Shugyosha

I think Gunome has nailed it.

Hi Darius, Definitely something Yuki then maybe saku but I'm on my phone so it's not too clear. I don't think it's mori - as in to guard or protect but can't offer anything better right now - can't see the "man on the roof" and there's a floating stroke on the right that doesn't match. Wouldn't argue to hard though...;0)

Bryant, You shouldn't receive the registration card as that stays in Japan. You should be able to contact the NBTHK to verify the papers - they have a unique number. If the sword wasn't de-registered it's not really a problem for you of itself. Check out the Nihonto Craft website as there's a guide to how the papers should look.

There's a Korean helmet with a similar post on top in tha armour section on Nihonto.com.

I like mine with tonic water and a twist of lime.

Hi Michael, If you don't have any luck with this one, there's a similar one for sale on Aoi Art at the moment: http://www.aoijapan.com/katana-katana-higo-no-kuni-akamatsu-tarou-kanehiro-utsushi-kiyomaro Best, John

Bruno, If you got anything from that you should have a medal. Good going!!

Hi Stephen, I think Hatsushinsai: 發心済 ...though the kanji "sai" on yours is quite stylised it might be right. Haynes says see H03871 Masachika so my guess is he signed under more than one name. Dewa Akita Shoami group. Best, John

Tim, I'd bite Shamsey's hand off - it looks like a very nice blade. Best, John

Hi Grev, The kanji in the centre are: 高見澤版 - Taka mi zawa ban. Takamizawa Edition. From Wikipedia: Ukiyo-e prints often went through multiple editions, sometimes with changes made to the blocks in later editions. Editions made from recut woodblocks also circulate, such as legitimate later reproductions, as well as pirate editions and other fakes. Takamizawa Enji (1870–1927), a producer of ukiyo-e reproductions, developed a method of recutting woodblocks to print fresh colour on faded originals, over which he used tobacco ash to make the fresh ink seem aged. These refreshed prints he resold as original printings. Amongst the defrauded collectors was American architect Frank Lloyd Wright, who brought 1,500 Takamizawa prints with him from Japan to the US, some of which he had sold before the truth was discovered. I hope this isn't bad news for your friend. I'm struggling with the hiragana around the outside as the first one is unclear to me and hopefully someone else can pitch in: ?と (?to) on the left and むん (mun) on the right. Best, John

Hi Andreas, Don't sweat it. There are lots of nice swords out there in this price range and you could easily do better than this one. Best, John

How does Ford sign his work - does he use an artist's name?

It sounds like an overstatement of the cost of shinsa but sending the sword to Japan plus agent's fees and registration costs on top of shinsa fees might add a chunk to what had already been spent. That said, the sword may not have been sent for authentication because this isn't an important smith and so not worth the effort of faking. If you are looking for an investment then Japanese swords are not likely to yield a return and you may easily do better elsewhere. As someone said above, check out the sales section and you will see good stuff at better prices than this sword.

Hi James, Apologies, you're absolutely right. Here's an example of one of his blades - picture number 3. https://markussesko.com/2015/11/09/shogunal-support-program/ According to Markus Sesko's Swordsmiths of Japan he was granted the right to use the mon shown in the picture in the same year as he received the Shume no kami title. I can't quite make out from the photo whether or not the mon is there but it would be suspicious if the title is included in the mei but not the mon. Best, John

Hi James, With regard to the mei, it might be read "tiara ason Yasuuji" which might give you a different answer. Sorry "taira" - I'm on my phone and can't correct it.

Hi Darius, The key to this is to keep chipping away at it. It's incredibly daunting at first but it is possible to make progress and in reality you don't need to know the kanji themselves, but how to look them up. One thing that really opened my eyes was a beginners' guide called "Let's Learn Kanji" which gets you into the idea of counting strokes for kanji and their radicals (most complex kanji are comprised of smaller elements which crop up repeatedly one of which dictates the broad meaning of the kanji). I found that knowing some nuts and bolts made life a lot easier, though now I'm determined to be able to read Japanese so it's taken me off on a tangent. If you haven't done so already, have a look at Markus Sesko's Nihonto Compendium in the research tab above which gives the kanji and cursive versions of them. Also a book like Shinto Bengi Oshigata is great for practice as the mei are clear and there are lots of different ones. Hope that helps: it's a big elephant but it can be eaten one bite at a time. Best, John

Hi Grev, I think it could pass for "haru" as in springtime. Sorry, I'm on my phone at the moment so I can't copy across the kanji. I'm away from my books so I've no idea if there was a tsubako signing with this single character, but it does seem unusual. Best regards, John

and there's no obligation to be polite or take you seriously when you've given no reason to do so.

Well Charlie, you made them so you'd better get munching.

Charlie, So Alex was right, you're either s con man or a troll. You're trying to sell a piece of junk that looks slightly like a famous Japanese sword. The way this works is that YOU prove it genuine not the other way around.

So you're saying you bought a sword in China that looks a bit like a sword that's still in Japan?

But it's not actually the National Treasure of Japan?

Darius, There is of course a third option: neither. I can pretty much guarantee that whatever you buy now you will look differently on 6-12 months down the line as your own knowledge increases and your taste develops. Wait a little and you'll know more, have more money in the bank and be able to choose something better. Best, John

Hi Warwick, Mizuno Masanori saku? - not sure of the last character but it's this guy from Markus Sesko's book: MASANORI (正範), Shōwa (昭和, 1926-1989), Ōsaka – “Zōtairan Mizuno Masanori kore o saku” (贈台覧水野 正範作之), “Sakaiura-jū Mizuno Masanori saku” (堺浦住水野正範作), “Masanori” (正範), real name Mizuno Teizaburō (水野貞三郎), born February 4th 1902, student of Sakurai Masayuki (桜井正幸) and Morita Masamichi (森田正道), gō Zōtairan (贈台覧), rikugun-jumei-tōshō, jōkō no retsu (Akihide), Fourth Seat at the 6th Shinsaku Nihontō Denrankai (新作日本刀展覧会, 1941) So it possibly is a gendaito but could also be a shinsakuto... The hamon does look a little unusual but it might be the light or the condition of the polish. It looks like there are some areas of light rust and others that might be obscured by repeated contact with the saya. Here's another example with a bit more info: http://www.ryujinswords.com/mizunomasanori.htm

Hi Thibault, I can't help you with the koshirae. The problem with the signature is that it isn't particularly clear in the picture and it looks like it has been filed over when the tang was adjusted for the koshirae so it's difficult to get a view on whether or not the signature is genuine. The first generation is is who the seller says made the blade, but the second signed the same way and worked similarly: MASANORI (正則), 1st gen., Keichō (慶長, 1596-1615), Echizen – “Yamato no Daijō Fujiwara Masanori” (大和大掾藤原正則), “Yamato no Daijō Fujiwara Masanori” (大和大掾藤原正法), Yamada family (山田), he signed his name in early years with the characters (正法), he came originally from Miyatsu (宮津) in Tango province and was a late smith of the lineage of Sanjō Yoshinori (吉則), via a stopover in Yamashiro, he moved to Fukui (福井) to Echizen province where he became a student of Kanenori (兼法), therefore his workmanship is strongly influenced by the Seki style of his master, the jigane is an itame mixed with masame and ji-nie, the hamon is mostly a notare mixed with gunome but he also hardened a suguha that reminds of Hizen Tadahiro (忠広), we also know interpretations in gunome-midare with sunagashi and hakikake which on the other hand remind of works of the Horikawa school (堀川), some gunome variants are rather roundish and are mixed with yahazu elements, we know date signatures from the 13th year of Keichō (1608) to the fourth year of Keian (慶安, 1651), ryō-wazamono, jō-saku MASANORI (正則), 2nd gen., Kanbun (寛文, 1661-1673), Echizen – “Yamato no Daijō Fujiwara Masanori” (大和大掾藤原正則), “Yamato no Daijō Masanori” (大和大掾正則), “Echizen no Daijō Fujiwara Masanori” (越前大掾藤原正則), he continues the style of his father but moved later to Edo, there exist joint works with Higo no Daijō Masakatsu (肥後大掾正勝), wazamono, chūjō-saku For me the choji hamon looks quite well done and fits in with the description of his work style above though it's hard to make out the detail in the boshi. It seems to have a lot of mekugi ana for a shinto blade and has obviously been shortened which are detractors. I'm also put off by the use of the word "minty", which the blade isn't if it has been shortened, and is one of those trigger words that make me disregard an item and make me want to punch the seller. Kind regards, John