jamesicus

Thank you for your gracious comments Malcolm. I will try and contribute that kind of information from time to time although I do not feel comfortable doing that very often now. My memory is not good these days and it seems to get much worse with each passing year. I often find myself confusing names, dates and places associated with long ago events in my life and sometimes have to backtrack, much to my chagrin. But maybe an occasional vignette will be acceptable and of interest to some Board members. Sometimes, when I am a reflective mood, it doesn't seem that long ago that I lived in Japan -- but it is over fifty years since I was last there. That was brought into focus for me when I was daydreaming as I updated my Board Profile the other day and realized that the last ritual Seppuku occurred in Japan over five years after I left there (Yukio Mishima, 1970).

Thank you Peter.

Thank you Ford.

Thank you John -- I apologize for not thinking that a moderator could also make the change -- such is the lot of under-appreciated message board "officers".

.......... and, of course, I am soliciting comments and any information relating to this type of koshirae. Thank you.

I apologize for the title error -- Kodugu should read Tosogu -- Brian: please change that if you are able. Old age creeping in I am afraid. . Done, John​

Normally I do not like to use Wikipedia as a reference, but I think the following article does a pretty good job in this case: https://en.wikipedia.org/wiki/Republic_of_Ezo I bought the following koshirae from a scholar and researcher of Japanese antiquities who wrote that it had been liberated from a family sode warehouse (Kura) and that the ensuite metal fittings were engraved with Ezo-esque designs of what he interpreted to be chrysanthemums. I believe it represents the type of short sword (shotô) carried by Merchants during the late Edo period. The metal fittings (tosogu) have katakiri-bori style carved engraving. I do not particularly like the appearance of the tosogu components although I realize they may possess great artistic merit in the opinion of some metalworking connoisseurs. My Nihontô collecting emphasis is on historical association rather than artistic merit (although I do appreciate beautiful blades and fittings) as I do with my flintlock firearm collecting. The hilt (tsuka) has the traditional ray skin covering (same) and the binding (ito) is dark green silk. The scabbard (saya) has a rounded tip (kojiri). There is a panel of crushed egg shell lacquer on the right side of the saya. Close-up photo of a portion of the crushed egg shell lacquer panel. This koshirae is assembled using a wooden substitute blade (tsunagi). The tsuka binding is dark green silk over traditional ray skin. The menuki are brass and depict seated relaxing sages (rakkans). The en-suite metal fittings are brass that has attained a nice patina Upper pommel (fuchi). Base pommel (kashira) The carved (katakiri-bori) brass guard (tsuba) is small oval (hamidashi) style.

This is a most interesting, and intriguing, subject to me. I do not want to bore everyone with old stories, but I thought a little background information might be appropriate. I lived in Japan (approx 25 miles north of Tokyo) for four years (1960-1963). I spent most of my leisure time visiting Japanese sword shops and various Museums in Tokyo in order to learn as much as I could about Nihontô. It was quite a struggle, especially since I spoke very little Japanese in 1960/1961. The only Nihontô books written in English that were available to me at that time were "The Samurai Sword - A Handbook" by John M. Yumoto and "NIPPON-TÔ: THE Japanese SWORD" by Inami Hakusui. And, Of course there was no Internet available for research in those days. The monetary exchange rate then was 360 yen to the dollar and Nihontô blades and koshirae were very inexpensive -- you could buy a nice kotô wakizashi in full polish (in a shira-saya) by a good smith for under $100 -- and services such as polishing or having a tsunagi made were likewise very cheap. But I digress. Sometime around 1961 (I am not sure of the exact time etc. for it was so long ago and my memory is now not good) I bought a nice katana at the Japan Sword Shop in Tokyo -- the blade looked healthy to me with no problems (in my neophyte eyes), but I thought the koshirae could be improved on (ah, the folly of inexperience!). So in a flash of inspiration (?) I decided to have the blade repolished, a new tsuka and tsunagi made and nice "en-suite" tosogu installed. Inasmuch as I didn't really have a clue what that meant I asked Inami san (sensei) to select appropriately matched tsuba, fuchi kashira and menuki. I am sure he muttered some choice Japanese utterances under his breath, but the koshirae looked beautiful to me when I got the sword back. I still do not know what criteria he used in selecting those fittings -- or if indeed they were properly matched -- I still do not have a clue as to what correct matching means anyway. BTW. I long since sold that katana. Please visit this page to see what I believe is a wakizashi Satsuma blade in koshirae made up for the Tourist Trade. I wonder how well the tosogu are appropriately matched?

I think your site is very nice Nick. Easy on the eye, being adorned with the usual magnificent swords you offer. Easy to navigate also. Congratulations!

Thank you for sharing your knowledge George -- I appreciate that very much. I am constantly amazed by the diversity and depth of knowledge possessed by members of this Board -- and their unselfish willingness to share it with others. James P

Thank you Stephen. Hang in there. I was diagnosed with low grade Prostate Cancer about fifteen years ago but I am lucky in that it has remained kinda dormant and hasn't bothered me too much. My Nihonto web pages contain mostly very basic, introductory, information. My goal in writing them was to create an interest in these precious artifacts that we cherish so much within my grandchildren (and now four great-grandchildren) and some of my antique arms collector friends. The next step is to install a link to this message Board on each of my pages. Thanks again Stephen. James P "I would rather have a bottle in front of me than frontal lobotomy"

Good morning George. The following pic is the best I can manage with my hand-held Iphone I am afraid. I hope this will help. James P

Thank you very much for your kind words Paul. Coming from someone who is such a prolific researcher and writer as you are is very gratifying to me. I am still working on that project for you Paul -- I will report back to you shortly. James P "Growing old is not for sissies."

Ah, Jean, I always enjoy your impish humor. Thank you. Yes things are indeed moving along smoothly now. James

Thank you very much, for the warm welcome Brian. Great to have recognition by the "honcho". James P

Thank you very much Greg. I appreciate your post very much. James P

Thank you for the compliment and excellent suggestions Ken. As I mentioned in my reply to George, I will supply better pics tomorrow. Thank you for the input, Ken. James P

Thank you for the nice sentiment and good suggestion, George. Yes I certainly will take and post a "straight on" photo of the kashira tomorrow morning. Again, thank you for your input George. James P

Hello fellow Board members. It has been some time since I participated here and for that I apologize. During the time I have been absent II have experienced a number of old-age related medical problems including a medical emergency that required a series of urgent abdominal surgeries. All that forced me to put most of my projects on hold. Well, I am now rejuvenated (and a relatively hearty and healthy 87 year old) and back in action. I once again request your comments, corrections and additions relating to this web page I have written. This page is one of a series I wrote that are mainly intended for my family and friends, many of whom are mystified by my fascination with Nihontô, and that have expressed an interest in learning more. I apologize for the quality of the photographs -- the only camera I have available at present is my Iphone. I am particularly interested in what is depicted on the kashira. All input is most welcome and much appreciated. James P.

I agree with Barry Hennick regarding X-ray. If you cannot find a friendly dentist, you can usually locate a local Testing Lab (unless you live in a small town) that will perform an X-ray for a very reasonable fee. At least that was my experience several years ago when I used to have my antique flintlock firearms X-rayed. Unfortunately I can't remember how much I paid then - It probably costs much more now. The advantage of using a testing lab is that they use very sophisticated equipment and employ well trained technicians - also they provide you with a written report. IMO The very best Testing Labs in the US are those that are FAA certified (If there is even a small airport near you there should be at least one such Lab available). Their equipment is required to be meticulously maintained and their technicians fully certified. Here is a report issued by such a facility: Edit added: They provide you with the X-ray films also. Of course you may not wish to pursue this type of procedure for your current problem, Jonas, but I thought I would post the information anyway -- it might be especially useful when expensive blades (for instance) are involved -- so please excuse me Jonas. James

* Bump * These belong to a koshirae I bought from Andrew Mancabelli a few years ago. It was complete with saya and tsunagi. The only detraction was that the ito was deteriorated and partially unraveled. That was fine by me for I was really interested in the tosogu and I intended to have the tsuka refurbished and re-wrapped eventually any way (of course I have never got round to doing that). So I removed the deteriorated ito in order to display the tosogu: I am not an expert on tosugo by any means - especially tsuba. I really would appreciate any information or comments relating to this tsuba. I have fond memories (now unfortunately much dimmed) of the beautiful displays of purple Wisteria flowers at the foot of Mt. Fuji in the summertime. James

The following items were diss-assembled as a set from a damaged Edo period Wakizashi. I wonder if they might have originally been selected as an ensemble and if so what the relationship and significance of the individual pieces were. Tsuba: depictions of weeping Wisteria Fuchi/Kashira: depictions of shi-shi lion dogs Menuki: depictions of Daikon radishes I would like to learn as much as possible about these items such as the approximate period of manufacture, where they were made, the school(s) the craftsmen who made them belonged to .......... and so on. Pointers to references I should refer too will be much appreciated as will any and all comments. James

"The Connoisseur's Book of Japanese Swords", Kokan Nagayama -- Ô-suriage nakago, p 66 - description plus illustration of nagamaki naoshi tang. ".......... The original signature (mei) is usually completely lost, although it can sometimes be preserved as an orikaeshi-mei or gaku-mei."

Again, I want to thank Brian Robinson and Ken-Hawaii for responding to my initial request. I would also like to thank Paul Bowman for his prior help and now Darcy Brockbank for the great information he has provided me. And now I am requesting additional input from Board members -- please excuse my urgency, but I feel the sands of time are beginning to run out on me and I am anxious to complete this project to the best of my ability. The latest iteration of my web page is at: http://jp29.org/nihnagamaki.htm An afterthought - just a little background information: In the early 1960s (mostly in 1961) I frequently visited the National Museum in Tokyo (and some Tokyo sword shops) in an effort to learn as much as I could about Nihontô. That was an enormous struggle. The only Nihontô book written in English that was avaialable to me at that time was "The Samurai Sword - A Handbook" by John M. Yumoto. Of course there was no Internet available for research and no public sword shows to visit. I eventually made enough of a pest of myself at the National Museum (bombarding guards who spoke no English with questions that they couldn't understand - or answer) that I was invited into that long room with high wooden desks where the sensei worked. I was received there with polite friendliness. I soon found that those old gentlemen (Ô-ji-san) were very willing to help me learn about Nihontô -- the trouble was that none of them spoke much English and my Japanese was very limited at that time. It was frustrating -- they were trying to explain blade terminology and the nuances of hataraki, etc. in rapid fire Japanese and I was trying to take it all in while understanding very little. Of course, over the years I have managed to catch up somewhat with Nihontô afficianados by reading authoritative books, researching via the Internet and participating in this Forum. I am, however, still no expert -- nowhere near in the class with many of the luminaries here. James

Thank you, Ken. James