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Note, for the record, I will NOT be refunding any members who choose to leave or are unhappy for any reason. I took a hit doing that for Rayhan, and will not be doing it again. Please take this as official policy. We do our best here, and usually any actions taken are not just my own choice, but are representative of majority choice. I'm not going to make a big deal of this. If anyone posts here, then anyone is entitled to respond. There is no such thing as banning someone from your threads. If someone is obviously biased, then I will take action and remove them from posting. That is not the case here. We have a wonderful "ignore" function here in your profiles. You can add someone and not see their posts. If you don't get on with someone, use that. Adam, your choice. You have some nice items to share, so would enjoy seeing them. But if people want to comment, that is the risk you take and is how we all learn. Sometimes we learn the most from arguments. Ball is in your court. I mentioned many times less is more and it is time to back off just a little.

Sorry so blunt attitude not implied

Ah, the ruffling of feathers. Too loud and it will drown out your ability to learn.

Adam if you do not want to receive comments to your post do not post. If you post any member of NMB is entitled to give his opinion on the topic, regardless of the fact that you like it or not. From your profile it seem that you joined NMB about three months ago, since then your posts have become increasingly intolerant of criticism on what you post. If you cannot withstand negative opinions, or opinions diverging from yours you are on the wrong blog. Personally I am here to learn from more experienced collectors. If this involves being corrected, even in harsh terms, fine, I have shoulders strong enough to bear it. I prefer onest opinions to flattery. Luca

Came across this picture of a MSgt carrying what appears to be a civil/private sword re-fitted for WWII. HERE AT WARRELICS. Nick Komiya uncovered, earlier, an Army order officially permitting the practice - in 1945! But we all have seen pictures as far back as WWI of NCOs holding private swords. This photo was taken in 1939. Late edit: Nick Komiya is aware of the practice as early as the China Incident!

Hi all, Mon on my Naval kyu gunto. Maru ni katabami crest I believe. The kyu gunto contains a papered dated Eiroku 5 Bizen no kuni ju osafune Tadamitsu blade. Best regards, John L.

Probably seen repeatedly, but this is one of my favourites....

Habaki Mon. On both sides.

Mothers club meeting - my baby is not ugly but yours is! [sorry for the sexist bit] Please just get over it, opinions should always be welcome - you don't need to agree however. [getting shot down in flames makes me take a closer look the next time I comment, which is not a bad thing.]

Revised Chapter 53 was posted today. This is Part 2 of chapter 18, Nanboku-Cho Period History. This chapter explains why the Northern Dynasty and the Southern Dynasty were co-existed at the same time. Please click the link below to go to this chapter directly. https://studyingjapaneseswords.com/2019/05/04/53-part-2-of-18-nanboku-cho南北朝-period-history-1333-1393/ Thank you Yurie

Shanghai 1930s.

This why bells are cast. (irony off). This test does not work. It is mainly the form of a metal object that makes it ring (or not).

Duhh...Ok, thanks Bruce.

There are all kinds of #5s. Take a look at the variation on the page below https://moji.tekkai.com/zoom/五/page.html

For parade and barracks use I imagine one had to keep the mandated equipment but once "in country" it was all fair game.

Dear All Being not exactly my line of study I ask for your help about the school attribution of this tsuba. Goto? Mino? Thank you in advance Luca

In a sword fight anything can happen so it could very easily be fight damage. Its not like in the movies where its all choreographed. Tsuba are mainly for protecting the hand from sliding up onto the blade and from an enemies blade but there would be countless times tsuba were hit by blades producing these type of scars.

Hey Bruce, probably 354. The "Z" like character on the tsuka is Otsu or Kinoto (lots of meanings but probably something like "second" is intended from the Heavenly Stems method of classification). Yo may not be correct....

Its alright! I just had to work at those photos for a while on a miserable humid day. 😬

Adam, this forum is not only for you, and information and responses in your threads are beneficial to all members. Your threads do not belong to you - they belong to everyone. You don't seem to understand that. I post information for everyone's benefit - even if I am posting on your thread. As mentioned above, over the past two months, I posted about whether three of your items were sets. In the first case, I actually proved for you that your fuchigashira were a matched set (even though you were not sure). In the second case I did not believe that they were a set, In that case, you argued and accused me just like you are doing here, but you eventually agreed that the second set of fuchigashira were not a matched set (and you listed them for sale/trade admitting they were not a matched set here on NMB). In that second case before your admission, you kept refusing to post a picture of the kashira. Who posts a picture of a fuchi on multiple occasions but does not include the kashira? (I suspect that you knew that they were not really a matched set, so you didn't want to show them together). With this third set (menuki), you kept refusing to post a picture of the backs of the menuki - why? I suspect once again that you felt that they weren't a matched set but were preparing to sell them here (I've also noticed that you tend to ask questions about your items here and then later put them up for sale...) Finally, my PM to you of several weeks ago simply asked you to behave better on this forum because I believe that your behavior is ruining it for many of us.

The themes suzumushi, akikusa, Musashino and nozarashi sometimes overlap in some instances. Anyway each theme has its own origin in Japanese literature. According to "Tsuba - Kodōgu Gadai Jiten" (vol. 1, p. 278) the suzumushi-zu refers to "‎The Pillow Book" (Makura no Sōshi - 枕草子) by Sei Shōnagon, a collection of writings from Heian period. Here below the relevant entry from "Tsuba - Kodōgu Gadai Jiten" :

津田越前守助廣 Tsuda Echizen-no-kami Sukehiro

Looks to me like either Z三五四 or 乙三五四 Z354 or 乙354 (乙 is a used in numbering or ordering things. Both Z and 乙 would just be part of the assembly number). At any rate, the 354 is a match for the tang and the tsuka.

Adam, I've been here far longer than you and I have been a helpful member of this community. I have every right to voice my opinion, so if you do not want me to comment on your things, then don't post here.

Adam, not trying to discredit you or your items. You asked a question about theme. I am responding that there may not be a theme because these menuki are likely mismatched. You then specifically asked me to respond about menuki sizes and I did explaining how that might indicate a mismatch and therefore no theme. I only focused in on that area because it is easier to see the thickness of the Uttori (gold foil) not because of any damage. See the photo below - you can see it all around one of your menuki. I was focusing on that thickness because it is not present on the other menuki showing that different materials and techniques were used (again pointing to a mismatch). You like to ask questions but when you get answers you don't like you attack the person supplying answers. Of the three potentially mismatched sets that you have shown on NMB, I helped you establish that one was actually a match (helping you) and believe the other two to be a mismatch. You mentioned to me that you have a very large collection and you yourself may be responsible for some of the mismatches. From your other posts, you do seem willing to mix and match things.

I go for a shortend bizen tachi made in muromachi. I just think it looks like one.

Juan, I like your sword. The trouble with an Ō-suriage sword is that it greatly change the original sugata. Since it is shortened, it takes away from the sori, the nakago is also modified, so what looks like Kanbun Shinto May actually be something else. That’s the problem with rules, you always find something to contradict them. At first sight, it looks Kanbun, and it might have been made around that date, but it could also be slightly earlier when the shape wasn’t already entirely set in stone. Then again, I believe, probably falsely, that you’re not too far off in terms of period.

Ahhh, unagi, also very delicious to eat... BaZZa.

Morita san is the pilar of NMB mei transcription and I have learned so much during these last years. Thank you so much.

Hi, Mei says Yurakusai (遊洛斎)　.

For Shinto, blades which are Machi-Okuri cannot pass Juyo (there are certainly some exceedingly rare exceptions to the rule, though). Expect a big chunk of the price being deducted for such a blade. So if it screams "good deal" the Machi-Okuri, however small, is certainly to credit. While I'm sure it wouldn't bother most of us overly, it is however a substantial issue in terms of collectibility for Shinto collectors in Japan. Pristine condition is so important for later periods. It's the first priority. Unadulterated shape. Original Nakago, crisp and legible signature, good patina, these all play a preponderant role in Shinto which certainly eludes most of us and our collecting instincts. The wholesomeness of the form expressed through the pure intention of the smith is paramount in Shinto. Another way to put it is, where the beginner western Shinto collector sees "cheap" the old, hardened Japanese collector sees "ruined". At the end of the day, if its a major smith, and it's machi-okuri, then it's certainly a chance to get a major "discount" and hopefully sell close to the purchase price in the west because it screams bargain and some other western collector will want it, not understanding the gravity that Machi Okuri represents in Japan in terms of collectibility. One just needs to understand what you're getting into. It's treacherous territory. If it's not a major smith, and its Shinto Machi-Okuri, and more than a few hundred bucks I would run away. Keep your money to fight another day. As to why this is? I have a few ideas: It could be that because Shinto work lacks the luster of old koto masterworks, or its intense hataraki, that one needs to look and appreciate other parts of it, such as a fine cursive signature, and revel at the sight of rare type which flows effortlessly on the Nakago. It could also be that there is a natural filter. Collectors who don't mind dinged and beaten pieces will live just happily with Koto works. Those that require emergency aneurysm surgery in response to a mm thin kitae ware on the Shinogi of a great koto masterwork will find refuge in the perfection of Shinto. And finally there are so many shinto blades floating about that one needs a simple algorithm to sort them into the desirability ladder. Wholeness of the form is a simple criteria which filters what goes, and what falls off the ladder.

Ray, Hope my post did not come across as criticism. I genuinely wanted to speak for others out there in a similar situation, and find out if there is a place for them/us. I think it is precisely because I stay firmly grounded that my Jen situation is always under control. Reality guides my purchases. But I think I speak for many. And of course you are allowed your (valid) opinion as long as it remains a civil discussion. I enjoy reading these posts. But I speak for the average guy out there too. As for the lovely Aizu katana, it remains my only papered sword. It, and a wonderful katakiriha zukuri waki by Tsuguhira from Darcy remain my 2 favorite and best swords. I treasure them. When I typed above, I specifically mentioned really good swords, meaning stuff like Ichimonji and Aoe etc etc. those that go for $20k+ No, I will never sell these swords. No matter what happens. They are not investments or money storage. They are things that make me happy.

Ray, I’m interested in where you place the guy who will never be able to afford a $5000+ sword? Should he stop studying? Stop collecting? What if he owns a few $1000 blades collected over 10 years, and has the passion, just not the funds? Where is his place in the grand scheme of things? Take myself as an example. I’ll never own a very good sword. Doesn’t matter how much I put away for 5 years. If I ever found myself with $5000+ I’d be obligated to put it on the house. Do some needed repairs. Get better medical aid. A million sensible things. A few thou over the years was possible at the right time. But a big purchase will never happen for logistical reasons. I point this out because many members may be in the same boat. When currencies sit at 17 to $1, sometimes reality means we will never own really good stuff. Doesn’t mean we don’t appreciate it though. Or study it. But where do you place those collectors? Those for whom $10,000 is not a lot clearly are able to look at this all from a different point of view. Here, and in many places, $100,000 buys a really decent house. No ways will guys in that situation be able to throw that at a sword. Or even 1/10 of that, which is a house deposit. Should guys like that give up collecting?

Hi Ray, just to be clearer with my reply. You stated Heian to Nanbokucho – OK Muromachi onward – Not OK Cant remember the dates so these are off google Nanbokucho 1336-1392 Muromachi 1336-1573 (lets just say 1392 onwards) Most people forget (me included) that early Muromachi is EARLY. As mentioned above, there wasnt a time when all smiths got on the phone to one another and agreed from that date on, all blades from now on will be the same length. You will see swords dating well into the 1400,s that resemble those of the Nanbokucho period, o-suriage mumei. I would be interested to read your views with regards early swords that are Ubu, but mumei. Again, horses for courses. If you can afford the top swords with all the bells and whistles then thats great. Saying that though, a lot of us are happy at the cheaper end. There is something in accepting what you can afford and being happy with it, mumei, flaws etc, they dont seem to bother me as much, which is good.

Are we construing value strictly as investment/resale or value in terms of history and personal enjoyment? They all intersect but value and Japanese swords is a far more complex topic than broad black & white statements on the subject. While I greatly enjoy these topics the underlying message of "everything that doesn't meet X criteria is total crap" gets old quick for those not initiated in the highest levels of collecting. If one person is collecting large bars of fine gold and saying to other people who are collecting smaller 1oz bars that these small bars are totally worthless and a waste of time who is correct? They are both fine quality gold, just different variations of it.

Hello. You have to remember that its easy to put everything in boxes and there are exceptions. You will find long swords from the Muromachi period that are O-suriage mumei. You will find good swords from the Muromachi period that are mumei and also signed swords that are mass produced low quality. Look at a sword and judge it for yourself

And here I come, the fly in the ointment!:) First, I agree mostly to what you say. In a perfect world, there is no reason for a Muromachi > onwards sword to be (ō)-suriage... And yes, other reasons enter the terms of speculation: people wanting to have their swords pass for another, school requirements, height of the swordsman, trends and fashion... possibilities abound. Yet, I think that with this thread, we are back in a way to the fundamentals of the previous one. A non papered, suriage sword of those periods will lose about half of its value. Yet we can find some good quality swords in this category. So for someone with little money, it is a way to acquire fair quality swords, with good Hada, Hamon and hatakari, that the most fortunate collectors will shun because they suspect foul play or are only interested in the finer examples. Once again, the money issue and items for every kind of collectors. Besides, even though this isn’t the subject of the post, let’s talk for a second about Gimei: should we or shouldn’t we have a Gimei signature removed? You will probably say yes, so it can be re-submitted and getting papers. I’m in the camp of "no", because if it is Gimei, this is part of the sword history. So long as you don’t sell it for an original and remain honest, who cares who made it really? Someone cared enough about it to carry it knowing it was Gimei, and it was still preserved in that form. So that’s the other dilemma: reality versus history. Look at Kondō Isami's "Kotetsu" which actually was a Kiyomaro. Should we erase Kotetsu for Kiyomaro? If so, that’s negating that sword's past history. Though again, in a purely ideal world, you are right.

Thanks George your zooming in on an area of damage not present on the other menuki. The foil in that area is a little stressed. I have to say I'm amazed at your ability to tell the base metals are different from those images but there you go. Did you know that if you look over your comments in all posts I started and that you felt the urge to respond to, you are only responding to throw doubt on my items or criticise in some negative way. Do me a favour and when you see my name on a new post please resist the urge to comment. This way I won't start building an impression, either true or false ,that your out to discredit everything that I might say. Thank you Adam

As I've already said with all due respect please refrain from commenting on my posts. Thank you Adam