Shugyosha

Hi Sebastien, I think you are right. . 貳ツ胴 The first characters are for futatsu do.Two bodies...but then it's too difficult for me. The seventh character following this part is 切 (cut) so as a guess the kanji above perhaps refer to the type of cut with which the sword was tested and what follows is the tester's signature and kao. But I'm only guessing. Best, John

Hi James, This isn't a tachi - it's signed katana mei (signature is normally on the side away from the body when worn) and so this one would be worn edge upwards. But you are right, lots of tachi have a squared-off nakago from suriage. Looking at the position of the mei and mekugi ana I'd suggest that the tang is ubu, though it does seem quite a short tang for a long blade (might be the pics). Not really sure on the date but I wouldn't rule out it being a shinto blade but that is my own feeling based on the colour of the patina on the tang and you may well get other views. Looks like a nice sword, however, and longer blades are a rarity. Best, John

Hi David, That's a really nice set of fittings. Love those menuki. So I can state the obvious and say that the second kanji related to the theme is 虎 tora. Still no joy with the first one though. John

Hi Joe and Steve, I don't know if this adds anything but in the Kodogu volume of Nihonto Koza I stumbled across 餌畚 (Esa Mokko) described as bait baskets. Best, John

A little more. Two rows down on the left from the koshirae line we have the bit that discusses the menuki: 目貫 Menuki 赤銅容彫色絵??図 Shakudo katachi bori iroe?? zu Shakudo carved with full motif, inlaid metal design ?? theme. Hopefully the theme will be obvious from looking at the menuki or if not you could post pictures here if you don't have any joy with that. Just above that. I really don't know. I can't even work out what part of the fittings this is describing. Sorry. Unfortunately, I'm not nearly as good at this as I would like to be and the cursive nature of the script has largely left me for dead. It has been fun trying though and I learnt some stuff so thanks for posting. Best, John

Hi David, I've made a bit of a start on this and will perhaps have another go when time permits providing no one takes pity on me and finishes it off - it's pretty tough going. The worksheet looks like a pro-forma with additions, though both seem to be in the same hand. I've worked on the entry for koshirae (6th row on the left and tsuba (7th row on the right): 拵 koshirae 黒石目地朱刻 ?? 打刀拵 Kuroi ishime ji shookoku ?? tsuchito koshirae Black ishime ground cinnabar-engraved (sorry can't work these two kanji out) hammered sword koshirae (a bit literal this - might have a different meaning). 鐔 Tsuba 鉄木瓜形 鋤 下彫銀覆輪 (無銘) Tetsu mokkoo gata (?)shita hori kin fukurin. (mu mei) Tsuba: Iron lobed shape (a literal translation of the kanji in red is spade or plough but that might not be its meaning in this context) low carving, silver rim.(unsigned) It's not great but I hope that gives you something to go on. Best, John

So yes Dave, you're probably right.

It might be a long shot but could this be an example of Satsuma Age? http://www.militaria.co.za/nmb/topic/13303-satsuma-age/ Best, John

I think that Jussi is correct as the Itsukushima shrine is at Hiroshima and that gives a connection to this wartime smith (from Markus Sesko): MORITOSHI (盛俊), 4th gen., 2nd gen. Koshimizu Shōwa (昭和, 1926-1989), Hiroshima – “Geishū-jū Sōryūshi Moritoshi” (芸州住蒼龍子盛俊), real name Koshimizu Tsukasa (越水司), gō Sōryūshi (蒼龍子), he worked as guntō smith during World War II, kihin-jōi (Akihide), First Seat at the 6th Shinsaku Nihontō Denrankai (新作日本刀展覧会, 1941) Best, John

Hi Laszlo, The remainder of the ura side reads: 仲秋 mid autumn. I'm not very confident that I have this correct as I'm struggling to find exact matches for some of the characters on the omote but I'll post what I've come up with and hope that someone with greater knowledge will correct me if I've screwed up: 於巌嶋 Oite Iwaoshima - at Iwaoshima 盛俊造之 Moritoshi tsukuru kore - Moritoshi made this. Kind regards, John

Thanks Steve - there's always something new to learn on here! Best, John

Hi Maximillian, I'm sorry but I can't find the mei on the second paper and perhaps someone else can chime in. The rest is as follows: 杢目文様図大小鐔 Mokume mon pattern theme dai sho tsuba 大小銘 ?? (花押) Dai sho Mei ?? (kao) 木瓜形 Mokko gata 鉄鍛目地 Tetsu kitaeru me ji - forged iron ground 打返耳 Tsuchi kaeru mimi (hammered back rim) Best, John

Hi Maximillian, The first paper reads as follows: 杢目図鐔 Mokume theme tsuba 銘武州住正次 Mei Bushu (Muzashi) ju Masa tsugu 延享五年 Fifth year of Enkyo (1748) 木瓜形 Mokko gata 鉄鍛目地 Tetsu kitaeru me ji? Forged iron ground - I'm not entirely sure of the reading of this bit but I think the translation works. 小透 Ko sukashi 角耳小肉 Kaku mimi koniku (slightly rounded square rim) Kind regards, John

Hi Molk, You're being too kind - a copy and paste from Markus Sesko's E Swordsmiths of Japan. I hope it helps though. Best, John

Perhaps one of these? KANETANE (兼植), 1st gen., Keichō (慶長, 1596-1615), Echizen – “Echizen no Kuni-jū Kanetane” (越前国住兼植), “Echizen no Kuni Kita no Shō-jū Kanetane” (越前国北庄内住兼植), student of Echizen Kanenori (兼法), priest name Dōhon (道本), he lived in Ichijōdani (一乗谷), Echizen-Seki school, he is counted as 1st gen. Echizen-Kanetane, other sources see the Tenbun-era Kanetane who moved from Mino to Echizen as 1st gen., anyway, this Keichō-era Kanetane died in the 14th year of Kan´ei (寛永, 1637) at the age of 68, notare mixed with gunome-chōji or also a hiro-suguha, ryō-wazamono, chūjō-saku KANETANE (兼植), 2nd gen., Kan´ei (寛永, 1624-1644), Echizen – “Echizen-jū Kanetane” (越前住兼植), “Kanetane” (兼植), Echizen-Seki school KANETANE (兼植), 3rd gen., Enpō (延宝, 1673-1681), Echizen – “Echizen no Kuni-jū Hitachi no Kami Kanetane” (越前国住常陸守兼植), “Echi no zen-shū-jū Kanetane” (越之前州住兼植), “Kanetane” (兼植), he bore the honorary title Hitachi no Kami, Echizen-Seki school, chūjō-saku KANETANE (兼植), 4th gen., Genroku (元禄, 1688-1704), Echizen – “Echizen no Kuni-jū Kanetane” (越前国住兼植), “Kanetane” (兼植), he signed in a rather large manner, Echizen-Seki school Best, John

Hi Kory, I think it's this guy, but I can't work out exactly what is written in the attribution (from Markus Sesko): YUKIKAGE (幸景), 3rd gen., Eikyō (永享, 1429-1441), Bizen – “Bishū Osafune Yukikage” (備州長船幸景), gunome-chōji-midare, suguha On the work sheet first line in the box is Bizen Osafune then a couple of characters that I can't read and Yukikage. Underneath that Eikyoo goro (around Eikyoo) and I think 75 points, so a pretty decent sword. Unfortunately the rest of the detail is a bit beyond me to translate. Best, John

Hi Michael, You have the translated the mei correctly. Unfortunately, there were 10 generations of smiths who signed this way and I don't know enough to add anything further. Good luck with your search. Best, John

Hi Alex, This one might be of interest: a case where suriage/ machi okuri has occurred and the hamon has been removed from the nakago. http://www.aoijapan.com/katana-yamashiro-kami-nimura-sakon-fujiwara-toshinaga Best, John

Hi Brian, I think that there is a difference between having a non-mainstream theory and deliberately posting some BS in the hope that someone will bite and, therefore, allow the OP to traduce them as being a "hater" for producing concrete academic references as to why the theory is, indeed, BS. Isn't this what has just happened with Darcy (again)? This to me is trolling and its purpose is to waste everyone's time and, IMHO, it dumbs down the forum if it is allowed to continue, but that's your prerogative. Furthermore, if KPS's last post isn't rude then I don't know is... Anyhow, I've taken your advice and I've found and used the ignore feature so it won't be problem that I'll experience in future.

Brian, I know that it's your house and your rules, but do you really want to allow such obvious trolling on the forum? Kind regards, John

I've just sent the wife out to shake her money maker. Hope no one's in a rush to buy it...

Hi Alex, My understanding is that yakidashi is usually taken as a kantei point that suggests a shinto blade. Looking at Aoi Art's website, however, there are clearly shinto blades that don't have it and where the hamon continues under the habaki area and to some extent it is going to be dependent on school - Osaka and Kyoto schools were famous for it. I think that a hamon continuing into the nakago is a flag that might suggest machi okuri but it might also depend on the type of blade - a longer blade needing to be more resilient than a tanto. Here's a precis of what Nakahara sensei says, apologies if my precis and choice of words has altered the sense - to be honest, I'm not sure I totally understand it but here goes: 1. In suriage blades the surface of the nakago will be uneven from being filed on one side, if not then try to find a reason to doubt that there was a genuine suriage and not an ubu nakago made to look suriage to create the illusion of age. 2. Look at the nakago sori and be able to spot where this may be unnatural. 3. A "proper" suriage will attempt to preserve the niku oki, mei and patina as far as possible. 4. In a "proper" suriage the mei section is never filed. 5. Depending on the shape and wear of the handle and blade at the time of suriage the above may not apply (helpful!!). 6. If there are several mekugi ana investigate thoroughly as they are often added for deceptive reasons. 7. If a hi ends in exactly the same place on both sides of the tang [presumably in a suriage blade], consider whether this was added later and if the yasurimei have the same angle, [again on both sides of the blade?] it may be an ubu blade made to look suriage. Another thing I've noticed is that where there is a section of old ha in the tang, it can make the blade quite uncomfortable to hold as the edge is narrower than that of a normal tang, but you need the blade in hand for that. So, really, take each case on its own merits. Hope this helps, John

Further to the post above, in Facts and Fundamentals of Japanese Swords by Nobuo Nakahara at page 99 he deals with the question of suriage, the reasons for it (real or in order to deceive) and whether or not it was properly executed and says that a properly done suriage necessitates the removal of the hamon in the nakago by heating. Unfortunately he doesn't say why this is done beyond "the effects that this can cause", but as it makes the process considerably more tricky than just cutting and filing, I would suggest that there is some functional purpose to it but again I haven't quite nailed it down. John

I presume that form followed function and had always assumed that yakidashi became prevalent in shinto times because the steel used was less resilient (more brittle) compared to that of koto blades. The area closest to the tang will suffer greater stress when striking a target and I had assumed that having less of the hardened steel of the hamon in this area would make it less prone to breaking. I think this is linked to the observations of Suishinshi Masahide who noticed that the blades that were most prone to breakage were those where the hamon crept close to the shinogi. Here's a link to an article on Nihontocraft: http://www.nihontocraft.com/Suishinshi_Masahide.html I had also assumed that this was the reason for funbari in older swords: more metal in this area meaning that they were less prone to breakage. Of course most of this is deduction and guess work and I don't have anything to back it up, so please give it appropriate weight. Best, John

Mr Hatrance, Welcome to the forum, it looks like you might have an interesting sword there. Unfortunately, the glare from the flash obscures some of the characters and it would be helpful if you could post some more pictures including a close up of the tang and of the whole sword showing it's shape overall. The more you can post the better the information you receive will be. Kind regards, John