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For something like 60 years, I have told myself and others that I am a “Japanese sword collector”. Activities I see here on this on-line community, however, make me wonder if I can still say that. The craft, activities, and joy that USED to mark Japanese sword appreciation are gone together with the satisfaction and growth that used to mark the hobby. After 1945, a huge mass of Japanese swords flowed into victor nations, mainly the US – where they rather quickly lost much of the cache and value they had to souvenir hungry veterans. As families and suburban neighborhoods developed, swords moved from sea-bags to attics and garages and then on into garage sale and thrift stores. As that happened a small and fragmented community of “sword collectors” appeared. I wasn’t a real early adopter, but I was part of the post-war crowd. Given how Japanese blades had been acquired and returned, the challenge at that point was finding swords. Newspaper ads, business cards and colorful displays at gun shows were routine collector strategies at that point. I contrast such activities with sword shopping today where, with a bit of computer skill, you can discover an astounding array of swords. All of that was great fun, but the hard reality is that if the supply of Japanese swords is limited so we can’t “find” them like we used to. The place to “find” swords these days is on-line! The initial collectors’ cadre that did develop had access to a small but interesting body of publications. They may be mile signs long past, but books by Yumoto, Robinson, and Hakusui etc were very useful. They explained a bit about the 1000 year history of “samurai swords.” We came to realize that there were really wonderfully made swords and others that were not as good. We learned about “kizu”, “gimei” “retemper”. We discovered “kantei” well before we developed great skill in the topic. We certainly came to understand that quality was variable and had to be assessed. Making our own judgements was part of Japanese sword collecting, because credible authorities just weren’t there. I contrast that with the current situation were experts will provide you very complex judgements about swords. We simply have to trust them and learn the categories they provide. If a sword is not gushingly described, papered and certified, we better assume that it isn’t very good. We also learned enough Japanese to read signatures. Once we had read a signature, we got to look through a hugely thick reference with pages and pages of smiths That was great fun and made the complexity and richness of Japanese sword history and collecting substantive – and interesting. I developed real interest in the 12 generation of the Sendai Kunikane family and tried hard to understand the middle 5 generations. I am quite sure my efforts they will never warrant the attention of modern certification panels, but it was great fun… for a “collector.” Has the magic passed?

I hear you Peter. All things change, and by and large change sucks. Change rarely has a big constituency of supporters. But not all change is bad. I certainly still feel the magic of collecting. I feel the magic of community, of learning and of discovery, whether finding something unexpected on a show table or an online website. I still feel the magic when I unbox a sword or fittings and seeing them in hand for the first time. I feel the excitement of an opinion by Tanobe-sensei or Itoh-san. Whether or not the market is growing or shrinking; whether it will come back resurgent or die, are not concerns that that weigh down my mind. (I personally think works by big name folks will always hold their value, but that's another conversation.) I still feel the magic in learning more everyday and in the community and the camaraderie of friends in the hobby, including new ones that pop into my life all the time because of Nihonto collecting. I still feel a great sense of belonging. Yes, Peter, it might not be what it used to be, I certainly missed out on the gun show chase and the madness of those early shows, and I see some friends aging out of the hobby, but it's still a pleasant pastime for me and my friends doing this. And I am grateful for that. Gratitude is the key to happiness along with enjoying what you have. That powers the magic for me!

"Has the magic passed?" Not at all. Changed ? Definitely The seasoned collectors and key players who have passed were once begining collectors and novices as well. And while a great deal of knowledge passed on with them, there ll be a new generation of passionate collectors and future experts eventually. This is not just nihonto but almost every other form of art. Today, It is easier than ever to gain knowledge and learn about anything. Nihonto included. So those who fall in love with the hobby and are willing to learn will have no shortage of resources. It s similar to people who are passionate about sports or music. Those who played/watched in the 70s 80s 90s 2000s will all swear that their era was the finest but this is simply not true. We are unable to process change/ evolution because what we consider "best" is limited by our own experience which shapes our prespective.

An observation — all journeys come in stages. At the beginning, the work is hard, but it is also exciting. Growth is fast, and it feels like we make progress with every passing day. But eventually, we enter into the long slog of the intermediate learner, where progression slows down and it feels like a drag... the moments of reward are increasingly few and far between. And eventually, as advanced learners, we might spend hours (or years...) in work, just to advance our knowledge by what feels like a few millimeters. I don't think this means that the journey itself is dying, it means that our attitude towards it is changing. That can be both good and bad. If it's that feeling of treasure-hunting that you're after, I'm sure there are still gems out there in the dusty pawn shops. Maybe they are fewer and farther between, but doesn't that make them all the more precious? If it's learning, I think there is nothing to do but embrace the suck. If it's community, well, I'm sure someone else will have more productive advice than I.

Well, I suppose it does try to say 本間 雅晴 將官 = General Masaharu Homma but this was evidently written by a 4-year old.

Good evening. I would like to thank all those that responded to my inquiry, as well as all who read it. I have been given information that has helped my friend answer a question. ROKUJURO, STEVEM, Chris and Markus thank, you very much. This artifact that I have had the opportunity to research, has been eye opening. Myself, and the caretaker (owner) would not have the knowledge of its history without all involved in this forum. Thank you. Michael J. McKie.

The artist is Sumiyoshi Naiki Hirosada (1793-1863) (aka Hirotsura). The theme looks like the God/Myth/Legendary figure Takeuchi-no-sukune holding the baby Emperor Ōjin.

Once I receive and inspect it, I would definitely drop in some pictures here for you. Thanks everyone for the interest!

Looks rather ambitious, usually the Saya liner markings are done in pencil and in a standard hand. The provided photos of Lt Gen Homma don't show a particularly larger sword, though he was supposedly quite tall. In my collection is an original photo of Lt General Homma showing him holding a sword of usual proportions:

Lots of general negativity, which I don't think is entirely justified. People tend to assume any period of contraction or decline means something is dying... Also remember we're in somewhat of a cost of living crisis, and when younger people are struggling to afford homes, cars and life's necessities, swords (as with other hobbies) lose out - as they should. One indicator, is prices of swords - if there were no collectors, they'd get cheaper - much cheaper. Like any field of collecting, if people aren't buying, objects lose their value very quickly. Is that happening?

I have every confidence in Sam's decisions. He made the right choice. I opened it again for people to have their last say so that no-one blames Sam. Then I can lock it again like I am going to do to this one, and then people can blame me. Enough of this bullshit.

PLEASE, everyone. Can we save the vitriol for facebook where it belongs? Let's talk swords instead. John C.

These may be some life lessons. 水ハ苦クシテ求メヨ – Make the water bitter and drink it. 人ト人間ノ差 – The difference between a man and a human The first part of this sentence is unclear. 波…ハ世ノ 常デ……………… 任セテ雑魚ハ 歌ヒ雑魚ハ オドル サレド 誰ガ知ロウ 百尺下ノ 水ノ心ヲ 水ノ深サヲ However, I know that this sentence is the last part of a novel “Miyamoto Musashi” written by Yoshikawa Eiji. The whole sentence must be like this. 波騒は世の常である　波に任せて泳ぎ上手に　雑魚は歌い　雑魚は踊る けれど誰が知ろう　百尺下の水の心を水の深さを - Waves and noises are the norm in the world. Let the waves go, swim well, the small fish sing, and the small fish dance. But who knows the heart and the depth of the water a hundred feet below.

Haiku translation (5-7-5 form): 名月や 留守の人にも 丸ながら meigetsu ya-- rusu no hito ni mo maru nagara Autumn's bright moon-- even for those who are not near to us is still full [Note: the seasonal reference (kigo) is the moon, "ya" is a break (kireji) denoted in English by a hyphen that is used to demarcate the eternal from a momentary perception (walking, in this case); there needs to be two electric poles between which a spark leaps for the haiku to be effective, otherwise it is just a brief statement] Fukuda Chiyo (1703-1775), also called Chiyo-jo ("jo" is a feminine suffix), Kaga No Chiyo (Chiyo of the Kaga Region), Matto No Chiyo (Chiyo of the Town of Matto), and Chiyo-ni (this suffix "ni" denotes nun), is Japan's most famous woman haiku poet. She lived the Way of Haikai, appreciating each moment and creating art as part of everyday life because she was open to her world. She became a lay Buddhist nun of the Pure Land sect after she retired, which allowed her to travel alone freely and access many groups such as poetry circles comprised of men and prostitutes of the pleasure quarters to devote herself intensely to her art in an age when women's freedom and creativity were restricted. Remarkably, she achieved fame and publication during her lifetime. In this haiku, Chiyo-ni reminds us of the enduring power of nature to connect us all, even across physical and emotional divides. It encourages us to find solace and a sense of shared humanity in the simple beauty of the world around us. Since the moon symbolizes enlightenment, it carries a hope that we can all realize the Buddha nature that lies concealed and unrevealed within each of us. I am reminded that Yamaoka Tesshu produced over a million calligraphy/painting works because the proceeds could be used to save all of the souls in Japan. Enlightenment that does not lead to boundless compassion is impotent. It is said that when thinking of famous haiku poets there are two names that have always been in the forefront: among the men there is Basho; among the women there is Chiyo-ni. She excelled at the "three perfections" of calligraphy, painting, and poetry--traditionally considered one art in East Asia. For the Japanese, the visual/spatial effect of calligraphy is almost as important as the meaning. Haiku is usually calligraphed in one vertical line, but sometimes, as in this case, in two or three lines. for visual effect. She was surrounded by famous artists living in her area and frequenting her family's shop that mounted other artists' works on kakejiku, or hanging scrolls. She was a largely self-taught painter, like most haijin (haiku poets) of the time. Her style has a freshness and spontaneity of composition and her masterly use of space is intuitive. Chiyo-ni's calligraphy line is feminine, refined, and freer than the more traditional masculine style of her teachers such as Genemon Yamamoto (1656-1725). Her cursive style, with its soft and energetic lines, is impossible to imitate. It is not the martial style of Otagaki Rengetsu with the precise spacing between the characters and between the rows with proportions retained and consistent (see comparison). Chiyo-ni's unique style can be divided into three periods: early period with a light, playful style; middle with a delicate, subtle style; and late with a simple, Zen-like style. A woodblock print by Tsukioka Yoshitoshi's of "Lady Chiyo and the Broken Water Bucket" is shown below. It illustrates an enlightenment poem by the unrelated Adachi Chiyono (1223-1298), who was the daughter of a samurai warrior in the 13th century and who became the first woman – and mother – to found and head a Zen monastery in Japan: "With this and that I tried to keep the bucket together, and then the bottom fell out. Where water does not collect, the moon does not dwell." The calligraphy version in the woodblock print appears to be a more contemporary rendering of Adachi's poem. Tsukioka may have been linking these two together since Chiyo-ni never wrote a haiku related to a bucket except for her famous "morning glory" series. She is said to have been a great beauty. Otagaki Rengetsu, eggplant

Long before ever buying anything, I joined the local NBTHK branch in Japan, and attended their meetings for several years. In those days it was mostly old men who spoke little, listening only to the Sensei explaining what he had brought. No one brought their own blades, even if they had any. Maybe some did, but that would have been a secret. When I put up my hand to ask a question, people turned around and stared, but I noticed the teacher seemed eager to answer. Some evenings when I kept my mouth shut, (as I had been advised by my elders and betters), he would ask me afterwards if I was all right. He encouraged me to ask freely, relieved at the give-and-take, and the sound of someone else's voice. Gradually over the years the older members faded away and dropped out and younger ones, male and female, came and joined. Even so, none seemed to want to possess their own blade. They were there to learn. When I questioned this, it was pointed out that the more they learned the higher they aspired, but at the same time the more financially distant those good blades became. A friend who had once been a member in the old system seemed to take almost twisted delight in the fact that members never actually bought anything. Eventually I was able to asure him that in reality people were now beginning to buy blades of their own. And they are. Thus it is that in Japan at least I would say that sword collecting is, to some extent, not over but changing in nature, and beginning anew.

Nowadays we have more resources than ever and can instantly see in high resolution what once required a trip to Tokyo. Meanwhile, one can compare a sword against dozens of papered examples located all over the world in a single evening. The magic has become the thrill of knowledge, the ability to access what had been locked behind language and geography, and connecting with other collectors, experts and enthusiasts all over the world. These all involve a certain amount of skill, albeit not quite the same as poking through attics and thrift stores. Kurosawa films once drew collectors to the romance of the samurai, but the last decade has seen anime (Touken Ranbu), video games (Ghost of Tsushima, Nioh), and film franchises (The Last Samurai, 47 Ronin) breathe contemporary life into Japanese swords as a cultural icons. An impactful moment from any of these media has the potential to create the desire to hold the real thing. For some, owning one becomes inevitable. I believe the importance of educating audiences with engaging and entertaining elements promoting Japanese swords cannot be overstated. Stories must be told. Without a narrative, these objects lose their context and meaning. In the case of post-war America, the context is in the name, but going forward it will be the tales we tell our children and our children's children about the Japanese sword which keeps the spirit alive. Those stories are already being told all over the world as we speak, and interest in Japanese swords is growing globally. This will perhaps not translate as directly to the pursuit of aquisition as it may have among a different demographic, but the bottom line is that the market is growing.

Access to information has certainly changed. The Internet is full of both information and misinformation about Nihonto (and many other topics). There are more books available, both in English and Japanese (bought on-line etc.). I see active collector communities in several countries - the US, UK, Germany, Japan are just a few of the more prominent I've seen. We now have mature organisations like the NBTHK, and friendly groups like the Token Society of GB. Sure, collecting Nihonto will never be mainstream - and believe me, you wouldn't want it to be (far too many swords would fall into the hands of people with little respect). Seasons change, but we're not in winter.

Had to post this seppa cut from black lacquered ray skin! I regularly hear about folks making seppa from leather, but this is a first.

I personally think its been cleaned, hence the colour of the iron and lack of rust

Well, I'm not very capable. These haiku (and waka, etc) are relatively easy because most of them are on the internet somewhere, so I just have to identify a few words or phrases and the search engine will do the heavy lifting. Also, I lived in Japan for 30 years, so that gives me a pretty good base to jump from. If its just a page of medieval script with no context, it can be tough, and sometimes impossible, for me to decipher.

吹け吹けと　花によくなし　鳳巾 Fukefuke to Hana ni yokunashi Ikanobori When the wind blows It is good for kite-flying But not so good for flowers

Another Mt Fuji habaki showed up and I thought it would be interesting to see the 3 I have on file together. Wondering why they all have the same two crevasses. Seemingly identical depiction of the mountain. Here is the only photo I could find showing more detail of the mountain, and I can see 3 points at the top. So, that must be what they are depicting.

Next up is a late-Momoyama to earliest-Edo Period iron Ohno tsuba. This is a classic Ohno work, in that it is compact and powerful, measuring 6.5cm x 6.3cm x 4mm. The plate surface is coarse in texture -- typical for Ohno work -- and features large, bold tekkotsu in quite a prominent manner. This, too, is an element we associate with early Ohno sword guards. The Ohno workers were located in Owari Province, and are thought by many to have had some connection to Kanayama tsuba, as they share some stand-out features. Ohno tsuba tend to be even more compact and direct in asserting the strength of their designs and details. This piece has as its motif the triple tomoe. Despite its size, the tsuba presents with a fairly large nakago-ana, suggesting its intended use on a katana. A really solid tsuba from this school/group and from those times. $300.00 plus shipping.

I think the hobby and the market adapted and refined itself a bit. The days of barn finds and treasure hunts in the wild have largely dissapeared and nihonto moved past it...furthermore the knowledge, research and market side of things has, beyond becoming just more available, been vetted/curated/organized etc...to turn a simplified/generalizing phrase; Nihonto left the attics and went to the galleries. Those of us "newly" arriving into the hobby find quite a different landscape that still has its magic in the "hunt" (be it mostly online) but I guarantee the thrill of finding a sword in an attic, researching it and discovering its something "special" will always be so much cooler than buying that same blade papered online. I feel nostalgic for the nihonto time/experience/market you describe that I never even got to experience. Nowadays there are categories (low end/military/mid/high for example) and its hard to break the barriers between them without paying for the difference. The top will always be buttressed up as akin to an art market and the bottom more utilitarian. There is something for everyone for the most part. Its a mapped out and curated world out there. The magic will still eternally reside in learning the contexts and holding/seeing the real thing.

I haven’t bought this one. It’s on Jauce. I have put in a low bid, so if it comes through then ok, if not then…

I believe that the name and address were written by its original owner during WWII. And other writings look like the same handwriting. He had his own philosophy.

If you have a look in the Izakaya, you will find this topic is already currently being discussed.

While I have this wonderful group NMB members together discussing beautiful Japanese haiku, here is another Chiyo-ni calligraphy. I have been hopeless at even getting a clue as to it's wording. I would be grateful for assistance here.

Hi Piers. Thanks for your comments, which bring an exquisite nuance to Chiyo-ni's poem. It seems that there may be a difference between 留主 and 留守 because the latter sometimes is used to mention that someone's mind is distracted with something else, thus being not focused on the present. This would tie in well with further elaboration of ‘hito’ as conveying someone close or dear to the one writing the poem or even possibly one who has passed away (her thoughts are with someone else). So, the translation of what strikes me as a profound sentiment rendered in 17 syllables and 3 lines (astonishing) might be: the autumn moon even for a dear one whose absence is keenly felt shines just as full Translation is a complex endeavor. I have never seen the same Japanese writing translated the same way because Japanese is often an implied language that requires sensitivity to personal, social, cultural, and aesthetic context. To the extent that the translator can discern the zukushi-ji and context, the translation will be different.

I’d like to clarify my actions regarding the locked thread. I locked the discussion after repeated warnings to stop the arguing were ignored. My intent wasn’t to take sides, but to stop an unproductive exchange and ease the burden on Brian during his recovery. The comment “hard words but well said” was in response to a personal accusation about how I interpreted tone. I see now how it could be taken as biased, and I regret saying it, I apologize. I strive to moderate fairly and objectively, but I’m not infallible. Since I’m now personally involved, I’ll step back and leave this matter for @Brian to handle when he’s able. Lets please be patient and keep it as civil as possible in the meantime, and that's directed evenly at everyone. Sincerely, -Sam

Would say most stuff for sale here, sellers take an hit, contrary to what you state.

Hi Justyn I do not see anything suspicious. The gold parts look like standard nunome zogan to me. My two cents. Luca

Maybe 則光 - Norimitsu

I think the top one is 名月や留主の人にも丸ながら Meigetsu ya Rusu no hito ni mo Maru nagara The autumn moon, Even for those who are not near to us, Is still full

Almost looks like a very stylized arrangement of traditional Chinese polearms to me...

But you're not simply urging people to look deeply before making a purchase. You're saying that newcomers should strive to meet a criteria, defined by you, for what makes a "good" first purchase, also defined by you. This field is way to nuanced to make such sweeping claims about how much someone else should spend. -Sam

Well I think my line of thought is pretty puzzling. I checked and there seem to be 3 ōdachi that have passed Tokubetsu Jūyō, of them I would only want the Mihara Masaie ōdachi of Yasukuni Jinja. However I have huge respect of shrines and I think it is much more important to have the sword remaining there so people can view it. The Motoshige and Ko-Bizen Yoshimune ōdachi both seem to be very nice swords but they don't have the shape & size that I would want for my personal collection. I am extremely happy that many of the ōdachi are staying in Japan and there will be a chance for travellers to see them. I also understand that my sword appreciation is way different from NBTHK, Tanobe, Tokyo National Museum, or even high level focused people in this forum etc. I was extremely happy that I saw this ōdachi at Nagoya Tōken World that they had acquired recently https://www.touken-world.jp/search/127485/ It was my favorite sword at the whole museum. I know that they have 100+ swords that are better than this one but I don't really care about that. This summer I saw 18 Kokuhō and 64 Jūyō Bunkazai swords while in Japan, however I think all of my 10 favorite items were various ōdachi and naginata. Of course by traditional appreciation I should value the best swords and smiths of Japan but in all honesty many of them do not excite me at all... This following point might sound very weird to people with high end swords in their collection but for me personally owning a super expensive sword would be extremely stressful. I have been blessed to have been able to view some very high quality items that other people have shared, and it is amazing experience but for me owning an item like that would be stressful. For me it would be much more fun owning 5 to 10 more mediocre items. This might be completely unrelatable thing but it is my personal feeling. I feel much more fun as a caretaker of low-mid level basic stuff than thinking about daimyō level items.

Maybe I'm misinterpreting the point you're making, but: I think where we disagree is in the assumption that most collectors are, or should be, moving toward a focused thematic collection built around a particular era or category like Gendaito. That kind of direction certainly has merit, especially for those who enjoy the academic or historical side of the hobby. But not all collectors approach this with that framework in mind. Some are drawn to individual pieces for personal, aesthetic, or even sentimental reasons; regardless of period, maker, quality, or school. For those collectors, the goal isn’t to “build a collection” in the traditional sense, but to find pieces that speak to them on a more immediate level. One of my favorite pieces, ya'll would probably rate a 2 out of 10 (it's personally sentimental). In that context, applying a structured collecting logic, like saving $8K to target the best of Gendaito, may not resonate at all. It’s not that they necessarily lack experience or knowledge, it’s that their goals are different. They’re not trying to optimize within a category; they’re pursuing connection, variety, or even just curiosity. So while I respect your point about direction and learning over time, I don’t think it’s the only, or even the most valid, way to approach this hobby. That’s exactly why I emphasized subjectivity. What matters to one collector might mean very little to another, and that diversity is part of what keeps this field interesting. Who are we to say that a first sword at 2k isn't a learning opportunity, or even a treasured piece in somebody else's collection? I agree that saving for a nice item is a good thing, and should be encouraged for newbies. I just don't agree on placing these arbitrary monetary figures on collectors across the board. I believe using those types of sweeping broad-brush expectations are what causes many people to view the hobby as "elitist". I subscribe to the opinion that an OK sword can be found at a variety of price levels, can be learned from, and those levels are different for every individual. -Sam

Have to disagree, it's not admirable, it's a choice. Someone can wait that amount of time to make a purchase and it still be no better a choice than one made after only a few months. Its all about the variables.

I started my collecting based entirely on collecting gunto, I wanted one of each type ,95, nco etc then it got more refined the more i learnt. Gendaito, Copper nco etc etc Then i learnt more and moved closer to nihonto, collecting good smiths in gunto koshirae now i collect nihonto, more specifically ko-gassan. I went from £500 to £2000 then to £10,000 plus Would i have spent the higher end at the start of my collection? no. now i know what I do and don't know to a much higher degree and can be more confident in a purchase. Not just that; now I am closer to being able to appreciate what that price is getting me. But the final thing really is, even at the start of my collection , i loved the swords i had then, swords others would dismiss now as junk, they still sit there and are cleaned, oiled and kept well looked after. each one is a piece of my journey to where i am now in my knowledge and also while it may sound a little silly, those swords were crafted with care and sweat and deserve to be preserved.

I think tsuba collectors will appreciate this one.

Day one

I've actually started to fly and collect my purchases instead of shipping and the process has been a lot lot easier. (flying to the USA and back at least) I'm using a proxy these days for Japan to the UK

You need to understand that false signatures of famous makers was EXTREMELY common throughout the history of Japanese swords. Some say there are more false signatures than real ones. It was common to sign a sword with a different maker's signature to elevate the status of it. Doesn't mean the sword is fake or is bad quality. But due to this, any sword with a big name needs to be inspected carefully and sometimes put through a Japan shinsa process to see if the signature passes. If not, it's called 'gimei' and that means you have a sword by an unknown smith. No-one can say for sure if your tanto is by the smith on the tang. That is up to professionals to analyze. But because he's a big name, it's worth showing it to a few experts, and maybe considering a restoration. Without knowing for sure if the signature is genuine or not, it's hard to date it. But likely anywhere from 125-300 years old.

The length of the actual sharp part of the blade is a hair under 26 inches. As for the history, enclosed is a picture of my great uncle, who was the one who had the sword. This pic is him holding it while STILL IN THE HOSPITAL in Honolulu, recovering from being stabbed by it. Talk about great family history, right? *image is cropped to fit largest allowed size:/*