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A big topic. There is not much in the way of definitive documentation on koshirae. There are a few books in Japanese on regional styles such as Satsuma. In contrast, there are many books about regional sword fittings makers that show metal parts and occasionally koshirae. Part of the problem is that relatively few koshirae were preserved or documented as koshirae fashions changed. Since there are a lot of gaps in the material record, it is difficult to describe trends or specific styles from the remaining intact examples. Over the history of the blade, the saya and tsuka were periodically discarded due to damage and wear, and the blade refitted with a new koshirae according to the taste of the then present owner. There is an article I wrote titled A BRIEF OVERVIEW OF Japanese SWORD MOUNTS OF THE LATE MUROMACHI THROUGH EDO PERIODS in the Downloads section under Member Articles. This gets into questions about koshirae differences by time period, class status, and level of formality. There is a bibliography with references for further reading. In other types of sword collecting, European and American swords for example, preservation of the mounts is considered as important as preservation of the blade, so more historical context is known, and can be correlated to time and place and class of user. A nihonto in new shirasaya on the other hand, tells us nothing about who used it or how it was mounted, unless that was separately documented. Part of the problem is the formation of specialist collectors for nihonto, tsuba and other fittings which has led to koshirae being taken apart to get at the metal bits. The downside is a loss of context and in some cases the destruction of a historic object. As a group dedicated to the preservation of the Japanese sword I think we nihonto collectors should consider choosing the western conservation approach in some cases, by keeping and stabilizing that old koshirae and sword blade together as a complete object.

And sure, I designed a simple 3D printed stand. The general idea was to make thing that holds the tsuba firmly but not draw attention away from the object.

Not long ago, a number of tsuba popped up on the local internet auction. Time to time I like to go through topics here or in the corresponding sales section, but I couldn't say that I am a tsuba man. Yet one particular tsuba from that batch caught my eye by its simple elegance. So I bid on it and won. It arrived, but for some time I had no time to take photos. Tsuba seems to be slightly damaged in one place, yet I like it like it is. So I decided to share it here. Also, if someone could tell me more about it it would be great. The diameter of this tsuba is 65mm.

Good taste - one I would go for as well. - - what Mauro said! not a gazillion miles from this?

The Suikōsha was established in 1876. 水交社

Two ways of wearing the Model 1883 naval sword. Both officers were KIA in 1945.

I think that your reading is correct. The nuance of "... saku ka" is conjecture rather than doubt.

Nice tsuba. The kawari-ishime-ji gives it an unusual look; otherwise, it’s quite an obvious Heianjō-zōgan piece.

Hi Dan, I think you mean 'mitsu'

Jeff , it is hard to judge blades when you are holding them in your hands , even more difficult from photos and almost impossible from crummy photos like these . You can see almost no hada or hamon in the photos . I doubt that even Mr Tanobe himself could tell you much from these photos .

Hi Lex, looking at the KANTEISHO, I think I can read NAGASA: 2 SHAKU 0.9 SUN which would roughly match 63,4 cm

Hi Chris. Your squirrel tsuba appeared in 2024 in this thread - along with this image of an utsushi Another from this thread : With this image There is also a single squirrel design with papers listed here -https://matsukaze.thebase.in/items/8490153 And another with both ategane filled here https://www.touken-world.jp/search-sword-guard/art0002655/ and here with papers https://www.ayakashi.co.jp/items/83815405 I have seen a few tsuba with "Shoki on the bridge" as well, but they tend to be cast copies [Not yours] https://www.ebay.com.au/itm/396800258462 you can tell the design is Shoki because of his "Ken" type sword as opossed to Yoshitsune and Benkei on the bridge. There are rarely only "just one" of anything!

George, perhaps the first thing to learn is what we would call a "matching" KOSHIRAE might not be the same in a Japanese view. In fact, there are (often valuable) KOSHIRAE with TOSOGU en suite coming out of the hands of a renowned craftsman, but this is far from being common with all SAMURAI. As I have read, with "average" class SAMURAI, KOSHIRAE were put together following individual taste and available money, and easy-to-change parts like TSUBA, TSUKA, or SAYA were probably exchanged a few times in the life of a good sword. So, not even looking at the historical changes in general styles and use of a sword, there were many factors in the choice and combination of sword parts that we are not always aware of. In many cases, we have to learn about Japanese taste, about their mythology, religion, nature, tales and legends, folklore and customs, a.s.o. Just to give an example: in the West, we would consider martial symbols fitting a weapon, but in Japan, you may find a FUCHI with playing puppies, or a (matching !) FUCHI-GASHIRA set with a peaceful farm scene with hens, chicks, and a cock. So, studying and understanding Japanese beliefs, feelings, and taste in the historical and cultural context will certainly help. Reading books by Lafcadio Hearn might also help. I don't think there is a fast and easy way.

I am looking to buy Type 95 Guntō variations in good condition. I hope to buy each variant, take photographs for my document project in the downloads section, and then resell them to buy another. So please understand that I will be reselling these swords; an arrangement can be made where I sell them right back to you for the same price (and I cover all shipping). Budget 5k USD and under. This is a "long term" project, and I do not expect this to accomplish this quickly All the best, -Sam Variation 1 (Early Copper Hilt horseshoe Saya plug) Variation 1 (Copper Hilt straight Saya plug) Variation 2 Suya Variation 2 Iijima Variation 2 Gifu Variation 3 Variation 4 (Dawsons 2a) Variation 4 Variation 5 (nagoya aluminum side latch) Variation 6 (Unfullered Aluminum Suya) Variation 7 (Fullered Wood Handle) Variation 8 Variation 9 (Jinsen)

Last month I was in Kyoto. went into a tourist trap antique shop. It was at the end of a long street that is aimed at the tourist trade, but had genuine antiques for sale. There was a large section of sword fittings, most of them in poor shape. Some were sets connected by small bits of plastic, others individuals. In the individual menuki box, I found this treasure and bought it on the spot. A giant frog holding an umbrella, while a man in court dress bows down and prostrates himself to the frog. (I, For One, Welcome Our New Amphibian Overlords!) Whatever it was paired with has been lost to time. I am therefore posting it here, to ask if anyone else has seen it's like? (Besides the fire breathing toad of Tenjiku Tokubei...)

Very nice katana tsuka with copper fuchi/kashira by Manuel Coden. Menuki are old. length: 28.5 cm Fuchi 4 x 2.3cm, nakago ana 0.8 x 2.2cm Kashira 3.6 x 2.0cm $150 plus shipping (EU will be cheap, US will be 50 bucks by Fedex)

Nagamitsu?

I hope this helps. Thank you

Thank you, Mauro! Much appreciated! Thank you, Dale! Interesting, that photo even has a background that looks very similar to mine. I have to confess, I used "The Craft of the Japanese Sword" for the background of my photos. I am gradually finishing reading this book and its cover has such a nice texture and neutral grey colour, that I couldn't think of anything better when it came to tsuba photo shooting. Yet, I found tsube that even closer to mine right on this board: https://www.militaria.co.za/nmb/topic/20627-tsuba-menuki-and-kozuka-sale/

Hi Alex, nowadays it’s like walking in a minefield….great many repros/fakes of varying quality from pretty good to pretty awful. Also many modern pieces being made in Japan apparently from a process that takes moulds from original items and then recasts ( many of these are solid whereas good Meiji bronzes are hollow and often rattle inside a bit which might sound bizarre but true!) There are many fakes of Samurai, plain or partially gilt, monkeys, birds of prey, koro…..the list goes on and on. Some made in Japan, some China and probably elsewhere. Its just like swords…..you simply have to develop the “eye” based on handling many genuine things. Alloys used in genuine pieces can vary a lot as well and patina can be equally variable in colour. It comes down to being able to recognise artistry, quality of casting, quality of subsequent finishing (carving, gilding, patination etc) Some makers are obvious….Seiya, Miyao, Maruki, but again….there are fakes of these as well. I dealt in Meiji bronzes for many years when good pieces were available but nowadays not so much good stuff surfaces. 99% of small bronze okimono for sale in the UK via UK auctions, especially things like insects, crustaceans, rats, creepy crawlies, scorpions, dragons are all fake (loosely in Meiji style). Even UK antique platforms (Selling Antiques and others) are littered with mostly fakes. No easy answer……know your subject……caveat emptor. Websites to look at…Kevin Page, Steve Sly (both personal friends and excellent trusted dealers) plus of course Bonhams. Malcolm Fairley and Grace Tsumugi probably have pieces on their websites also. Happy to look at anything you are thinking about. Best. Colin

I guess I would add: 6) Does the wear on the patina (high parts) look natural from handling? John C.

Very good question, Alex. 9/10

From Kris's photo above, note how the ito has twisted a bit from use. John C.

Ian, Thank you for clear and direct comment. I have given the owner a "crash course" in photography of nihonto and will see if we can make this sword a little clearer. I think a member is in touch in his area, Indiana, hopefully an up close will shed some light.

Hi Susan/@Millers1257, welcome to the forum! Just to clarify what others have suggested, this looks to be a real Japanese blade, likely hundreds of years old. It 100% needs treating with care, so please don't attempt to clean the blade, even though it seems in rough shape, as you may damage it further (for example, cleaning the rust off the nagako/tang can drastically reduce a sword's value as it is a key way to tell it's age). In terms of price, these swords can have quite a large range - from a few hundred dollars, to tens of thousands. It all comes down to the smith, the quality and aesthetics of the blade, as well as its condition and any flaws it has. Even a sword's tsuba/guard or other fittings can command quite a high valuation on their own, or be near valueless. It all depends. There's so much nuance in the field it's hard to properly summarise. Smith signatures are often faked (called gimei), and even a near-invisible hairline crack in part of the blade could render it fatally flawed (though this depends on where the crack is). As Dan suggested, this really should be seen by a collector or expert in person, or else you risk potentially underselling the sword without knowing it's true value or history.

Hi! This Muramasa Mei looks a little weaker than what we usually see on Tanto, Wakizashi or Katana of Muramasa, But Meirin had a Hozon Yari quite resembles this one (https://www.nipponto.co.jp/swords5/WK328588.htm), have you seen it? I guess Muramasa's Mei on Yari could be a little different. There are some Mei from Hozon or better papered Muramasa's Yari.

Well... It has a tachi mei which is well carved in koto fashion.. very beafy both nakago and blade, with uniform nakago patina. Probably Muromachi. Probably toriizori. So its likely 1500-1550. Weird uchigatana with tachi mei? Could be, interesting how long is the nagasa. Mitsu was used by a few schools, Bizen being most famous. But there are some issues with it being Bizen... Late Bungo it can be.

Agreed. Also, note that where Tachi Shi has been well rubbed away, 'Den' looks to have been added at a later time.

Hi Susan, It would be easier for us to see what you have if you take your pictures on a dark background. Your camera is reading off the light colored background and detail has been washed out. Pictures of both sides of the tang (part of the blade inside the handle) and of the whole bare blade with a yard stick beside it will help. Look here for a care and handling brochure: https://nbthk-ab2.org/sword-characteristics/ Best, Grey

Great pipe. Plainly Japanese by virtue of execution. A very Chinese subject, yes, but as others have noted, in East Asia, all roads lead to China. I think the piece provides a nice opportunity to talk about the intriguing artistic trend it falls into, because it is an excellent example of a distinctly East Asian material aesthetic. A great deal of its beauty comes not merely from its form, but from its surface finish and “maturation” (aging, like a fine wine) through time, care, handling, and use. The coloration seen here, warm copper-browns, amber-black transitions, tea-toned lacquer hues, is part of a palette long prized in East Asian decorative arts. One sees the same shades in smoked bamboo tea utensils, rubbed walnut bracelets, old lacquerware, tiger-eye beads, darkened bronze, polished deer antler, and centuries-old furniture. They seem to evoke an aroma of autumn, smoke, earth, tea, resin, and slow oxidation - they are organic, “living” colors that speak to an artistic philosophy where time becomes a collaborator. This sensibility is deeply rooted in Chinese academic and literati culture, especially the traditions surrounding 文玩 (wenwan), the appreciation of scholar’s objects whose surfaces evolve through repetitive touch and care. In this worldview, objects are not considered complete at the moment of manufacture, rather, they gradually mature and are “nourished” by human contact. Oils from the skin, exposure to smoke, incense, tea vapors, friction from cloth, humidity etc all contribute to the development of 包浆 (baojiang): the mellow, lustrous patina prized by collectors. This concept certainly crossed over into Japan from China together with the wider genre of art, I propose as a sort of “way of seeing” or way of “appreciating” these objects to a greater degree. You get more bang for your buck from the thing if you’re encouraged to fixate, fiddle and baby it. The idea that the object becomes richer, darker, softer, and more spiritually intimate over time, as one invests one’s care and attention into it, is admittedly an alluring albeit romantic idea for me. There are even certain strict handling customs and beliefs associated with this “genre”, if you will, from the perspective of a purist. Discussing the topic with Chinese aficionados, it was noted several times to me that these sorts of objects are exclusively male oriented and should under no circumstances be handled by women, nor enter a bathroom or wash area. Although many of these artistic sensibilities originated in China, Japan absorbed and transformed them through centuries of cultural exchange. Chinese influence, especially during the Tang dynasty, profoundly shaped early Japanese court culture, artistic imagery, decorative vocabulary, Buddhism, and material arts. Over time, Japan cultivated its own parallel sensibilities, especially through concepts such as shibui, sabi, and wabi, which favor subdued richness over brilliance and quiet depth over overt display. This pipe reflects this genre wonderfully. Its artistry lies in tactility, atmosphere, and accumulated human presence. One undeniably romantic truth is this: following the notion that handling improves such an object, it is accurate to say that through years of touch and companionship, the connoisseur owner does in fact become part of the object’s final finish.

Hello, A nice collection. I like the kozuka and the fan menuki

Can someone help me identify the value of my sword,i can't take off the handle its too tuck in. Thank you.

As stated in my first post, I am not the owner of the sword. I'm trying to help the owner get a little more info, on what I think, is an interesting sword. If it matters, I saw a thread, not on WAF, but on WMF, he didn't get much response or knowledge. I asked to see some more photos, said I thought he had a good 14th cent, blade and offered to post it here to help him out. The owner is a militaria collector as I was, I was accustomed to sharing knowledge with others and helping when I could. I feel like that is being "active " in the learning process of a hobby. Which is the case here. Jeff

Just added a nice HUGE Nobuie Utsushi. Fantastic iron with lump tekkotsu on the mimi and ji. 9.1 x 8.5cm. SD 3.5mm and 7.5-8.1mm at the mimi. Thing is a brick.

Gerry, I am really happy for you that your parcel has arrived at last. That is excellent news to hear. Do enjoy your new acquisition

Something I can add. I'm currently in the process of looking to see if I can start sending some of the items in an extensive knife collection, to the USA. Far higher prices. I have someone who does international shipping, and she specializes in sending knives overseas. Joyce is the main person here who everyone uses, and has shipped hundreds of parcels. I have been chatting to her the past few days. The process is fairly straight forward. But she cautioned me on one thing. Apparently fairly randomly (and she says in the majority...but not all cases...if they go through the Atlanta hub) the item will be selected for a CITES inspection. This is where they will check if there are any parts at all made from any endangered wildlife parts. Not just ivory, but certain woods, skins etc etc. Even in cases where these parts aren't present, she says in those cases, the item is delayed every time by between 14 and 21 days before being released. Even if they have the correct docs, once it is pulled aside for SITES inspection, you can add 21 days or so before it's released. Sounds to me like you fell foul of one of these inspections, before they decided none of the parts were a problem. But congrats, that is great news, really happy for you.

As another complete novice, I second that recommendation.

@Markus has a later version: Koshirae Taikan. I have the ebook version, and it is an extensive resource that I recommend as a complete koshirae novice.

hi gerry, does it mean that the us fish and wildlife agents took the sword out and inspected it? if so are there any handling marks and such? curious to know what they did and if they were careful in the process.

Fantastic news, congratulations. Lack of communication between departments places heavy stress on everyone!

Hi George, You may find this book interesting: https://japaneseswordbooksandtsuba.com/store/book/sword-books/b351-zuikan-toso-no-subete-by-kokubo-kenichi/ It is in Japanese but maybe an online translation site can help. Grey

Marcus Sesko publications are widely considered the best available in the English language. I have several of his books, and really like each and every one. The only issues with his material that I ever encounter, is when it goes beyond my current level of understanding. A good thing, in my opinion; because I continue to learn when I reread and revisit his books. I don't personally have the book you mentioned, but it looks like what you’re after based on the description here: https://markussesko.com/2013/02/14/koshirae-Japanese-sword-mountings/ Best of luck, -Sam

Hi Jussi The main problem with this blade is the jiri, as every Kongohyoe blade has a Sotoba or at least Kengyo jiri. I know that there was one shown in the first book with ha-agari kurijiri, but I have since rejected that smith from Kongohyoe. Some people might think that the jiri has been re-shaped, but I have never seen that done with these, they always are kiri, if suriage. I think you will agree that this nakago has a Bungo look to it, and there was a Morihide practicing with the Taira group in early Muromachi. Also, the shinogi-haba looks a little narrow for Kongohyoe. I no longer submit blades for Shinsa, since in some cases you have to submit three times to get the correct attribution, and recently I have seen some rather obvious mis-attributions on NBTHK Hozon papers. I do have ultimate faith in Tanobe San, however. I received a mumei blade for evaluation not long ago, with Hozon papers attributing it to Kongohyoe. It was a beautiful elegant tachi, which immediately was a red flag to the attribution. Beautiful jigane of ko-mokume with a little nagare and bright hamon in suguha looked odd and then I noticed that after suriage the original mekugi-ana was still there, but there was no koshi-sori component in the nakago. The blade was completely tori-sori, ruling it out as Kongohyoe, not to mention the shinogi-haba was that of Yamashiro tradition and too narrow. After lots of research and the use of your wonderful spreadsheet, I pinned it down to Awataguchi, and then a smith from Inaba, the son of the founder of the Inaba Ko-Kaji group. As the founder was trained by the Awataguchi school, they made excellent duplicates of those blades, appearing to have the sugata just after mid-Kamakura when the compound sori was abandoned by the Awataguchi smiths and the koshi-sori removed. Anyway I eventually found signature fragments on the Mumei blade, showing "Kanenaga". So the moral of the story, is that the Shinsa judges are not infallible, and sometimes guess the wrong island. Sorry I cannot be of more help. Lloyd

https://www.invaluable.com/auction-lot/saito-makoto-1858-1936-1589-c-e6e9ce8f25?objectID=202806750&algIndex=upcoming_lots_prod&queryID=766a104cadbd61662fc74eecc2847237

Similar to Sam’s, but the kirikomi(?) is along the nakago-mune of a ko-Fujishima tachi:

This is a bit of an old thread but wanted to post here as the examples of kaigunto koshirae are fantastic. I recently bought a kaigunto sword and the ishizuke is different from what I typically see. Any significance to the type of ishizuke? The sword has sharkskin covered saya and the button release latch. The blade is mumei and seems old. I am planning to send it for shinsa in December, unless someone here thinks it is a complete waste of money.

Pic2

Here are some pics of mine