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Dear all I just wanted to share one of my latest acquisitions. Dimensions: Fuchi 38.3 mm x 21.9 mm. thickness 12.5 mm. Kashira: 34.7 mm x 16.6 mm. thickness 9.8mm. It is a fuchi-kashira signed "Nagamine [Kao]" (永峯 [花押]) it is not papered but the signature, the quality of the execution and the composition of the subject fully fit into the caractersitics of the school as outlined in my summary of the Ayanokōji Nagamine school (https://www.militaria.co.za/nmb/files/file/122-the-school-of-ayanok%C5%8Dji-nagamine/). The fuchi shows some wear of the patina and the nanako ground but the conditions are farely good. On the omote (表) side of the fuchi (縁), an ox-drawn gosho-guruma (御所車) is shown against a landscape of pine trees and hills. The carriage is accompanied by attendants dressed in what looks like Heian clothing. The figure at the front is wearing a tachi (太刀). In ancient and medieval Kyoto, members of the imperial family and the aristocracy commonly travelled in ox-drawn carriages known as gosho-guruma (御所車). The presence of a gosho-guruma, particularly with its bamboo blinds lowered, conventionally suggests that a person of high rank - often an elegant lady, nobleman, or member of the imperial family - is inside the carriage. On the kashira (頭), a group of similarly dressed figures is shown standing in front of a fence or palisade with a gate. This architectural detail is particularly important for identifying the subject of the composition. There are two chapters of The Tale of Genji (源氏物語, Genji Monogatari) whose narratives could potentially correspond to the scenes depicted on this fuchi-kashira set. The first is Chapter 14, Miotsukushi (澪標, "Channel Buoys"), and the second is Chapter 16, Sekiya (関屋, "The Gatehouse"). In Miotsukushi, Genji encounters the Lady of Akashi at the entrance to Sumiyoshi Taisha (住吉大社). In Sekiya, Genji encounters Utsusemi (空蝉) at the Ōsaka Barrier (逢坂関). There is a particularly relevant pair of folding screens (byōbu, 屏風) by Tawaraya Sōtatsu (俵屋宗達), Tokyo National Museum, dating from the seventeenth century, which depicts precisely these two episodes. Miotsukushi Chapter 16 Sekiya Chapter 14 The screen representing the Sekiya episode clearly shows a gate whose form is remarkably similar to that depicted on the kashira of this fuchi-kashira set. This architectural detail provides an important clue. Although the general subject of the fuchi-kashira could initially be interpreted as either Miotsukushi or Sekiya, the presence of the distinctive gate strongly favors Sekiya as the intended theme. I hope you enjoy this fuchi-kashira set as I do. Regards Luca

Hello Curran, sorry to disappoint you: The Gassan Sadayoshi has a family reunion with his (adopted) son Sadakazu and his grandson Sadakatsu in a german collection Best Andreas

Dear NMB community, Tomorrow is the big day, NihontoWatch will be officially out of BETA. I promised a surprise, so it is time for the reveal. I have cooked. What we've been missing in the field is the ability to learn from kantei. Kantei is the practice of guessing the maker or school of a blade, either with the real sword in hand, or through oshigata and descriptive information. The later is the model that has been used in the Token Bijutsu magazine for decades, and it has been a wonderful way for people to engage with the field and learn more. Today it's a bit frozen in time, with bids sent through paper mail, and feedback being exceedingly slow as a result. NihontoWatch brings this ancient practice to the digital age. Tomorrow everyone will be able to play the Daily Kantei, where you will be presented with the same five swords with carefully selected clues, and attempt to guess the maker from a calibrated multiple choice in under 90 seconds. The daily kantei is a learning tool, where you can improve your skills at differentiating makers, study key traits of different smiths, and refine your connoisseurship. On any given day, if you reach 4 out of 5 Atari, you will unlock the Dojo Access Achievement. Once you earn the achievement as an NW member, it will unlock the doors of the the Dojo for you. There, you can train as much as you want, and the difficulty will gently adjust to your level to keep things challenging while not impossible. It will find your sweet spot for you to learn and prepare you for what comes next. Once you've muster the courage, true competition begins on the public leaderboard. You can compete in Ranked Kantei. Ranked Kantei uses the same formal rating system as chess: the ELO rating. After 50 trials, you are assigned an ELO rating based on your performance and you will be qualified on the ladder. The game's difficulty is self-adjusting, it gets harder and harder as you climb up the ladder, and your ELO rating will keep evolving as long as you keep playing. After a few months (TBD), the season will come to an end and champions will be announced, and a new season will begin with rule adjustments. Each season have a maximum number of trials (TBD, between 250 and 500). As more players play the game, the self-adjusting difficulty will become more accurate and throw less wild swings and the next season will benefit from better calibration. Until then, we all must endure the unforgiving swings of the Kantei Arena. During the course of internal testing, our current champion was revealed to be no other than... THE DISTINGUISHED, THE AWESOME, THE ERUDITE MARKUS SESKO WHO WILL RISE TO THE CHALLENGE AND CONFRONT OUR CHAMPION? WHO WILL HAVE THE GUSTO AND THE ERUDITION TO DISPLACE HIM AND EARN GREAT GLORY? GREAT PRIZES ARE TO BE WON IN THE FUTURE, IF THE ARENA MASTER'S RUMORS ARE TRUE... And will the Indecisive Ninja reveal who he truly is? will he make a secret bid for the top under his mysterious moniker? Will yours truly, Hoshi, the evident try-hard challenger with a whooping 134 trials under his belt, finally learn to differentiate the various Ukai smiths and study his Shinto? Stay tuned. All will be revealed during the course of the GREAT KANTEI GAMES, season 1. In the future, there be exclusive perks to unlock by playing and competing in the Dojo, and you can trust that they will be nothing short of awesome. First, it needs to be tested for a months or two, ensuring everything works well, that there are no gaps, and that it is resistant to shenanigans. This link will be live tomorrow: https://nihontowatch.com/kantei/ Or simply access it via the app here: If you're enjoying NihontoWatch, support the project by getting your membership here: https://nihontowatch.com/join As usual, please keep all Kantei game related feedback (bugs, issues, areas of improvements...) in this thread. Brace for the Great Kantei Games. It begins tomorrow. Hoshi

I don’t have the direct experience you specified, but I will put a few thoughts forward. You are asking about kantei procedure for mumei tsuba. There are some differences if the tsuba is kinko or tsubako. Kinko is primarily soft metal and the focus of the art is on the carving. Most of the mumei kinko tsuba that would merit shinsa are from the Edo period where there is more documented about the artists and the schools, because a lot of them are signed, so unsigned work by the same artist or school can be compared. The carving technique details of the famous masters is known by certain experts, so it is possible to confidently attribute a name or workshop to a high quality but unsigned kinko fitting by looking at the unique style, the tool marks, how the tool was moved, etc. This is known as the teguse, or the “hand” of the artist. An example are the specialists who study Goto fittings. You sometimes see kanteisho stating, unsigned, but by Goto so-and-so. A shinsa team may or may not have such a specialist, but I assume in a Japan based shinsa, such a specialist could be called in to evaluate a high quality mumei candidate. This approach can also be applied to a some tsuba artists that worked in iron, such as the well known Higo groups that have distinctive sukashi and softmetal decoration. However, the majority of unsigned, average and low quality tsuba do not have characteristics that can be identified to a specific person, and so in shinsa they are assigned to broadly defined schools or categories. Particularly in the case of unsigned iron tsubako, most of these categories are of relatively recent invention, made up by tsuba scholars in the 19th-early 20th centuries in order to classify similar tsuba into groups. Because of the broadness, there can be multiple opinions about where a tsuba fits. For example, is it Koshoami or Kanayama? Is it Onin or Heianjo Zogan? This can lead to a tsuba having multiple papers with different opinions. This existing unsigned tsuba classification methodology is mostly based on comparative analysis, logical inference, and oral tradition since there are few documented facts supporting the majority of these broad tsuba classifications. We know that the NBTHK utilizes a “kantei points” checklist approach when evaluating sword blades, so there may be a similar approach with tsuba. From a science perspective, there has been a few attempts to analyze the material of sword fittings, but this is expensive and non-destructive methods are limited. A question here, is an NBTHK Hozon paper really worth much on an average quality mumei tsuba? I think in most cases no, because most collectors can classify their mumei tsubako and kinko into these broad categories themselves with some reference books and study. It may be worth submitting if you think the tsuba may make Tokubetsu Hozon, which is useful as an assessment of quality.

@Brett, The actual background is much more complex and would go beyond the scope of this discussion. Simply put, it is customary in the Jishu sect for its leading priests to use the suffix “Ami” or just “A” (for Amida). So, Hon’ami or Hon’a, Sho’ami or Sho’a, Ze’ami or Ze’a, San’ami or Sa’a. The Jishu are a sub-sect of Jodo Buddhism. Going into all the theological background here would take us too far afield. What is important to note is that the early Jishu broke away from monasteries and turned directly to the faithful in both urban and rural areas. They practiced “Nembutsu” (Namu Amida Buddsu) as itinerant priests. They also accompanied armies as chaplains, even into battle. This led to close ties with the samurai and local rulers. Another term in this context is “Doboshu,” meaning “companion.” After the death of the founder, Ippen, the sect appeared to disband, but it was reformed by his disciples and returned to monasteries. One aspect of their religious practice was a dedication to scholarship and the arts. In this sense, the Jishu were the catalysts for garden art, the tea ceremony, calligraphy, Noh, and much more, all of which were studied in the dojos of their monasteries. Combined with a certain freedom to travel and connections to the powerful figures of the time, membership in the Jishu was highly desirable. Masters of various artistic disciplines were granted priestly status and the title “Ami.” Some of the “Ami” artists effectively became curators and, as a result, artistic advisors—even to the shogun himself. In this context, the Hon'ami family became experts on swords, just as the Sho'ami family was responsible for “silversmithing” (in the broadest sense), and the Ze'ami family was responsible for the No theater for the aforementioned Ashikaga shoguns. Later, Zen Buddhism perfected what the Jishu had established as its foundation. And today, many art forms are known as typical Zen arts. Nevertheless, the Jodo-Shu remains the Buddhist school to which the majority of Japanese people still belong.

Today I learnt a thing... The name Hon'ami comes from the words Myohon Amidabutsu, or more fully "Myohon Amida Buddha.” It is a combination of two distinct Japanese Buddhist concepts: Myohon (妙本), means "mystic foundation" or "wondrous truth" in general Buddhist philosophy (where Myo means mystic/wonderful and Hon means basis/root); and Amida Buddha (阿弥陀仏), the principal Buddha of the Pure Land school of Mahayana Buddhism. His name translates from Sanskrit as "Infinite Light" (Amitābha) and "Infinite Life" (Amitāyus). He is venerated for his vow to welcome all who sincerely call upon his name into a western paradise free of suffering. Hon'Ami therefore means Wondrous Truth, Infinite Life. This important line of polishers have certainly provided some wondrous truths over the last 700 years, suggesting their name rings very true. Now you, like me, know.

Update: Went to the UPS distribution center (about 30 minutes away). Spoke to the loading supervisor and explained the situation with photos. I got the "let me see what I can do." By the time I got back home, I had recieved a message that "miraculously" the sword was found and will be on its way. Within an hour, a UPS truck pulled up with the sword. Moral of the story I guess is to be persistent and, if possible, go in person to let them know you are serious. John C.

My sincere thanks to Marah. This is a serious “mother lode” of newsletters, documents, and study material. Not only JSSUS newsletters, but also newsletters from the Florida token kai, Northern California and Southern California clubs, bushido magazines, old internet printouts, and dozens of other articles and lectures from scholars ranging from the late 1960s to the 2000s. There’s even a JSSUS member roster from 1979. - Edit: -Japanese sword society of the United States newsletters from 1978-2006. -Yamanaka newsletters volumes 1-4. -4 Hawleys pamphlets. -Michihiro Tanobe lecture, 2003 Tampa Florida. -a small variety of Northern and Southern California material. -A binder full of a couple dozen papers written on a wide variety of Japanese sword related topics from a variety of authors. -A variety of loose material, some written in Japanese, and a bushido magazine. - Good thing I have a love for printed material and organizing! Going to try and get it in some sort of “order” and begin investigating and studying from there. If anyone sees anything they’re particularly curious about, I’ll take a closer look and share. All the best, -Sam

I was asked if I could jump in and clarify. Its a super confusing topic, but as Jacques pointed out, the general rule is an IS vs. WAS. I will put down my notes below. Traditionally, and currently, the NBTHK uses the following classification. Buckle up, hehe: Tachi (太刀) for a blade that still IS or can STILL BE recognized as such, that is, a blade intended to be a tachi, which means a blade meant to be worn carried edge down suspended from the waist cord. This can, but must not depend on the time period it was made. Tachi were prevalent before the Edo period, but tachi were still made in the Edo period and later. Production time is a major indicator, as is the placement of the signature. First, katana (see definition later) were not common until the late Muromachi period (16th century). Long swords made up to that time were most likely intended to be a tachi. Second, Japanese blades were traditionally signed in a way that has the signature face outwards when worn. Thus, when suspended from the waist cord, edge down, the signature is on the side with the cutting edge facing to the right when you hold the blade tip up in your hand. There were exceptions (Aoe School, etc.), but that is the general rule. Accordingly, when you have an unshortened long sword predating the late Muromachi period, or a somewhat shortened blade that retains its signature on said side, it is classified as a tachi by the NBTHK. An unshortened, but unsigned long sword from the Edo period may still be classified as a tachi by the NBTHK if it is prominently of a shape that copies earlier tachi shapes. Katana (刀) for all long swords in general that measure above of 2 shaku (60.6 cm) and that CAN NOT be recognized as a tachi. (FYI, even after being shortened to an extent that the entire original tang is lost [referred to as ō-suriage], a blade still classifies as a long sword as long as it measures more than 2 shaku.) There is no “katana now, but originally a tachi” in the nomenclature currently used by the NBTHK. For context, katana is the abbreviated form of the term uchigatana, which originally meant “striking shorter sword” (there was no textual distinction between dagger and short sword in early periods, only long sword, tachi; ANYTHING shorter was called a katana). Uchigatana (打刀) for all swords in hira-zukuri measuring noticeably above of 1 shaku (30.3 cm) and to around 2 shaku (60.6 cm) in their ORIGINAL, unshortened condition made before the Muromachi period (when short swords in shinogi-zukuri started to become common). This was the then period term for that kind of sword, or blade, and it is still followed. If a blade from said period and construction measures just somewhat above of 1 shaku, it will be classified as a wakizashi, even if other terms existed for it in the past (e.g., hira-zukuri ko-wakizashi, ō-tantō, ō-danbira, sunnobi-tantō, etc.). NOTE: Even if late Murmachi period long swords in shinogi-zukuri were still referred to as uchigatana in contemporary texts, those are currently classified as katana by the NBTHK. Wakizashi (脇指・脇差) for all blades measuring between 1 shaku (30.3 cm) and 2 shaku(60.6 cm), regardless if made to this length originally or shortened to this length later. If a tachi was shortened to below the length of 2 shaku, it is now classified as a wakizashi. There is no “wakizashi now, but originally a tachi or an uchigatana” in the nomenclature currently used by the NBTHK. See above for the exception of an uchigatana classification. Hope this is helpful.

Just a heads up that this is not Edo period, please do not bid on it. Aoi Art Menpo

Found this really interesting piece of historical news that, whilst not specifically sword related, definitely has some strong links due to the persons involved. From NHK ONE: A letter from Hashiba Hideyoshi (later Toyotomi Hideyoshi) detailing Ieyasu's offer to send his son and brother as hostages during the Battle of Komaki-Nagakute, fought between Hideyoshi and a combined force including Tokugawa Ieyasu, has been newly discovered in Tatsuno City, Hyogo Prefecture. Experts consider it a valuable document, as it demonstrates how Hideyoshi gained an advantage in the battle and paved the way for his unification of Japan. The letter, found in May of this year in an old house in Tatsuno City, is addressed to Wakizaka Yasuharu, a senior retainer of Hideyoshi, and bears Hideyoshi's signature and seal. The letter describes the Battle of Komaki-Nagakute, which took place after the Honnoji Incident over the succession struggle to Oda Nobunaga's position. It states that Ieyasu offered to end the war by offering his son and brother as hostages, but Hideyoshi refused. Ieyasu then offered to send three more powerful warlords, including Ishikawa Kazumasa, as hostages. The letter also expresses the expectation that the fighting would soon end. Yoshiaki Shingu, director of the Tatsuno Historical and Cultural Museum, who assisted in the discovery of the letter, said, "This letter is a fascinating and valuable document that allows us to assess how Hideyoshi advanced the battle to his advantage and paved the way for the unification of Japan." The letter will be on display at the Tatsuno Historical and Cultural Museum from October 24th this year. This is about as important a letter as you can get as it lays out the blueprint, from the horse's mouth, for the proposed terms by Ieyasu that allowed for the ascension of Hideyoshi and ultimately the unification of Japan. With so many documents lost to history it is pretty cool that something like this has survived 462 years and is now available for viewing by anyone.

Hi, While it is theoretically possible to de-register and export Jubi items, I do not recommend it for a number of very important reasons. First of all, it is considered poor taste. Jubi was initially done (in a rush...) to prevent swords from leaving the country during difficult economic times. This is therefore a sensitive topic, and the reaction to de-registering and exporting a Jubi can vary from a frown to a perception of national treason. While one can probably reach the level of respect in that community where it's considered "mostly OK but only for you" to do this, the mere fact of having the money and not the standing would be considered exceedingly poor taste. Second, it destroys value. Once a Jubi is de-registered, it is no longer Jubi for collectors in Japan. Expect a value hit of 50%. Third, there is a significant percentage of Jubi items whose attributions, provenance, etc would not hold up to today's standard, and there are also items that would be considered gimei. It is therefore a real minefield. Fourth, the quality aspect: the average TJ blade is superior to the average Jubi blade. What differs is the variance: there are a few great Jubi which are true outliers in terms of important and quality, such as the Sagara Mitsutada or the Ko-Bizen Tomonari in the Taiwan exhibit. However, the average price of a Jubi is typically around the price of a high TJ because ownership of these items carry status, and collectors pay for this rare status and especially, the frozen supply. So, to sum up: You will be spending more money than on a TJ, you take an immediate haircut of 50%, you hurt your reputation in the process unless truly special circumstance, and if your knowledge is not sufficiently advanced, you may end up with a poorly attributed item that does not hold up to modern standards. As for this specific blade, it is attributed to Aoe school (Not Sadatsugu, unlike what the listing present). It is a typical Chu-Aoe blade of the Nambokucho period of upper Juyo quality. Probably the work of one of the "-tsugu" smiths of that period. I hope this helps, Hoshi

I'm not lucky in auctions. Never. However, I sometimes think 'you've got to be in it to win it' and I'll place a half hearted bid on something I like, only to see it inevitably develop into a bidding war that kicks me to the curb within seconds. Well, I've always wanted a tanto from WWII but every example I've seen has ranged from Chinese 'kamikaze' junk to beautiful Yasukuni tosho masterworks which were way past my budget. Anyhow, I spotted a very nice little piece on Yahoo a few days ago and kept an eye on it until its auction was due to end tonight. I was watching it go up in increments and waiting for the usual flurry of last minute bids when I decided to throw my hat in the ring. And then nothing else happened.😳 Long story short, mine was the last bid and I won it by going ¥500 higher than the last guy. I have no idea who the maker, Morita Sadayoshi, was but I'm a pretty happy chap at the moment!

It may have been that someone removed the special order / dedication inscription, and the loss of the nengo (if it was there) was consequential to the special order column removal. You do see that in gendaito ocassionally, more so with commissioned shinsakuto.

62 plate very heavy Kabuto . Tokubetsu paper to early Edo Saotome Ienari Love the Tehen on this one

Hello, My interest in Japanese swords began with a blade that has a historical connection to the area where I live here in Japan. It’s not a famous piece, but it’s been a great teacher; a functional sword with a martial sugata and a striking example of uzumaki‑hada. That first experience set me on a path of study that’s continued for over fifteen years. I’m interested in many different schools, though I’ve spent several years focusing on Hizen work. My current favorites include a robust Keichō‑era Tadayoshi, a Kanei‑era gunome‑chōji midare Omi Daijō, and a particularly strong Kawachi no Kami Masahiro with a flamboyant hamon and jigane that I feel could reach jūyō if the mihaba were jusssssssst a little wider (I'm basing this on what I usually see pass Juyo for shinto works, which is super hard to achieve on its own). Each of these blades has taught me something different; aesthetics, spirit, and the value of careful study guided by my mentors and our collective experience. My philosophy toward nihontō blends craftsmanship, history, martial purpose, and aesthetics, which often leads me to appreciate swords that others might overlook. I’m especially drawn to jigane and sugata, with hamon close behind. I’m a NBTHK member and I have completed university studies in Japanese and East Asian history, which helps me contextualize the blades within the lives, politics, and culture of both feudal and peaceful eras. If I had to choose a favorite blade out of the 16 or so that I own, it might be my Omi Daijō... It's wide, thick‑kasane, and beautifully executed, though my Junin Tadayoshi and Kawachi no Kami Masahiro each hold their own place in my collection for different reasons. The Omi Daijō was pure aesthetic desire, and a continuation of conversations with one of my mentors that passed away earlier this year. The Masahiro taught me about the energy and spirit of peak Hizen work, and the Junin Tadayoshi represents the culmination of study and guidance that helped me recognize its quality with confidence while also being the point of origin for the tradition (although junin examples are relatively rare in comparison to some of the later signatures, this example is one of the best I've seen with comparisons made between what exists in the collections of my peers, I think it's one of the best existing works of this mei... Time and new connections will tell though! The Jigane doesn't look to be shinto at all, it looks more koto-esque and you can certainly see the pre Hizen feel before it was totally established from this work... The uniformity of the jigane is very impressive to me as a keicho shodai work, as many of the other examples I've seen have less uniformity, or are very worn). Let me stop nerding out about this... **Ahem...My goal is to continue deepening my knowledge, engage meaningfully with other collectors, and grow a collection that reflects both study and authenticity. My relationship with nihontō is built on respect for the steel, the history behind it, and the craftsmen who shaped it. I look forward to learning from the community and contributing where I can. - Mitchell

The inscriptions on the ura-side are a part of a Chinese poetry written by 藤田東湖 (FUJITA Toko, Fujita Tōko - Wikipedia ) and the original date of the mei. 神州孰君臨 - Who reigns over the Divine Land? 萬古仰天皇 - For all eternity, I look up to the Emperor. 皇風洽六合 - The imperial virtue spreads throughout the six directions. 明德侔大陽 - His bright virtue rivals the great sun. 元治二丑年三月吉日 – Genji 2nd Ushi year (1865), a lucky day in the 3rd month The original poem by FUJITA Toko is 和文天祥正氣歌 ("Harmonizing with Wen Tianxiang's 'Song of Righteousness'"). Ref. 藤田東湖 和文天祥正気歌 正気の歌 日本漢詩選 詩詞世界　碇豊長の詩詞：漢詩ribengushi

This is a topic that comes up fairly regularly here on NMB. Every year it seems the number of wartime blades (arsenal blades) that are able to be registered increases. If the sword has a registration card, the authenticating bodies will usually shrug and let the sword through their authentication process. There has been no change in the law, but the rigor with which the registering authorities (varies from prefecture to prefecture) reject arsenal blades seems to be fading with each passing year. There may be some discussion going on at higher levels which allows wartime blades to be viewed as historical and having some artistic merit. It is often hard to tell if the steel used in the sword is tamahagane or commercial steel. The kanteisho for this sword, for example, says the sword has ko-itame grain with jinie, so its possible that the registering body let it pass, the hot-stamp notwithstanding. I think this is a legacy from the post-War occupation that is due for an official reconsideration. The need to distinguish between "art sword" and "weapon" has all but evaporated. These swords are now approaching 100 years of age, so it feels ridiculous and arbitrary to ignore them, or to create an atmosphere where their mere existence is problematic from a legal and commercial standpoint. The market can decide how valuable they are

The attribution is Yamato Daijo Masanori The kinpun-mei was purportedly by Hon'ami Koson

NihontoWatch is live! Thank you for all the feedback and support along the way. Hoshi

They can’t build an LLM with their own records because there are too many contradictions and errors in their attributions. Anyone building an LLM for tsuba identification would have to start from scratch to train it with any degree of efficacy. The current system of classification has too many inherent problems (such as not enough categories, and some major voids of information, as well as built in misinformation), so it needs some significant overhauling before building an LLM around the NBTHK’s records. Garbage in = Garbage out “We” would need to build a group of contributors who are each specialists in specific areas rather than a bunch of generalists making generalizations. Ideally, a minimum of three specialists for each tsuba “category” (if you can even find that many specialists for each!). Those specialists would need to reach a consensus, and be more able to potentially parse out some “subcategories”, maybe identify previously unidentified smiths based on workmanship, and maybe even outline a timeline of progression within a tsuba category. You need people with depth of knowledge and understanding, not generalists who are indoctrinated and obligated to follow “what has already been said in the past”. i.e. A fresh perspective with an analytical mindset and a vast data set vs Perpetuating and reinforcing a flawed system based on narrow sets of classification criteria. Lofty ideals and goals I know, but doing it with anything less will just build a deficient AI that will only be good at identifying the obvious and horribly inept at identifying anything other than the norm (hmmm…kind of like the NBTHK as it is now)

On Tametsugu specifically it’s interesting because he has very few signed pieces, and also zero swords at TJ. But when a “Tametsugu” is deemed good enough it gets an “upgrade” to some other Soshu smith at TJ. What that’s essentially done is concretize Tametsugu as a lower tier Soshu smith (which according to Fujishiro and other rankings he is) without allowing his stuff to just naturally pass into TJ as a Tametsugu. Instead he almost has this fate where the NBTHK has said without saying “Tametsugu cannot go TJ” because if it is that good, it must be some other smith. I don’t personally like this view when we’re dealing with 99% mumei blades because were no longer classifying a smith based on his traits but rather a tier system using names as placeholders rather than numbers with 0% certainty who actually made the sword other than it was made by a Soshu master.

Hi all, I would like to share something interesting and rather unique: a scroll painting attributed to Tokugawa Nariaki, daimyō of the Mito Domain and father of the last shōgun. Hakogaki: Master Ishikawa Shichirōbei Noriyasu comes from a family whose hereditary profession is falconry, and he is extraordinarily accomplished in this art. Because Lord Takeo [Tokugawa Nariaki] favored hawks and held hawk-matching displays, he routinely summoned Noriyasu to serve him. On one such occasion, His Lordship personally painted this single sheet [of silk] with his own hand and bestowed it upon him. This took place back in the 6th year of Bunsei [1823]. Recently, because the master [Noriyasu] wished to mount it as a hanging scroll to display upon the wall as a family treasure, I have recorded these circumstances here as he requested. Date: An auspicious morning in the 2nd month, 12th year of Bunsei, Year of the Ox [1829] Written by: Yoshida Noriyo Origami: From the brush of Mito Keizan [Tokugawa Nariaki] Painting of a Hawk; color on silk. The above work is an authentic original Without the slightest doubt; full of vivid life/vitality The overall composition (kamae) is seen to be of high elegance/superior quality. Written by Hiraki Kiyomitsu in a Spring month (Year of the Snake) Enjoy! From the catalogue: All the seals and different names of Nariaki:

Hello Marah, my condolences about your father. I am likely nearby, and would be honored to have them. I have sent you a message. All the best, -Sam

Actually there was no law that determined the direction that Japanese had to be written. Writing from left to right was not forbidden, or unheard of, and there were official publications as well as commercial publications that wrote left to write. The Ministry of Education and the Army promoted a left-to-right writing standard in the middle of the war, in 1942, but ultra-nationalist elements of the military, as well as the newspapers, never got on board. But the army as an entity was not hostile to the idea. And, just to throw this out there, Tamachi (田町) is also an acceptable Japanese family name, though Machida is much more common.

Hi, Thanks for pointing this to my attention. As the saying goes, copying is the most sincere form of flattery. Grace is the best response, I wish them luck. Best, Hoshi

This design is popular - even if it is a cast piece. The fact that the same piece can be listed by several dealers just speaks to the fact that eBay and other sites allow "proxy" sellers - none of them own the piece but they know the buy it now price [BIN] from the original seller. They add their "commission" and simply redirect the delivery when they get a sale. The proxy dealer never even has the piece in hand. As for the late Robert Haynes and Shibuiswords - let us not forget they are/were dealers and in the business of making a profit. No one knows everything and those people we prop up on pedestals often have feet of clay and are just as likely to make mistakes as any one of us. Perhaps someone should inform these sellers that the original box that the casting was sold in is actually now worth more than the contents - the cardboard box is certainly far rarer! Cast-iron tourist product from Iwate prefecture Nambu Tekki (南部鉄器). 名産　Famous (well known) 鐡器　Iron Goods / Iron utensil 謹製　Well-made

Hi guys, Not knowing the answer to the acid content by type of wood drying question, I wrote to the US Forest Products Lab in Madison Wisconsin. I summed up the discussion here and linked to this thread. I ended with this question, "Does the acid content differ between air and kiln dried wood of the same species and does the acid disipate over time if the wood is air dried but become concentrated if kiln dried?" The answer just came in: Thanks for the question. Higher temperature drying shifts in pH are generally permanent. Heat effects the hemicelluloses and releases acetic and other acids which lowers the pH of the wood. This can also vary considerably between wood species. As you mentioned, Japanese Magnolia is fairly mild with regards to pH (neutral to slightly basic), so corrosion concerns are less than more acidic species (oak, cherry, walnut - contain acids that react with metals) and softwood species- resin acids, but these volatilize during drying so less of a concern, but still can be corrosive). Hope this helps and let us know if we can provide any additional information. Sincerely, Grant Kirker, Ph.D. Research Forest Products Technologist Forest Service Forest Products Laboratory | Wood Durability and Protection My understanding of the answer tells me that kiln drying can lower the acid content of the wood but it is best to stick with low or no acid species. Grey

Hi, Please be careful with AI translation when you’re using a commercial model not trained on this specific task. This warning holds for any kind of field-specific questions, exercise care and assume it is wrong unless proven otherwise. NihontoWatch detects NBHTK Setsumei, classifies them, and uses a translation system specifically tuned to our specific field. As a result, the translations are generally highly accurate. However, before a big purchase, get a professional translation. In the certificate section, just press the Japanese Setsumei extract from the zufu and the translation will appear. Currently, It only works for item where the dealer posts a zufu extract. Yes, this is umegane on the blade. You can see it in Eirakudo’s original listing, albeit faintly and you really need to squint. Excellent blades attributed Norishige blades have become exceedingly rare and prices for this artist have gone vertical in the past few years. It is the most searched for artisan on NihontoWatch. Also be aware of the sessions in the 70’s, while there are many treasures contained in the “phone book” sessions that made tokuju or can still make tokuju today, the variance is large and many pieces wouldn’t make the cut today anymore. Regarding the interpretation of setsumei themselves, it is quite an advanced topic and I would caution against “reading too much into it” - one needs to be aware of linguistic trends, and so on. Likewise, a blade being “Den” has no impact on elevation odds. There are many things like that are not intuitive. I hope this helps, Hoshi

Hector, there is no reason to be disappointed in my opinion. Having a HAMON on a stainless steel blade would be extremely special and rare in a metallurgical view. These steels would have to contain more than 13% of chromium to remain rust-resistant (they will not be 100% stainless as long as they contain carbon). On the other hand, folding and fire-welding is not possible with the methods used in a traditional forge. Inevitably, oxygen would prevent the welding by forming chromium oxide on the surface which would work as separating agent. Also, a laminating technique as used in traditional forging would make no sense as the stainless steel is completely homogeneous. So for me, there are two explanations for the clean NAKAGO: Either the blade was made with very special steel in an unknown process (in another galaxy) or, as mentioned above, it was preserved so well in its SHIRA-SAYA that no oxygen could attack it. In any case, the SUGATA, the workmanship and features are looking nice enough for me to like it a lot. Having said that, I will look on the ÔMURA site for a stainless KATANA with HADA and HAMON which should not exist in a scientific regard, but hey, you never stop learning (in case you accept that you don't know all). Having the metal of your TANTO XRF-tested would be the first step for me.

Gendaito signed Kanenaga and dated 3rd Month 1943 a lucky day. In good quality gunto koshirae with a removed mon badge visible on the kabuto gane. "Kanenaga (包永), Shōwa (昭和, 1926-1989), Gifu – „Nōshū Seki no jū Kanenaga kore o saku“ (濃州関之住包永作之), „Kanenaga“ (包永), civilian name „Amachi Ginjirō“ (天地銀次郎), older brother of Amachi Suzuichi (天地鈴市), he was born on the fourth day of the ninth month Meiji 17 (1884) and died March 8th 1958, he worked as guntō smith, posthumous Buddhist name „Enkaku Chikyō“ (円覚智鏡)" Lovely Bizen style choji hamon with a lot of hataraki, Kanenaga did make showato as well but this appears to be a true gendaito. It has some damage to the ha which probably happened during its use in WW2. The saya has a carved name which seems to be A HYND. Alexander Hynd was a Scottish Corporal who fought in the battles of Kohima and Imphal. He was also at Dunkirk during the evacuation. The sword was found during a house clearance in the lake district, I can't prove its the correct A. Hynd but it seems likely. I've seen quite a few of Amachi Kanenaga's swords and so far nothing comes close to this one. £900, unfortunately it's buyer collect only from the UK. With the recent changes in the law it's just not worth trying to ship, I'm not far from Manchester.

Hi Jason. From the seam lines halfway through the sukashi I have a strong suspicion your guard is a cast copy of an Owari original design - we would need to see the nakago-ana and seppa-dai of the tsuba to make a better judgement. [that means unmounting the tsuba] https://www.nihontocraft.com/Owari_tsuba_G.htm - I am not convinced this other example is not cast also, it has some rough spots on the inside of the rim [mimi] and there is a crack on the right near the open hitsu. http://www.nihontocraft.com/Owari_014222.jpg

Having been involved with Tanegashima for over a quarter of a century, I was naturally drawn to anything connected to this relatively unknown (at the time) weapon. Many of you here will have depictions of them in one form or another, so it seemed like a good idea to start a new thread. This original woodblock print I found in London some years ago, two panels of a triptych by Kuniyoshi about the famous charge of Yamamoto Kansuke in 1561 at the Battle of Kawanakashima ("island in mid-river"), actually a series of five battles between Takeda Shingen and Uesugi Kenshin, with various well-known happenings. It was the black-lacquered matchlock gun lying on the ground which caught my eye, among all the broken swords and spears etc., showing that by this relatively early timeline they were already part of the sengoku battlefield. Couple that with the blades and the armour, and my collecting fields are (mostly) covered! Photos follow A Detail B

I've administratively worked NTHK shinsa in the '00s about [20 to 25 years ago], so I could get to see several hundred work sheets and view over their shoulders the sort of question you are asking. The Yoshikawa group definitely uses work-sheets with a list of informational choices that they circle, but I don't think those will specifically get you to the conclusions they reach. They do use books, including Haynes, and the panel of judges at any one time do discuss the fittings to reach a conclusion. The conclusion is only as strong as the judges. I have seen some very strong NTHK shinsa with Hagihara-san [I'm probably mispelling], Mr. Jim Gilbert, and Mr. G. Robinson switch hitting between the swords (75%) and the fittings (25%) in my time observing. I've also seen one Yoshikawa NTHK shinsa where I felt the fittings judges without Hagihara-san and Mr. Gilbert were not that strong. At that particular shinsa, someone I had sold a tsuba to earlier in the day had taken it to the shinsa team and had it bounced as "modern" and came back to me. I felt bad... -because I had forgotten to mention or give him the Hozon NBTHK papers. I cringed a bit at that particular shinsa, and asked him if he wanted to return the tsuba. He took the papers. --Ironically, that is one of the tsuba I've sold over the years that I wish I could buy back. To this day I scratch my head why that particular shinsa panel thought "modern"-- The same goes for the current NBTHK. Since Jan 2014, I've seen the rise of a lot of 'bad attributions'. Pre-Tariffs, I'd sometimes buy some of these crap Hozon and resubmit. Often round 2 was much better (correct?) papers. Current NBTHK shinsa seems luck of the draw. One shinsa might be crap and the next one might have a strong judge or two. What bothers me most is the rise of Horyu at shinsa. So many good tsuba get that now. You have to submit them a second time, and just hope the shinsa team is better. My best Yagyu (previously NBTHK published!) got Horyu the first time, and then correct TH to Yagyu the second time. I hate that. So, as @Hector noted, I am less and less likely to submit anything to shinsa that isn't at least at the $2000 or higher value level. Even then, those horyu still manage to make me angry.

Just happened to have 3 of my swords with dragon horimono out, so I thought I'd share a picture of the 3 different types of dragons, from top to bottom: Jinikubori, Hitsunaibori, and Hinaibori. The bottom dragon was done by Mukansa carver Kokeguchi Senshu. I'm missing a sukashibori one to finish the collection...

I donated a flag to the OBON society this weekend, and had the opportunity to tour their WWII display in the Maritime Museum in Astoria. I was surprised to see this sword on display. I’m no tosogu guy, but it immediately stood out to me as looking pretty nice and predating WWII. No saya was displayed unfortunately. I was hoping some of the tosogu folks here might be willing to offer their opinions on it, particularly regarding its quality, age, and any other details that might be apparent from the photos. What is the material under the ito? Also, I cannot tell what's in the center of the menuki for the life of me. Just a curiosity because I was immediately attracted to it. Behind plexiglass, so I did my best with photos. Thanks for taking a look! -Sam

Hi Khalid, In the case of iron tsuba and fittings, see the below method, taken from Jim Gilbert's Cleaning Iron Tsuba - 1/26/01 'The simplest and safest first step is to wash your tsuba in mild soap and water. Use hand soap, not detergent or cleanser. Over years of careless handling a tsuba can pick up quite a bit of plain old dirt. After you’ve washed the piece, be sure to dry it thoroughly. Once it’s relatively clean, take a careful look at the piece in good light - sunlight if possible. You’ll probably see plenty of red rust. You may also see various surface coatings of modern to antique origin – wax, shoe polish, paint, old lacquer, etc. If you are not sure what you’re looking at, show the tsuba to someone familiar with old guards. My preference is to leave old lacquer in place, unless it is associated with serious corrosion. Dealing with crud that won’t come off with soap and water can require a couple of different approaches. The most straightforward method for an iron guard is to boil it in distilled water for 20 minutes or so. This will remove most films without altering the metal or removing any lacquer that may be present. I don’t recommend adding any chemical agents to the water. The more aggressive the cleaning solution the greater the risk of permanently damaging the guard. Boiling water is good enough. When the tsuba comes out of the water, the good news is that all of the oils and waxes that were hiding rust will be gone. The bad news is that you are likely to be looking at a very ugly, dry, rusty plate at this point. You may wish that you had just left things as they were, and frankly, if you’re not willing to go through with the very time consuming and finger-tiring next step of rust removal, you should have left well enough alone. Rust removal is a mechanical process of dealing with two slightly different iron oxides. The idea is to rub off the active red corrosion (anhydrous ferric oxide) while leaving behind the slightly harder protective black magnetite patina. I have tried bone, antler, ivory, bamboo, etc., and all are good for certain aspects of the job. I find that ivory (old piano keys are a good source) works best. If it isn’t available, get a section of dense bone. The typical beef “soup bone” is good. Get one that has all of the grease cooked out and use a hammer and chisel (wear your safety glasses) to break the bone up into a number of variously shaped and sized chunks. You’ll find that one of the assortment of sharp and dull surfaces and angles should do the job. Whatever the tool, you're looking for something harder than the red rust and softer than the patina. Never use steel, iron, glass, sandpaper, or anything else harder than the patina. DO NOT try chemical rust removers - they will remove the patina and damage the iron. In fact don't try chemical treatments of any type - including boiling in tea or anything of the sort. Also, don't put your tsuba in a fire despite what Robinson's “Arts of the Japanese Sword” says! Some people will use chogi oil at the start of the process to loosen the red rust. I haven’t found this method to be much help. It certainly won’t harm the iron, but it is fairly tricky to keep the oil from soaking into the rust inside any sukashi openings and darkening it to an unnatural color. The surest method is to just take your bone, antler or ivory and gently scrape away at the red rust. Periodically wipe off the red dust to see how you're doing (a damp cloth removes the dust better than a dry one). It’s usually best to work slowly in a small area. Quickly rubbing over a large area is ineffective. Avoid the temptation to find a faster way, because if you do, you will also have found a way to take the patina off. I can't stress this enough. In your inevitable attempt to get the job done faster, you will be tempted to use brass or copper, but it's much too easy to wind up damaging the patina this way. Even if you're successful (this time), you'll have to find a way to get the ugly brass residue off. Lots of patience and tired fingers is the only way. Depending on how severe your rust is, in hours to weeks you will eventually remove the red and just leave the nice black. Go gently and slowly and check your work constantly. Too much scrubbing even with a soft tool will eventually remove the patina. If you think you've got the rust under control, take your tsuba out in the sunlight and have another look. Most artificial lighting hides red rust somewhat, but sunlight will reveal all. You will probably find that there is still more rust there, but don’t get carried away with trying to remove every trace. Don't over do your cleaning. The idea is not to make a 500-year-old tsuba look new. Older tsuba can have quite a lot of oxide build up that is best left alone. The idea is to remove any active corrosion and restore the beauty of the surface, not to alter fundamentally alter it. An over cleaned tsuba is always worse than an under cleaned one. If you overdo it and damage the patina, you're in trouble. You won't get it back any time soon. There are people who repatinate iron tsuba, but the only one in the US that does good work is no longer taking orders. Many people who claim to do restoration will destroy your guard. Unfortunately, even the best repatination cannot recreate the original aged surface. Also, NEVER clean the inside of the sukashi. Cleaning the inner walls of the sukashi is like polishing the nakago of a sword – a bad idea. However, do remember to clean the rim as well as the web of the plate. Once you have the rust down to the point that you're satisfied, get out a piece of cotton cloth and just rub the tsuba. As you keep this up you'll find that the color will darken and the surface will take on a soft luster. The cloth won't do much to remove red rust, so if you find that you missed some rust, go back to more boning. Just go slowly. Once the tsuba is clean, you may want to carry it in your pocket for a few weeks in addition to rubbing it with the cloth. The idea is not to polish the guard to the point that it shines. Also, avoid rubbing the guard on carpeting or synthetics that can leave a greasy finish. I prefer to stay away from oil on a finished guard. The oily sheen is not as attractive as the natural finish and it will tend to attract dust and lint over time. It will eventually dry out, and can then actually promote a new layer of rust under the dry oil film. By the way, a coat of oil is often used as a “quick fix” to make red rust look dark. This may seem like an improvement in the short term, but really just winds up making the tsuba look like oily dirt. Also, a coating of black shoe polish is a frequently encountered “magic patina.” Watch out for these dirty tricks when buying tsuba. There's no substitute for spending a lot of time with bone and cloth to get a rusty tsuba into shape. Once you've conquered rust, store your guard in one of the wood boxes made for tsuba. Compared to the cost of all of the work you've just done, the box is cheap. After a fresh sword polish, who would leave that blade out on the shelf, or wrapped up in paper, rather than pay for a shirasaya? Be aware that most of the tsuba boxes you will come across have the center post attached by two very sharp nails coming up from the bottom of the box. Transporting tsuba in this type of box will eventually cause the center post to come loose from the weight of the tsuba moving around on it. Once that happens, the tsuba will rattle around on top of those little nails and scratch up the seppa dai. Always transport tsuba in cloth bags. Periodically take your tsuba out and give it some light rubbing with the cloth. Try to keep your fingers off, since you risk starting more rust this way. When I was discussing the initial cleaning, I mentioned that there are a couple of alternatives to consider. In the case of a guard already in good condition, free of rust, etc., but simply covered in wax, it is usually possible to safely remove the wax by rubbing with some isopropyl alcohol. Additionally, you will occasionally come across a guard that has been coated in polyurethane or some other tough, modern finish. For these, there is a commercial stripper called Strypeeze that will not harm the iron or patina. It could harm you, though, so wear gloves and work with plenty of ventilation and/or a solvent respirator. Other problems that you can encounter include fire scale, a depatinated plate, cracks and breaks or other serious damage. Unfortunately, these will require professional care. Experimenting with home treatments will generally result in further damage to the plate.'

Hello, I am the Daughter of Steve Strauch who was a sword collector- he passed away recently. I have a ton of news letters from various clubs dating back to 1978. Newsletters that I need to give away or throw away. They seemed to be gifted from another collector J. Borden- who I do not know how to contact. I am located in Portland, Oregon. It only really makes sense if you can pick them up- really soon. I do not want to trash them so I'd love to have them be treasured. If you want them shipped I would need to get payed something for shipping and handling. I can NOT provide more pictures, so forth, as they are free. The box is very heavy, most likely over 40 pounds. PLEASE TAKE IT AWAY!!!

AFAIK, their definition is: A blade, signed in tachi-mei or unsigned, in shinogi-zukuri that is ubu (or has just the nakago-jiri slightly cut off), measuring around the ballpark of what constitutes a long sword, and that dates not later than Nanbokuchō. From the Muromachi period onwards, such a blade needs to be signed in tachi-mei to classify as a kodachi, otherwise its going to be either just a wakizashi or a katana, depending on the nagasa.

I recently got curious, which can be a dangerous thing for me and especially when it comes to Japanese swords - but I thought members might also appreciate some 'before and after' images of a seki-made kogatana I had a US based polisher do a simple, no-frills sashikomi polish on. Anyone trying to photograph a sword will know how hard it is to capture the details of the hamon and hada with a camera phone, it is even harder on a tiny little kogatana, but hopefully this illustrates that some can be worth a pass across the stones.

Here’s a rabbit and waves tsuba from my collection. Choshu school. I like how the rabbits appear to be leaping through the waves.

Here is one I made for a Tanto I no longer have, new owner did not want it. Paulownia is fairly difficult to get here in the UK so I made mine from solid Basswood from hobbycraft. Regards

Japanese dealers will in general carefully shape their replies so as not to disagree with a customer, or will actively agree in the hopes of future custom. If here is no history of a sale, and no prospect of a sale, most will not reply at all to one-way brain picking.

Tempted to reply but 「武士に二言はない」...nothing to add to what I said on page one, except to repeat it in different words. The Japanese actively enjoy the subtlety of ambiguity in artistic interpretation. Two or even three aspects may meld and overlap in the same cameo. An extreme example. This is green. 「これは緑色です。」Kore wa *midori iro desu. My Japanese teacher in Massachusetts gently pulled me up on this back when I was starting out on the language. The Japanese do not like -desu/masu endings to things, she said. It's too abrupt, too challenging, too confrontational, too point-blank, and does not allow for inclusion of the other person. Be gentle, and soften your utterances and gain friends. Avoid offense in your use of language. Rephrase 'This is green.' by saying: "Can we not (Would you not) agree that this is green?' Or 'This is green, right?' 「これは緑色でしょう。」Kore wa *midori iro desho. (*Cha-iro, etc. Plenty of other words in Japanese for green!)

Just as an example: the collegiate church in Quedlinburg here in Germany is an important Romanesque building that was constructed between 1070 and 1130 and, fortunately, escaped destruction during World War II. What’s particularly interesting are the pre-Romanesque decorative elements. They look very much like Celtic or North Germanic endless knots. When I asked a student who gives tours there and is studying art history why these decorative elements on such an important church didn’t look particularly Christian, she replied as follows: 1. That’s misleading! Because such knot patterns didn’t appear in Ireland or Northern Europe until the Christian era. 2. Their origin likely lies in Coptic art from Egypt and influenced both Europe and the Arab world, though it draws on ancient design motifs. 3. Variations can be found, among other places, in stonemasonry, woodcarving, calligraphy, as patterns on clothing, tapestries, weapon fittings, sword pommels, and much more. 4. The creators of the decorations in Quedlinburg were Lombard sculptors from northern Italy. The designs were taken from their pattern books and simply reflected the tastes of the time. And particularly in those German regions where the Romans had not ventured at the time, there was great interest in Lombard and Byzantine architectural styles. 5. Motifs that originated in earlier times can be reinterpreted and adapted regionally and culturally, and can thus take on a Christian meaning—just as churches were built on pagan sites of worship, or Christian holidays were modeled after pagan ones. But I don’t want to digress here. To bring the focus back to the tsuba, I simply want to point out that the origin sometimes lies in quite mundane, popular decorative motifs from woven and embroidered patterns that were in fashion at the time. I’m not concerned with claiming exclusive authority over the interpretation of what’s depicted, but simply with decorative elements—sometimes with folkloric or other religious backgrounds. These were taken up by artists, who in turn inspired other artists, who in turn inspired yet others, leading to different interpretations and executions—especially when they’re produced in larger series due to demand. But since you’re expecting a specific answer: if I personally had to describe this particular tsuba from this thread, I would refer to the Shippo pattern. Perhaps with the addition that the brass pins (added later, perhaps?) do indeed resemble a (fictional) constellation. But as a representation of a specific constellation, this decoration would be too geometric according to Japanese understanding.

Have a look at this thread….modern technology and processes are getting a bit scary The last images are “enlightening”…….

Incidentally, there are several meito that share a name, the most famous being the three Hocho Masamunes. There are also at least two Ima Aranami Ichimonji blades, and more Mikazukis than you can shake a stick at.