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Thank you both Marius and Jesta! Greatly appreciated. And a nice tsuba to boot.

Inside of the cup says "commendation" Outside of the cup has the date of Showa 9 (1934), and looks like these were presented to some support group for Imajō Station, in Fukui Prefecture.

It is very likely that the sword is fatally damaged, the kissaki has been very crudely reshaped, the natural fukura (curvature of the kissaki) removed completely and most probably the boshi is gone at this point. I don't see any indication of a naginatanaoshi here, this appears to be a o-suriage mumei katana (Shinto or earlier) but with likely fatal issues due to the amateur reshaping of the kissaki combined with non-fatal forging flaws.

I found myself a blade by Akiyoshi which didn’t surface on this forum before (I believe). It has quite an active Hamon, lots of activity, clusters of nie, lots to study though taking good pictures is a challenge. The numbering might be interesting for @Bruce Pennington.

Once again a nice weekend in Utrecht and it was very nice to meet some people in live.

Just go with it....the usual throwing out some wild theory and then saying "prove it isn't"

The auction is closed and Jesta is the winner. Congratulations and thank you!🙏

From Bob Morrison collection

Calabrese, of course the ZEN painting is not related to casting techniques! I just referred to the idea of "unfinished". This is possibly only a different concept in our Western brains and does not necessarily correspond to Japanese aesthetics in arts. Leaving things out can make room for thoughts and emotions, while we in the West fill in every corner of an art-work so there remains no space for your own interpretation and imagination (very generally speaking). It is just a different way of seeing and feeling(s), I think. In addition to that, I find it very unreasonable to believe that an 'unfinished' TSUBA was sold/released from a workshop, with clear signs of hammer-work on the SEPPA-DAI (which is a proof that it is not cast!), with mounted SEKI-GANE as a proof of use, would be embellished with a silver FUKURIN. This part of the whole discussion is redundant in my opinion.

Another interesting point: the same is in full wrap style. The seam is roughly at 11 o' clock (mune side).

You will find this from many other sword shops, a subtle sign of quality.

That was a fine statement, if a bit ambiguous to the question of why the pierced portions of the tsuba lack detail. How exactly did we move to paintings exactly? If you question to me was actual, my answer is I dont have the first damn clue, I was unaware paintings were cast. Otherwise you are talking about a completely different genre of artwork.

Thanks for the headsup, google photos settings changed. Honestly no idea why that isnt off by default. Very stupid. Ill get some pics of the mei sometime this weekend

Found this at a militaria show for a great price, and decided to add it to my collection. I know a little bit about these and have read all the ohmura material. Saya number does not match. Can anyone put a date on it based on the stamps and serial number? Otherwise mostly just show and tell! Enjoy! Neat sword. -Sam

iPhone user. Did anyone else’s home screen NMB link stop working recently? I now have to go through Google to get in. Will try deleting and creating a new link but just wondering if there was a glitch… or I’m the glitch?

Hi Everyone My name is Sebuh, i’ve recently gained an interest in Nihonto at the young age of 17. (Just turnt 18) After years or watching al sorts of media, seeing the Katana used and all. Guess that what’s caused my interest or, at-least planted the seed in my mind. After a few months of hiding around and obsessively reading content on Kamakura swords, my tastes have evolved. I appreciate Heian now, far far more. Late Heian to Early Kamakura seems to be my area. I’m based in New York City, Queens to be precise. Currently the only person not above the age of 40 into the hobby I think. I’ve been looking into the New York Token Kai, but a bit worried that i’d be the youngest there but i’ll make way eventually. Apologies for not introducing myself sooner, but it’s never too late. (hopefully)

The koto books follow the gokaden and typically go from early schools to later schools. The Shinto books are similar but the gokaden is substituted for provinces since we know Shinto blades saw a blending of many traditions. I have not yet indexed volumes 6 or 7 as I’ve been focusing on the sword volumes first.

Yasurime lines [file marks] on nakago dsnt look to be machine made. Who in a world would go that length to do replica?

Yeah, you are completely wrong. It's very obvious. Also, you need to learn the difference between hammer marks and "casting pits" which are not present on this tsuba. You also seem to think that designs of tsuba weren't spread across multiple traditions, schools and eras. How are you going to compare a tsuba with a completely different one, like they are supposed to be the same? You also don't seem to know much about tagane and semigane.

Apologies, I've had to delete the images as i think the seller may well be a member here and not want his sale online. If anyone wants to discuss the gun and images by pm, will be happy to do so.

Hi Geraint, Of course! Duh - thanks for setting me straight...

Ok, fair enough, I understand your position on this piece. That said, the one issue I have is that your explanation is only of utility when it "has" to be. If ALL tsuba were made in this way, where detail was purposely left out, then it would be a non-conversation. But I dont see that, not even for a specific time period or production house. So the idea that ANYTIME you see work like this, the explanation MUST be "room for thoughts and emotion", I find that dubious. Please understand I am not saying you are wrong, your explanation is certainly plausible, what i am saying is that your hypothesis is no more "right" than mine, because at the end of the day neither of us were there at the time it was produced. Some time ago I had a customer who presented me with a ring where the inside was devoid of any finishing work. Course file marks were obvious but only if you looked in the ring, otherwise they could not be seen when the ring was worn. I asked the customer if she had noticed these, to which she replied she had. She went on to say that when she brought it to the attention of the jeweler he simply referred to them as "jeweler marks". This tsuba is of particular note to me for that reason. There seems to exist a fine line between purpose and excuse.

I agree: In "Japanese aesthetics and culture: A reader" edited by Nancy G. Hume (recommended a long time ago on one forum by the late Ford Hallam), there are indeed clear quotes about the evolution of the wabi aesthetics praising the partially bloomed flower bud, the moon hidden behind clouds, etc. There is quote from the Tsurezuregusa stating "Even when building the imperial palace, they always leave one place unfinished". I don't see how not perfectly filed decorations is any indicator of casting whatsoever (If I showed some of my early sukashi tsuba, some might think I knew how to cast iron...). It might be on purpose, it might be a skill or equipment issue.

Nihontomessageboard.com redirects to militaria.co.za There were some dns changes last week, Monday is a public holiday so I'll get it sorted on Tuesday and see why the redirect stopped working.

In my opinion you are a very great expert in Nionto and Katana !!!!

Blade looks good for that price.

Quick answer for me is no thank you.

Type (Tachi, Katana, Wakizashi, Tanto, Naginata, Other) : Katana Ubu, Suriage or O-Suriage : Ubu Mei : (Mumei, Signature) : Signature + "Made to order for the Imperial Household Ministry" Papered or not and by whom? : NBTHK Hozon Era/Age : Meiji - 1872 Shirasaya, Koshirae or Bare Blade? : Shirasaya Nagasa/Blade Length : 69.3cm Sori : 1.6cm Hamon Type : Combination notare with hakoba "box" and bamboo node "fushi" Jihada : mokume and masame Other Hataraki Visible : Intentional ara-nie covers the entire habuchi along the blade, inner hamon nioi with sungashi nie in several places, some chikei as well Flaws : 1 small kizu near the habaki (pictured below) Sword Location : USA Will ship to : Anywhere Payment Methods Accepted : PayPal Price and Currency : $4000 USD (includes shipping) Other Info and Full Description : Commissioned by the Imperial Ministry during the short period where the Imperial Household re-established a sword body right after the banning of swords. Full inscription: [Kaga-koku Kanazawa-junin] 加賀国金沢住人 then family name [Kinoshita] 木下 the smith name [KANETOYO-saku] 兼豊作 and the reverse side is the date [Forged in the 8th month, Sheep, the 9th calendar sign, Meiji 4th] and then [Made to order for the Imperial Household Ministry] 宮内省御用ニ付. The Katsukuni 勝国 lineage of the Darani school 陀羅尼 served the Maeda clan, feudal lords of Kaga Province. The lineage continued from the 2nd Katsukuni 勝国 to Yasuhira 泰平(originally Katsuie 勝家), then to Kanehisa 兼久, and finally to Kinoshita Jinnosuke Kaneshige 木下甚之丞兼重 and Kinoshita Jin’go 木下甚吾 (this sword)

The passage he brushed is a very well known writing (my wife knew it from her study of Chinese classical literature and religious studies) and there is another example of this same daruma painting and calligraphy in which the kanji in question is rendered in an identical manner (below). The only difference is the variation in the way he signs. Yamaoka’s cursive script is very idiosyncratic (and recognizable), but also very consistent. His brushwork of “mu” and even his signature evolved profoundly over the course of adult life, dramatically informed by his enlightenment experience. I have asked the Rinzai master of Shodo at Chosei Zen Monastery for help translating the other work. I also noticed the commonality of those three characters to be striking (“…instead of water…”). When you study his many known works just focusing on recognizing the characters by form alone without comprehension of meaning, recognizable patterns emerge. The Chosei Zen approach is to experience the calligraphy for its expressive power rather than its literal meaning.

I’m not an expert, but a few thing I remember that stood out. Great Kissaki shape Had a good weight to it Koshirae was ok Hamon gets very close to edge at one location. What I assume are kitae kizu at at least one location.

eBay.... I never bought a sword without having it in hands....

No Dominique, this does not apply to Japanese swords! They are very special and sophisticated, and without the necessary knowledge and experience, all "cleaning" will lead to damage, as you see.

This is how it should be measured However, I have personal experience after purchasing a blade from a reputable Tokyo dealer that the declared figure for kasane was actually kasane measured on nakago Real dimensions measured with a digital caliper Motokasane 6.3 mm Motokasane at shinogi 6.7 mm Sakikasane 4.2 mm Kasane at shinogi nakago 7.6 mm

Another thing to keep in mind is that during this period of time at the end of Nambokucho and beginning of Muromachi, there were schools that were copying characteristics of other traditions. So, it isn't surprising to see an Echizen Rai sword with Yamato "like" characteristics. If that appeals to someone, fine. However, as a collector, when buying a Rai sword it might be preferable that it had strong Rai traits.

Japanese yes, late muromachi period.

The early Otsu Type 32's were undated. Later on, a date was added above the arsenal symbol. The earliest dated 乙 [Otsu] I know of is serial number 66604, dated 明四〇 [1907]. Based upon the serial number of 63703, I would guess it was made sometime during the Russo-Japanese War of 1904-1905. As Bruce already indicated, the "stamps' are final inspection marks. One of which seen is 田.

Likewise, as mentioned in your previous post I feel this is Ainu.

About the ito wrapping, I noticed that all the tsuka posted here have the criss-cross pattern just over the menuki done in the kai gunto style. It would seem an hallmark of this maker.

The kanji “柄平” and “柄順” found on the handle may indicate the intended wrapping method or style of the tsuka.

Thanks Bruce! The first thing I did when I got it home was gently apply a thin layer of antique leather conditioner to the leather loop. Hoping to rehydrate and strengthen it a bit so it lasts another ~100 years. It’s a nice addition to have next to my 95’s. A nice visual aid to help tell the story of the inception of the Type 95 sword. Now I just need a copper that won’t break the bank; and maybe a Ko to keep the Otsu company. I’m sure I can think of more swords that I want too -Sam

Wow, I was pretty surprised that this Masanori katana with the dragon horimono on Aoi went for only 1.3M yen. It sold a few months back on Aoi too, but WITHOUT the koshirae, for 2.0M yen. https://sword-auction.com/en/product/27081/as24102-katana-yamato-daijo-fujiwara-masanorinbthk-tokubetsu-hozon-token-2/

Molds were not cut as it is possible nowadays in die casting. In former times (and in Japan) you needed a model first which was then copied in a mold made from a mixture of clay and fine sand. In a different casting process, a 'positive' wax model was made that remained in a mold. It evaporated as soon as the molten metal was poured into the mold. BELOW: Is this an unfinished painting then?

While I am unfamiliar with the casting of iron, I am familiar with casting in general. On the one hand, I can see Dans point of view. He is skeptical that someone would only partially "finish" this tsuba. So many lines on that tsuba are nice and clean, but the holes are clearly crude. The problem with this idea is that if all the other lines of the tsuba are nice and crisp from the casting method, there is no reason why the holes he referenced wouldn't also be nice and clean. One would have to assume that the original mold would have to be poorly cut in order to produce a poor casting. So then the question would be, why would a craftsman go to the trouble of producing such clean lines in some parts of the mold and not others? It seems reasonable to me that what we have here is a an "unfinished" tsuba. Not unfinished as in incomplete, but unfinished with respect to the level of the finishing process. This could have been for a variety of reasons like cost, time, customer request or injury.

From an old Japanese book https://www.jauce.com/auction/w1188787484 Tsuba Oshigata Horii Nagaoka Akasaka Tsuba 5 volumes Approximately 800 drawings

Little Sori was popular during Kanbun Shinto, and later Shin Shinto.

https://www.militaria.co.za/nmb/ Make sure there is nothing after that...it will be cookies etc etc etc. Delete anything after the /nmb

It must be a typo. 武蔵太郎安国 - Musashi Taro Yasukuni

Raise to $190

I have an Osafune Sukesada katana signed and dated with NBTHK hozon papers. But it will be slightly more than your budget. Is the 2000 euros a firm max amount?

Couldn't agree more. As one of the primary countries where illegal ivory is sourced, the bans have created MORE demand, not less. And aside from rhino horn poaching which has vastly overtaken ivory poaching, it is happening on a daily basis, in spite of millions of $'s being spent on security. Govt, police and high level syndicates are involved, and the ban has done ZERO to prevent the poaching and trade. My personal (controversial) opinion is that govts sitting with thousands of tons of stockpiled ivory should FLOOD the market with ivory that is already in stockpiles, and drive the prices down so much, that there is no incentive for poaching. No-one will poach elephants if the prices are cheap. The supply in Africa of already poached ivory is vast, and could kill the trade in illegal ivory. Nothing else has worked.