Dr Fox

Jean My unfamiliarity with the rasp mentioned, led to me making a wrong call, thanks for the brief. Now having fitted the habaki into the saya, a new story appears. Come back to me on this: Using a gap gauge it is evident that the koiguchi, has no contact with the sides of the habaki, to me that is where the maximum contact is needed? Isnt that what the cat scratching is for? The contact between the mune area, and the koiguchi is not present, until the habaki can enter to a point, beyond which the seppa would allow, a small insert is needed here. I need to; fine tune as you say! Just add fine wood strips either side of the koiguchi, to conform to the profile of the sides of the habaki. Just reclaiming these areas will I feel not give rise to splitting pressure?? The habaki will not be fitted flush with the koiguchi, but will stand proud with a sight gap between the koiguchi and first seppa when tsuka is assembled. From this point, I hope a gentle pressure with the palm on the kashira will set the blade secure. Denis

As you look at the mouth of the saya, I am sure you will have noticed, that the mune ‘floor’ in the saya has almost gone. A build up of this area, will most certainly be needed. I propose not to build a ‘flat’ floor, but to use two strips, and form angles that will conform to the mune, and then to the habaki. Also mindful of the advice, that undo side pressure here, will transmit to the koiguchi, I do have strength here due to the han-dachi metal band, but still caution is advised. After sourcing all the materials, I will proceed with habaki detached and in hand. This I am thinking will allow me to align the habaki, square to the koiguchi. The smaller adjustments, with blade and tsuka, being done in the final fit. Thank you all for the help I asked for, and please! Any points or omissions in my thinking, please advise me. Denis. “We shall be unable to turn natural advantage to account, unless we make use of local guides” Sun Tzu.

Thanks Brian. My only reservation with balsa (I had considered it) is, I thought it was too soft, and would need more attention in the future. Splitting the saya if that was the only way, I agree with you is a no no for me at home. Franco. Your point in the forming of the koiguchi, and its function to support the habaki and then the blade, is an instruction I will be mindful of. Thanks. Thomas. I think the thin veneer of some wood is the way to go, more control over the build thickness. Your tips on glue choice, I had not considered, but make serious sense. Cheers. Sebastien. They say a picture is worth a thousand words, thanks for the diagrams. Jean. I was having thoughts on the trimming of the repair material; I was avoiding sandpaper, as I was concerned about grit parting from the paper inside the saya. A rasp of course will rough the surface with little cutting effect. Thomas. Hi! I hear what you are saying, the thumb on the tsuba is always advised, even when the sword is ‘tight” But my real worry is that a moments inattention, by myself or a third party, could cause the blade to exit the saya, the serious consequences of that I will leave to you to imagine. Malcolm. Your post confirms the way to go, build up the mune area, avoid side packing (split danger). Nice one. Guys, I will do some laying out of the task tomorrow, and be back to nit pick the way ahead, Your response has been real. Very gratefull. Denis

Gentlemen, most comprehesive range of answers, it is quite late here, so I want to appraise all you have said, and respond with some points already in my mind. Together we will win. Till later thanks Denis.

Looking for tips and advice please: My han-dachi saya has become enlarged in its throat area, so much so, that the sword will fall out if not handled with great care. This is obviously not a good condition for me to be in. So I am asking if a home repair is possible? and if so what materials and adhesives are needed! Looking at the saya in hand, it seems as if a piece of packing is missing, as opposed to the mune having sawed away at the mouth. I feel quite confident, that with the right guidance, I could tackle this task and would love to give it a go, unless advised otherwise. Denis

Thank you once again, but I don't have permission to open any threads, not being a member. Cheers Denis.

If I may come back on a point: Snipers ability to read a tassel colour. The term 'sniper' is easily taken out of context, but when used in its proper form, indicates a person or persons, who have higher than average shooting skills, and a suitable firearm to fully utilise such skills. As an ex military sniper in the 60s and 70s, using the modified Lee Enfield, fitted with a Purdy rifle scope, I could have seen the tassel colour, but even then my distance was limited. And conditions had to be almost perfect. Now going back to the 40s? The ability of platoons to, arm members with set up scoped rifles, was on the whole a no no. Why? Terrain! A scoped rifle in most combat conditions, was as useful as an ashtray on a motorbike! Scope! The care requirements to maintain the zero capabilities, in rough handling expected for a military firearm, is much higher than normal. Accuracy! The most accurate shots are made from the prone or braced position. Now refer para 1. The vast majority of marksmen at that time were using standard issue firearms, and their ability to pull off shots at range, is not disputed. But what can be disputed, is that a tassel colour could be seen at that distance. Badges of rank were always a target of choice, so it follows that a sword would indicate a person of some rank. The sword bearer was the target. The British Army sniper school, honed its skill in the theatres of war, the limitations of the so called "one shot one kill" was well known. Anything else is a movie.

Does this help? A tassel displays an officer's class. It uses for the reinforcement (it twists around a right wrist) when extracting a sword and grasping a Tsuka. The role of a tassel is as variegated as an ornament and practical use. It is an element indispensable to a Guntō Koshirae. An army tassel; Plain weave (Korai textile): A surface color is "brown". In the back, a color changes with an officer's classes. 　General: Red (it is embroidery zigzag about gold thread to a table and the reverse side) and a fringe is gold thread. 　Field officer: Red. The thread of a fringe is brown and red. 　Company officer: Blue. The thread of a fringe is as blue as brown. Navy tassel: Plain weave (Korai textile): A table and the reverse side are "brown". There is no discrimination by an officer's class. A tassel has two sorts, ordinary quality and the good which bordered the both ends of a tassel with opposite thread. Denis

My sentiments exactly! I was shown the blade concerned, it having been almost fully drawn out of its saya, to me it looked the real deal. But when the kissaki was exposed, the damage then became apparent. The owner had dropped the sword which had landed tip down on a marble floor, the tsuba had also suffered as a result. The sword was not an offer of sale, but I was asked for an opinion as to restoration. I seem to remember being negative in my comments at the time, a. not knowing the value of the sword, b. imagining the cost, and the added difficulty of commissioning such work from the UK. Seeing the blade on this post, jogged the memory bank, and I needed to be advised on my own thoughts of that time. It might even lead to me seeking out that gentleman, and giving a better informed opinion. (God willing he is still with us). Regards Denis.

Thank you Brian I will sit back and wait for discussions on the blade, as it seems its the tsuba, that has the fame at present. It is of great interest to me, to see what makes this blade a candidate for restoration! Because I know the location of a signed nihonto, that has a similar tip damage. Thanks Denis.

Looking at the kissaki, to me it seems to be a sizeable piece of tip missing. I am trying to imagine the finished look of this blade, and also these points. When the kissaki is re-shaped, should the ko-shinogi also be re-worked? How much of the blade itself would also need to be re-polished? The cost of this work to any standard would be significant. To me, the damaged blade would have to have a high monetary and historical value, before considering such a project. I am not considering this from a commercial view, but as a practical problem. Would I be wrong, to reject such a prospect if it came my way? Regards Denis.

Hi Alex and Stephen Sorry to say the device I recorded on, does not allow the extraction of the programme. You Tube has a trailer "Raider of the lost past. The lost sword of the Samurai" whether you can get more from that I don't know. Worth a look? I thought so at first. But please give regard to Mr Sinclaire and Mr Bottomley's comments in earlier posts, if both these well respected gentlemen, hold this production in scant regard, then anything more I add, is unnecessary. Regards both Denis.

Hi Clive This programme was one I recorded, as I was away at its showing. To say I was disappointed at the lack of presentation would be an understatement. When I saw yourself and Ian it had some promise, then from your valued input it went seriously downhill, and yes it was pretty awful. Produced by those who had little regard and scant knowledge of Japanese swords, or the people who treasured them. But its sad to say, this is not the only misguided drivel out there. Regards Denis.

Brian Before we leave this. You had some very considered suggestions from members, and to be fair without the benefit of your story, were pretty on the mark. Would it not be fair, that even you when you say, "This blade is from 1945 Japan. That is a fact" can see that it was not a fact. (China/Japan) Now lets start again, and look at my post 'You gotta see this' I was in the same situation as you. Look at the response offered. Read all posts on this board as I do, its a free education, and there,s not many of them lol. Regards Denis.

Brian Its not going to take an expert to tell you what you have got, or what its worth. Its easy, you have got a piece of your families history, from a time when the world was in turmoil. Your sword has a provenance, which hundreds of swords do not, and its worth? Brian to you its priceless. Take on board all you have been told, and welcome, any further comments offered with good grace. Regards Denis

Brian I feel you should have led, with this most brilliant account of a real wartime experience. And then followed on with the sword. The responses you would have got, might still not have suited you, but at least everyone would have been on the same page. Regards Denis.

Brian, As another newbee on the board, I beg you to be more open to the input you are getting here. The members you are requesting help from, are at worst, skill full, and at best experts in this field. You are at the moment closed minded, to any suggestions that you cannot except. You came to this board, please have the good grace to listen to opinions. I am a student of nihonto, and have a nodding aquaintance with Gunto. Now I will tell you (in the British style) forget 1945 Japan, and its not a fact until it is indisputable. Stolen quote: The mind is like a parachute, it works better when its open. Welcome Denis.

YamaArishi, Thanks for your post, I cant follow your thread as the link won't open for me. Denis.

Buy it! if he throws in the trainers! They are ten times the value of the sword, a bargain. Denis

It's really all speculation, but the best mystery is, why beat the hell out of the nakago, when it can be seen, there are two ana,s already there, and at worst could have been pressed into service. Its been a fun piece to kick around, so unless anyone wants to comment (blade), this is for the long grass, thanks to all for your considered input. Denis.

Since my last post on this, I have had contact with a man who seems to know his stuff. What he had to say, ties in with comments made by both George and John. He is of the firm opinion that this is an 'ersatz sword', fashioned in a field camp, using items to hand and a blade recovered from an earlier period. The nakago was reformed, perhaps not using a forge but a ready fire source (possibly to recover damaged metal). In hand exam of the total sword, shows it is well fitted for purpose, and would have served well. The blade is very probably nihonto and if so? could indicate a Japanese re-build as opposed to a native copy. (Will you guys please jump in here, for my benefit please?) A few days after this appraisal, he contacted me to indicate Pages 42+43 Plates 55+56 of RF and RG's book Military Swords of Japan. I must admit, to me the similarities are numerous, the combat saya, plain iron tsuba, leather retaining strap, standard menuki, crude tsuka wrap and the non uniform kabuto-gane with a plain saru-te. If there is any truth in the above, then this "oddity" has its own place in WW2 history, if not then its still a conversation piece. (Might be why I rescued it from oblivion) thanks in anticipation Denis

I also have found, trying to capture the fine details required, to make a point on the forum difficult. Tried scanner as per advice here, but don't have the resolution needed for dof. Having more luck now with my Sony R1 on tripod, and using photo grey cards under the item. But lighting is tricky due to reflective surfaces. Hints and tips welcome. Denis

The Mon! if I am right is for the Kuribayashi family. There is a fascinating link here: http://en.wikipedia.org/wiki/Tadamichi_Kuribayashi Was this the owner of this sword? Denis.

From a novice who will stand to be corrected! A boys sword would be forged as just that, a miniature katana? So all the features would be in scale to a full sized model? Am I right so far? Having fixed my mind on that concept, please advise me on this! If the tsuka is to match this nakago, the mekugi will be in a definite ‘off centre” position in the tsuka, because of the placement of the ana. If the tsuka is overbuilt, to place the mekugi as normal, then the blade will be seen to be out of centre in the tsuka. ???? Denis