artists/yasuchika-TSU001 - Goto school: https://nihontowatch.com/artists/NS-Goto Click one and explore the designations, the provenance abalysis, the measurement distributions. This is just a first shot — over time this data will grow. Here is one where I have published an item I studied for my Substack article on Mitsutada: - Osafune Mitsutada: https://nihontowatch.com/artists/mitsutada-MIT281 Imagine Yuhindo, but with a page for every artist and every piece ever captured on camera. Saw a national treasure at an exhibition in Japan? Share your photos on NihontoWatch's artist catalogue. In the future, owners of particular works will be able to publish them to the artist's catalogue. Think of it as a growing, community-curated knowledge base for every artist in the field. And so much more Browse and filter: Designation, dealer, item type, school, province — all filterable, all instant. Prices display in JPY, USD, or EUR. Every filter combination is a shareable URL. The sold archive tracks thousands of items for pricing research. And it works for every budget, for collectors at every level. - All Tokubetsu Juyo Nihonto on the market - All Tsuba with Hozon or Tokubetsu Hozon, maximum price $2,000 Setsumei translations: On some items, you can press the floating book icon on any Juyo item to toggle between photos and the Juyo setsumei translated text. For most Juyo and above items, the NBTHK evaluation text from the dealer's page is identified by computer vision and translated into English. It will fail if the dealer has not posted the Juyo Zufu extract, but in the majority of cases they do, and the result is remarkably accurate. Do use responsibly — the quality is great, but not perfect. Always purchase professional translation from Markus Sesko when contemplating the purchase of a Juyo-designated piece. Search alerts: Never miss an item again. Define keywords and filters and save them. NihontoWatch will run your search every 15 minutes, and when something new appears, immediately send you an alert email. In practice, missing a listing that fits your interests becomes almost impossible. Tip: I recommend avoiding overly specific queries. "Juyo tsuba" or "Kamakura signed tachi" are safer than specific artists such as "Yozozaemon Sukesada," which would be more fickle. Broad queries give you the best market coverage. Inquiry emails: Press "Inquire" on any listing to draft a professional inquiry in Japanese. Handles etiquette and formality, and can help you request the 10% consumption tax exemption available to overseas buyers. Did you even know you could get 10% off? How many new entrants lost 10% on this, at least at the beginning? I for one did. I've seen countless high spenders neglect to request it while shopping across Japanese galleries. Glossary: The technical language of Nihonto and Tosogu is deep and specialized — needlessly so for non-Japanese speakers. Anytime a technical term comes up, you can click and see what it means. Over 1,200 terms, searchable, automatically linked from the setsumei translations. Who remembers always keeping an index open to keep track of terms when studying Juyo items? https://nihontowatch.com/glossary How best to use NihontoWatch While it works wonders on desktop, NihontoWatch works most beautifully on your phone. I use it every day — it feels like I have the market in my pocket. Open nihontowatch.com on your phone, hit Share → Add to Home Screen. And voila, you have an app. It becomes something you check with your morning coffee, the way one might check the news. A word of caution The data has errors — always verify independently. This is a tool to explore the market, not a substitute for critical thinking. If it looks too good to be true, it likely is, and this system can't easily correct online misrepresentations. Old listings where dealers have not marked items as "SOLD" will still appear as available. Listing errors will slip through, but data quality improves continuously as the system learns over time. Get involved - Missing a listing or dealer you like? PM me or post here. - Bug? PM me or post here with steps to reproduce. - Dream feature request? Reply in this thread. I will keep this thread active and share major updates when time permits. Everything is free right now, and will remain so until ready for official release. This is no trivial task, and it is expensive to operate — it will need to be covered in some way down the line. It will be tempting to keep it for yourself. But if we want our field to grow, we must share knowledge and expand market access and transparency. The single most impactful thing you can do right now is help others discover and use the tool. Share it with your study group. Share it with your collecting circle. Share it with a friend who has been curious about Nihonto and Tosogu but found the barrier to entry too high. That barrier just got a lot lower. Farewell, Darcy. This is for the teacher in you. Hoshi

I’ve been very impressed with how receptive and responsive @Hoshi has been with suggestions and criticisms. This is clearly an important project to him, and we all benefit from his labor. Great work!

Thanks, Jean! Regarding the title: I think I'm a bit too old to get my 'Dr.' now, so I’ll just stay with Faustus. As for the 'presenting' part - I might be taking your museum comment more literally than expected! I’m currently in the middle of preparing a dedicated room for the collection (see the 'blank canvas' attached). It’s a lot of work, but I want to create a controlled environment where I can focus on proper storage and study. I’m especially looking into getting the lighting and humidity just right. Maybe it'll end up being a 'private study' rather than a museum, but I’m enjoying the process of building it from the ground up. Best regards, Faustus

March 2026 Update now available for the Stamps of the Japanese Sword. Download here: Stamps of the Japanese Sword - NMB Download Section What's new: -- Navy Tsuba with "Gunto Houkoku" "Serve the Country with Military Swords". It was the slogan of the government program to procure civilian swords for the war effort. -- Stamped mei - Kanemune -- Kikumon - new variant added in this section lacking better way to classify it - Botan/Peony Flower on a 26th Generation Kanenori. Significance unknown -- Kokuin - Kiyonobu and Kanenori added -- Kakihan - 4 added: Enshin, 1905; Masatsugu; Sukenao, 1696; Yukihide, 1853 -- Blades with both Kakihan & Kokuin - Naotane, used personal kakihan + kokuin of city the blade was made in -- Appraisors - Ho' nami Kotoku added -- Koshirae stamps - Itabashi Supervisory Unit, Army Ordinance Admin HQ -- Unknowns - Circled Yama; Circled kana -- Type 19 shop logo - 2 added. Enjoy

For those interested and for future reference, this only went up to 550. Thanks again for helping me make the decision to bid or not! For now doing some studying on armor and nihonto first, also bought Kokan Nagayama's connoiseur's book while I'm at it.

Noted and observed. Sorry to hear that; I'll add it to my list of stolen blades to look out for. I wonder if it would be worthwhile to have a pinned thread, or even a new forum area, for stolen/lost blades that folks can easily consult whenever they're buying a sword...

This launched around a similar timeframe: https://nihonto-db.com/

That hada looks beautiful!

@Bruce Pennington Just adding this to "naval stamps" for your information and research. Note the variety of anchor marks. John C.

Actually, I really love that depiction of birds..likely geese. It is so "modern" that the depiction that way can only come from a nation that sees images depicted in bonji. A very futuristic depiction of a bird seen through an artist's eyes :-)

In the forum, it has often been asked which books are truly suitable as introductory reading. One of the books that is surprisingly rarely mentioned is the masterpiece by Dmitry Pechalov: Japanese Swords: Sōshū‑den Masterpieces. Brett and others have already written very good reviews about it, and I have now worked through the book from cover to cover. It is so good that it inspired me to write about it myself. Many of us know the saying, “It is better to buy one great sword than a thousand junk swords.” I would like to add that the same maxim certainly applies to books. For that very reason, I want to praise Japanese Swords: Sōshū‑den Masterpieces — a book I now wish had been my introductory reading. When this work is mentioned, it is usually because of its extraordinary photography. These images are without doubt impressive – but the real substance of the book lies in its content. In terms of content, it differs significantly from classic reference works, which are indispensable when it comes to terminology and the classification of the various schools of Nihontō, but ultimately answer a different kind of question. D. Pechalov, by contrast, brings insight in a light, accessible way — showing not just what you need to know, but especially how that knowledge was generated and how to develop your own opinions and understanding. Individual observations that would otherwise be collected slowly and fragmentarily are brought together here generously and almost playfully into a comprehensive picture. This is precisely what is missing in many other works that remain confined to dry lists or rigid structures. The book makes no secret of the fact that even intensive source work does not guarantee absolute clarity. Attributions change, assessments evolve – and this is not presented as a weakness, but as an integral part of deeper understanding. You are guided to place expert opinions in context, rather than adopt them uncritically. You begin to understand why perspectives shift – for instance, when a blade’s attribution has changed over time. It conveys how swordsmithing traditions developed, how knowledge was passed down, which signatures carry meaning, and why contextual understanding remains crucial. New documents continue to surface, capable of unsettling supposed certainties. Earlier sources are not always reliable – they use different standards, hold to outdated attributions, or simply contain errors. Thus, we learn why there can be unusual attributions – for example, when a blade was originally given one name because kanji in old sources were difficult to interpret and were confused with one another. Not infrequently, oshigata of forgeries or blades with incorrect signatures have been published. This may initially seem sobering, but ultimately it proves liberating. What arises from this is not a dogmatic collection of answers, but a stance — a way of working. Against this backdrop, Pechalov’s approach gains additional weight. It gives the impression of watching over the shoulder of an archaeologist with extraordinary knowledge and keen intuition: knee‑deep in the exposed debris of past libraries, he lifts up fragments here and there and draws his audience’s attention to their significance and function. The only slight drawback remains the absence of photographs of genuine Masamune blades. But even this is understandable and explained by the author, so in the end one is not disappointed. A possible objection might be that the book deals exclusively with the Sōshū‑den school. Yet precisely therein lies a strength: it evokes those few years in which everything that could happen did happen — only more brilliantly than before and after. Conclusion This book does not replace practical experience, but it brings structure to a field that otherwise easily becomes fragmentary and dogmatic. Anyone who wants to learn to recognize connections and develop well‑founded assessments will find an unusually clear approach here. Controversial topics are not left out; instead, the author gives the reader space to form their own opinion and develop their own perspective. This is rare — and of invaluable worth, especially for beginners. Not the easiest introduction — but an honest one. And perhaps exactly the right one for those who are just beginning their search, and for the eternally curious among us. I hope that we all benefit from sharing this information. Thank you, Dmitry, and I hope that others in our community of enthusiasts will be just as kind and generous with their knowledge and follow your example, so that the rest of us can continue to learn and study.

Two swords I purchased from giheiya have been stuck on hold by Japanese customs for over 15 days now. Curious if any others are having issues with Japanese customs currently. Talked with Imazu about it and he stated that he called them and it has something to do with weapon export confusion regarding the Iran war in the USA, hence why they are being held.

Hello, @Rawa, you can now download a structured PDF of the item from the listing page. It takes about 10-15 seconds to generate a .pdf, which you can save on your computer. Press the "download document" button to begin the generation process. It will show you, in order: item, item photo, artist overview, and market comparables. Few observations: 1) On-demand PDF gen really hammers the server hard. I will be gating this behind login and possibly adding a per-user cap. 2) It will take time to polish in order handle complex edge-cases such as long dealer photos that need computer vision for page-size segmentation before vectorizing. Before I invest more time into this, I would love to hear from other users of the platform if they value this feature, so - let me know. Best, Hoshi

Not sure if this helps, but my uncle was in the Australian Army Engineers during the occupation of Japan 1946-1949. He was based in a place called Hiro which was not far from Kure. I always thought he worked at Kure but lived at near-by Hiro. Looks like Hiro might have been the place where his unit was stationed and also where they worked at the former Japanese Army (oops, meant to say Navy) arms production facility mentioned in babgbangsan's link.

You know me too well. Excellent capability. Who doesn't want to know a Norishige posts 15 mins after it hits the dealer site.

I understood #1, #2, and eventually #3 after another look to better perceive the 3-D and features. Leave final judgement till I had it in hand, or at least the room. Personally, I don't feel #4 is correct, and #5 I would have gone with Tosa Myochin unless something felt very different in hand. I think of this as a very popular Tensho 天正 era suggestive image. [I wish Ford were still here to argue with me about it.] You are going to see lots of interpretations from all over Japan, and the 3-D of the tsuba and working matter a lot. 2-D Black n White images are challenging. I sometimes wonder about the accuracy of old attributions done by mail correspondence with black n white photos. Especially with a design like this.

Agreed; earlier Gassan work tends to have a more naturalistic ayasugi pattern (similar to how the Kanemoto sanbonsugi gets less even and regimented as you work backwards through the generations to the shodai). Edit: some examples of early ko-Gassan ayasugi - https://web.archive.org/web/20071213011622/http://www.nihonto.ca/ko-gassan/jigane-l.jpg https://nihontoantiques.com/project/name-sword-fss-693/ https://www.aoijapan.net/tanto-gassan/ https://www.aoijapan.net/katana-gassan/ https://www.militaria.co.za/nmb/topic/45265-nbthk-papered-ko-gassan-katana-with-kijimono-nakago/

That is breathtaking. So much pleasure to look through

I have a copy, and the production quality is very high - I doubt this is printed and bound on demand, bookbinders will unlikely have these materials ready on shelves. But the edition size is probably in the several thousands? It is a niche subject but I have not gotten any impression it is sold out. That said, if someone wants a copy, jump on it. It is by far the best book on the subject available in English, I think.

Wow what else did I miss during last 2 months? Crazy good. I checked on tablet and even greater experience. @Hoshi do You use any ai?

Bruce: I have this one reference in my files. It's from a post war assessment by Gen. Gardner. This is all that is mentioned in the doc, however Hiroshima was the location of Chugoko Branch HQ and seems to have been command and control; listed as a branch of Osaka arsenal. John C.

I want to encourage anyone who still didn’t get his copy to leap at this opportunity.

I have several that I use regularly (with 10 or 12 different blades), which do an amazing job. The rub for me, however, is how finicky they are. It usually takes me multiple tries to set each one exactly where I want it (based on the grain direction, etc.). One tiny tap on the blade - not cutting enough. One more tiny tap - now cutting too much. Darn. Need to pull the blade and chip breaker and start again! I find card and cabinet scrapers (stanley #80) way easier to "sharpen" (obtain a burr) and use for finishing at least. John C.

Robert, good old tools are a source of satisfaction and potentially of good work as well! My customers who order traditional tools are always fascinated how easy it can be to work with them, but you have to practice it to believe it. Often, the promised advantages of power-tools are not that big, and you have to accept a lot of noise using them. Did you ever watch a well trained guy mowing with an ergonomically fitted scythe, early in the morning, when the high grass is still a bit wet from dew? It is a real pleasure to listen to the faint noise the scythe blade makes when cutting, and the grass falls forming nice patterns along the rows....AND it goes fast! And working with a good KANNA (= plane), not in these competitions for the thinnest shavings, but in real-life woodwork? Very satisfying as well! As a boy, I could watch the craftsmen in the sculpting section of a cabinet-maker's workshop (in France then). No machines, silent, concentrated work, not much talking. After more than 60 years, I still remember the smell and the tiny sounds the sharp cutting edges were making on the wood. I once asked a guy why he used so very short chisels (I had known longer ones from my father who was not a professional woodworker). He replied, smiling: 'They are my grandfather's...'. Still perfect for fine work!

Another joke today at a french auction: https://drouot.com/fr/l/32904861-tsuba-garde-de-katana-en-fonte-de-fer-avec-inclusions-en

Controversial was the right descriptor. While it's a nice bedtime read I'm just not buying a lot of the suppositions and personal hypotheses of the Soshuden origins being founded in the Mokusa Kaji, after relocating to Kamakura (either forcefully or by choice). The references to Shintogo Kunimitsu in particular are hard to swallow, since he forged blades in a supremely refined and elegant style, really more reminiscent of the finest Yamashiro Kaji of the time. I'm not seeing any misconceptions in saying his origins are most likely founded in the Awataguchi tradition of sword making. Similarly Yukimitsu's origins as suggested in the manuscript are hard to comprehend. Son of the second gen Bungo Yukihira and blending this father's and Sensei's name for Yukimitsu is a believable leap. Masamune on the other hand, based on his jitetsu beggars a little more consideration. I would concur that if he were adopted or actual son of Yukimitsu he would by tradition have carried over some element of the name into his art name. The authors reflections on this individual having roots in Hoju Mokusa, and bringing some of their techniques into the early Soshuden style are a little easier to digest. Later Yukimitsu in particular shows a clear transition towards the classic Soshu style (in particular after the death of Shintogo) with a larger proportion of extant Masamune blades having these characteristics. Might be a good time to revisit this discussion.

I have a collection like that too, Jean, except mine are mostly western, not Japanese. Bought a huge assortment as a lot from a roadside antique dealer in Wisconsin about 10 years ago - it was something like $60 for the lot - steal of a deal!

I'm at the extreme other end of that spectrum. I love sharpening! And so of course have the most complicated sharpening system possible... diamond, ceramic, artificial stone, natural stone... Robert

I have a signed copy of that book and that tsuba set is number 89 of the book. In the book it stills looks like a fake to me. Proof positive that no one is immune to the occasional fake as a collector. I have had my fake over the years.

Look at the Kamon on Shibata Katsuie’s kimono.

An inlay design to add to your group of images - the birds face right and left "outward" to the rim

I tend to agree with Robert. Hoshi also brings the nuance into light. When I was at Seiyudo last month they let me take out literally every sword in the store to inspect it. I was there picking up two fairly pricey swords so I think that’s why they invited me to do so. Anyway, they have a Ryokai there that is not listed on the site that they are planning to submit to Juyo and I want to say they told me it was currently around $60k. I asked them if the Juyo paper would increase the price they would sell it for and they said maybe, maybe not. I guess they were implying they would test the market at that time. Like Hoshi said, the paper just allows the market to potentially drive the price up since it’s gone through another level of scrutiny. All that being said, yeah some of these swords are just priced in already. Also what Julien said, two swords could be separated by a slight degree during judging and one wins out over the other. The sword might be important but this other one is more important at the moment. The owner or dealer doesn’t want to go through time and effort again etc. Doesn’t mean it isn’t Juyo, just means it hasn’t been granted it yet, and they just price it at Juyo. But smith name also doesn’t guarantee Juyo. Maybe it never will go. Just because it’s a Shintogo doesn’t mean it’s “important” to NBTHK in an absolute sense.

JH, the photo is slightly out of focus. If you want to post a better one, please use a dark background for better contrast. I also read KANE for the first KANJI, but the second is not clear. It could be NAGA or HIDE or something else. Please sign all posts with your first name so we can address you politely. It is a rule on NMB.

This boundary is non-negotiable on this forum. Take it or leave it. There is no circumstance where we will ever say it's ok to use sandpaper on your blade. You may say the whole thing was rusted and no-one would pay to have it polished. So what about the guy whose blade is mostly ok but has one spot of rust? What about the guy who is in a country where there are no polishers? Do we have to form a committee to decide when it's ok and when it isn't? The fact is that we don't advocate amateur polishing. Yes...we all know many do it, we know there are rusty blades that no-one will ever professionally polish. But without a way to determine what's ok and what isn't, the rule stands that we do not encourage this. Since we are a serious forum devoted to the preservation of genuine Japanese swords, this policy will never change.

Hi Janne, Great feedback. I implemented the report feature, which also lets user ask for new features, report item data bugs, or artisan data bugs, or general bugs. Top navigation bar: Item card: Artist/School page: And good idea on the dimension filtering. I added it for Nagasa, this is the easiest. Weight, I'm afraid is not documented consistently, more than 90% missing data. Motohaba and sakihaba I would say are of marginal utility. Note that there are some data errors on some items, as is to be expected. Best, Hoshi

You can use a magnet to see which components are steel/iron vs fibreglass, resin or other material. it will help you to know what exactly you have bought. Although new, a lot of work has gone into assembling it. Absolutely nothing wrong with enjoying this as a highly decorative display item (for a fraction of the cost of the Edo equivalent) These armours are usually available in the $1500-2000 range although some are horrendously priced on eBay and misdescribed as Edo or “genuine vintage” (whatever that means) I have recently started to collect armour……it can be rather addictive and is certainly very very challenging as there is so little reliable written information in English (compared to swords or stamps or coins etc🙂) if you get “hooked” and want to progress start with components….masks…Kabuto and exercise extreme caution seeking advice before diving in. Pieces in poor condition can be bought for very little yet can still be interesting. PS……I’m what Bowie would describe as an “absolute beginner”

As a decoration, why not? And you can learn a lot from the construction since it looks like it closely follows traditional work in many places. Personally I would put a wider pedestal underneath the yoroi-bitsu box just to give the whole thing added height and presence. You might want to add a sword at the side? And I would take the two long cords and tie them behind the neck as a first step in how to correctly tie a shinobi-no-o. A fun journey lies ahead! I feel sure that in due course as your budget allows you will be filled with a desire to collect old parts or even display a genuine old set too.