Grey Doffin

Never had one. Grey

Hi Andy, It looks like the sword has lost enough kissaki/boshi that, even if it is salvageable, the cost/effort would exceed the value of a compromised Emura when complete. Funds would be better spent on a different sword. And you need to reconsider your plan to practice polishing. It is something that can't be learned without a properly trained teacher, can't be learned from videos. Among the last things we need is another self taught sword shiner. Please don't do that. Grey

Hi Max, 1. Are there any books specifically about differentiating and appraising knives? Not really. There are dozens of books that will help you on the way but not one with all the answers. Seems like you're asking for a shortcut around study; there is none. Take your time with books, sword shows where you can see Nihonto in hand, and ask lots of questions. There will never be a time when good and better pieces aren't available and the more you know before you buy one the happier you'll be with it. Cheers, Grey

Izumi no Kami Rai Kinmichi. Grey

Hi Robert, I suspect this is shakudo that has been improperly cleaned and has lost its black surface. Pity. Grey

Hi Colin, You said, "My understanding of the term “fatal” is used where the ability of the sword to function as intended as a weapon is compromised." If we were talking about a weapon only, I understand where you're coming from (but I doubt a mild steel kissaki on a slicing weapon (tachi) would be much of a compromise). But Nihonto are not a weapon only; they are also art and history and have always been valued as such. I don't think the hi breaching the ko-shinogi hinders the function as a weapon; it does diminish the value as art. Grey

I'm not upset Colin; all is good. Related to my post about the painting as compared to the tachi is the term "fatal flaw" For me, fatal implies worthless, not to be collected., which isn't the case with a Kamakura era tachi with a cosmetic boshi. Maybe a different term is needed. Another facet of the topic is retempered boshi, which I'm sure has happened. Where would they fall on the fatal/non fatal scale? And getting back to the blade in the original post in this thread: I am more bothered by the hi broaching the ko-shinogi than I am by the possibility that the boshi is cosmetic; it strikes me as a more fatal flaw. Cheers, Grey

Sorry Colin but I think my post about old master paintings with cosmetic repair was precisely to the point: if the painting can still be appreciated for what it is why should 700 year old Nihonto be different? In my mind this is a continuation of the subject. Grey

If an old master oil painting is shown to have had a corner repainted after damage, is it any less a masterpiece? Grey

Since I was the one to bring this up, let me add. I have been told by people who know a whole lot more than I do that cosmetic boshi is allowable and paper worthy on early blades without other fatal flaws. Kissaki are easily broken in use and reshaping the kissaki is the practical solution to the problem. Mr. Nakahara, in his book translated as Facts and Fundamentals of Japanese Swords, goes so far as to say that the majority of early tachi with ko-kissaki have been broken and reshaped; it wasn't the original shape of the kissaki. What's more, a talented polisher can do a cosmetic boshi so well, I'm not sure anyone could know just by looking. If you can't tell if the boshi is cosmetic, how can you say the sword is fatally flawed? All this taken together means some great, highly esteemed blades, have lost their boshi and we all let it slide. Grey

Looks like at least a cm of the original kissaki is lost. Odds are good the boshi is gone also and you're seeing a cosmetic boshi, added by the polisher. Many tachi from Kamakura and earlier have this problem. It isn't fatal but isn't insignificant either. Grey

Another fake; sorry. Grey

Hi Malachi, Definitely a real Nihonto, possibly Edo period sometime, and anything else would be just a wild guess. Grey

Hi guys, I just finished listing the last of new to my site swords. In the past 2 weeks I've added 2 fine tachi with Juyo papers, another wonderful Kamakura period tachi with efu no dachi koshirae, an impressively large katana by Bitchu no Kami Yasuhiro, and a star stamped gendaito by Shigemasa in solid silver koshirae. Have a look please: https://japaneseswor...tem-category/swords/ and thank you, Grey

I think it has always been Hozon first. Grey

Dmitry Pechalov"s book, and I agree, it is impressive. https://japaneseswor...rpieces-by-pechalov/ Grey

In my humbled opinion, the best material on the subject in English is the 59 volume of Token Bijutsu from the staff at The HBTHK: https://japaneseswor...lete-with-1-reprint/ Grey

Forgive me for repeating myself: A young man in New York city with a violin case under his arm stops an elderly lady and asks, "Excuse me Maam, how do I get to Carnegie Hall?". "Practice" she answers. Read books, look at good pieces, study, study, study. Grey

Hi Dennis, You can spend money on a kit if you like but all that is necessary to care for a Nihonto is light machine oil (choji oil) and a micro fiber lens cloth. Grey

Hi Adam, About your idea to not use clamps. I've made and repaired furniture for 50 years and one basic rule is, you don't have to use clamps if you don't use glue. I think you'll regret your plan. For clamps when reglueing shirasaya, I use masking tape over paper bands that tighten as they are slid up the saya, augmented with strips of cotton sheet wrapped tightly over all. The tape paper bands work well to keep the 2 halves aligned and leave no trace when removed. Grey

I've been waiting for the one, true answer to this; I've had the same question myself. I know from making shoji that rice glue will give with a sharp blow; you have to be able to disassemble the frame to repair damaged kumiko. What I would try before the steam is to hold the tsuka vertical, nakago ana up. Place a hardwood block on the top of the tsuka and give it a sharp blow with a hammer. Shouldn't cause any damage and the tsuka just might fall apart. Grey

Hi Ron, Your sword is, most likely, Koto. It definitely has been shortened and looks long enough to have been a katana before shortening. If there is room between the tip of the boshi and the end of what's left of the kissaki, a properly trained polisher may be able to restore the sword by reshaping the kissaki and by moving the mune at the tip of the sword closer to the edge but the cost for the work probably far exceeds the value of the sword when completed. Grey

Hi Mike, I would suggest you take the time to learn more before you purchase your katana. There is no substitute for "the more you know before you buy, the happier you will be with what you buy." There is less satisfaction in buying what someone recommends than in educating yourself so you can make your own recommendation. In my opinion, the 59 volumes of Token Bijutsu, English edition, from the NBTHK, is the best material on the subject in English. Find it here: https://japaneseswor...lete-with-1-reprint/ or as B747 on my site if you want all 59 to be original. There will never be a time when good Nihonto won't be available; there is no reason to be in a hurry. Best, Grey

Hi guys, I lowered the prices of almost all the tsuba and fittings on my site a few months back; just did the same with book prices (with a dew more to fall). https://japaneseswor.../item-category/book/ Cheers, Grey

Hi guys, I drive to this show so if there is a book on my site you'd like, you'll for sure be at the show, and would like to save the cost and bother of post, send me an email; I'll have the book for you at my table. Just lowered almost all of my book prices; there are bargains to be had. https://japaneseswor.../item-category/book/ Thanks, Grey grey at gmail.com